B.J. Novak

Points for this one.

Constantly. We all thought he was crazy. Little did we know!

It was incredible. The most exciting condensed period of my life and I can't imagine I'll ever do anything more exciting and I'm actually fine with that -- I don't know what could top that fantasy-camp of a filmmaking experience. The only stressful part was when we'd all go out drinking after a day on set, and I'd ask Quentin Tarantino a question, and he'd start to answer, and I'd feel this enormous pressure to REMEMBER EVERY SINGLE SYLLABLE because film history was literally being dictated to my brain, and I was the only witness, and I was two drinks in and feared I wasn't going to remember a sentence that a friend or historian would ask me for someday. It was the coolest thing ever, quite simply.

She shot a man in Reno, just to watch him die.

First - name's not Troy, it's B.J. -- not a big deal.

The episode of "The Office" that I wrote that I'm proudest of is the first one I wrote, "Diversity Day." The show was completely new and I was assigned this amazing comedic opportunity to write what happened in this incredibly rich situation. The only question was, how far were we allowed to go? Not just with the jokes, but with the characters -- with their ignorance, their mistakes, their discomfort? It turned out really far, and learning that helped all of the writers learn that we were going to be able to write the show we wanted to write; and helped the actors learn that they better ground the characters in some real humanity, because they were going to be taken to some pretty raw places.

This is a mistake on so many practical and conceptual levels that I don't know where to begin. Get her back.

Fucking awesome.

Yes

Turn a camera on him and surround him with more talented people conveying more likeable and entertaining and occasionally romantic storylines. $$$$$$$$$$$$

Thank you! One thing I learned from The Office is that the line between funny and dramatic is paper-thin (no pun intended) and often non-existent. If you ground a performance in truth, it can be both as funny and as dramatic as can be. I think no one embodied that lesson better than Steve Carell.