It is rare that you would ever hear someone utter the phrase, “I don’t like movies.” The likelihood that there would be any truth in such an opinion is incredibly small, and for good reason. Even though – like most people – I have loved watching movies for as long as I can remember, I have never really stopped to consider and appreciate the fact that the process of making a movie draws on all types of knowledge and talent, whether obviously artistic or otherwise. More fascinating, still, is that such a massive and varied collection of effort is all for the purpose of storytelling; a truly good movie can be viewed as the epitome of human achievement.

Screenwriters – whether through original work or the adaptation of authors or real events – are mystical and enviable beings with the ability to craft and communicate a story that manages to be entertaining and relatable enough to appeal to and affect hopefully-millions of people, regardless of the space or time in which they live.

Together with people like directors, music supervisors, set designers, editors, cinematographers and actors, a unique perspective of the real world or a totally new and imagined world is created and shared.

Each movie has a distinct tone, influencing and harmonizing the emotions of a few hundred people who have happened to gather together in one room for two hours. The worlds and narratives presented can be so all-encompassing that the intangible emotions they impact translate into responses which can be heard and seen.

It is accepted as a completely reasonable and coveted activity to travel to – and pay dearly to sit within – a large, nearly-pitch-black room filled with hundreds of strangers for an extended period of time, because exposure to a whole new story is what is most meaningful.


1. What is your favourite word?

“Foliage,” because it saved me from threatening sexual relations with Jan Levinson (formerly Levinson-Gould).

2. What is your least favourite word?


3. What turns you on creatively, spiritually or emotionally?

Other than my wife, Holly, and Steve Martin’s comedy, I’d have to say Ryan.

4. What turns you off?

Ugh, Toby.

5. What is your favourite curse word?


6. What sound or noise do you love?

Jim Halpert laughing at my jokes, which I get to hear all the time, so..

7. What sound or noise do you hate?

Any sound that Toby Flenderson makes. That’s why he remained in the annex.

8. What profession other than your own would you like to attempt?

Awards show host.

9. What profession would you not like to do?

Anything involving being alone in the wilderness, where Dwight could possibly shoot me.

10. If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?

Although you weren’t part of many inside jokes, people loved you.


-Walking down the hallway of my apartment building and not wanting anyone to open their door as I walk by, for fear of catching my neighbours off guard, making them literally jump at the sight of me.

-Shrinking as deep into the corner of the elevator in my apartment building when others are present, to avoid accidentally brushing up against them and drawing attention to myself.

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-Hoping that the shadow I cast in front of me as I walk to the bus stop will not cause others to glance at me as I approach; I assume that simply by looking at me, they see all of my faults and inevitably think the worst of me.

-Getting on the bus and attempting to find a seat/standing position so fast that I can’t remember the act of paying my fare, though I know that I must have. Finding such a position involves as little eye contact, accidental physical contact and noise – on my part – as possible.

-Walking through the train station and being incredibly aware of the indoor wind tunnel blowing my bangs off of my forehead, leaving me feeling particularly vulnerable. Being hyper-aware and critical of the way I walk, especially as I pass a long line of people standing in line for coffee, who are blankly people-watching as they do so.

-Feeling very irritated at those who are not so overly-aware of the people around them. This includes those guilty of standing still on the side of the escalator reserved for moving traffic, or those who – upon disembarking from an escalator – stand still, leaving no space for others to also step off.

-Finding it difficult to get settled in my seat on the train, not wanting to take up more room than my individual seat allots, and feeling that other passengers are annoyed at my excessive fidgeting.

-Constantly adjusting the volume of my iPod on the train in order to ensure that others do not hear the music or podcast to which I am listening through my earphones.

-Feeling that I need to try to sleep or at least keep my eyes closed for the entirety of the nearly-hour-long train ride, in order to relieve myself of the great discomfort of making extended eye contact with another passenger, or – in a rare moment of mindless daydreaming – staring at another person and making them feel as uncomfortable as I do.