I would encourage people that, if you are waiting for the end of 'The Office,' to re-tune in right away. It is the beginning of the end, where we start to break down what's going on with this documentary and see behind the scenes with who is involved.
I love 'The Office' format so much that I wanted to close it out.
It happened to me on 'King of the Hill,' where I'd left it before the end and didn't really participate in the ending, and I always felt a little bit like I wanted to try a different version of that story.
I had my idea of what the series finale of 'King of the Hill' would be, but that's not what the actual series finale was.
I'm like a slow starter. Everything I've done has built, or has taken a while.
When you do something unusual, the audience doesn't 100 percent know what you're up to in the beginning. And if you're doing a character comedy, they haven't learned the characters yet.
When you think about 'The Simpsons' or 'King of the Hill' or something like that, the worlds tend to expand each episode, because there's no additional cost incurred to hire an animated character.
Whenever the boss has 'fun' activities, there's got to be a parable or a lesson. Employees feel like they're supposed to be taking notes.
On a daily basis, you're working with Steve Carell; you're not working with Ricky Gervais. You try a line, and you can't be writing for David Brent. You have to be writing for Michael Scott because Steve is Michael Scott.
I wrote Steve Carell's last episode. I think it was a really good episode, but there's always a tension between what's good for the series and what's good for an episode, because the more closure you put on an episode, the more significant feeling it is.
There are Michael Scott moments, which are character choices, but there are also Steve's reads. Usually the things that I'm the biggest fan of are these weird reads that he does - just the way he's interacting with other people.
