Q&A with the extraordinary

Written By: Michael D. McClellan | Dave Berke is all about clearly defined goals. A retired U.S. Marine Corps officer, fighter pilot, and ground combat leader, Berke lives and breathes setting long-range strategic goals to act as his compass, and then filling the journey with the short-range, tactical goals required to make the dream come true. The result is a decorated military career that is nothing short of elite. As an F/A-18 pilot, Berke deployed twice from the USS John C Stennis in support of combat operations in Iraq and Afghanistan. He spent three years as an Instructor Pilot at TOPGUN where he served as the Training Officer, the senior staff pilot responsible for conduct of the TOPGUN course – no small feat considering that Berke was a Marine at the time, and the program itself is part of the Navy. God-given talent is an essential ingredient when it comes to being one of the best fighter pilots on the planet, and Berke’s genius is well-suited to flying all manner of jets, from the fourth generation planes like the F/A-18 Super Hornet, to the state-of-the-art, stealth fighters like the F-22 Raptor and the F-35 Lightning. Berke, however, is quick to point out that talent alone will only take you so far as an elite aviator. You have to set very specific goals, and then have the humility to check your ego at the door – contrary to what Tom Cruise might have you think.

“Humility is your best friend,” Berke says of his time in the cockpit. “It’s the only way to ensure an open mind, and an open mind is the only way to become better at flying fighter jets.”

Berke, who today serves as the Director of Leadership Development and Alignment Programs at Echelon Front, says that while setting goals provides the roadmap, discipline is needed to achieve success.

Dave Berke
Director of Leadership Development and Alignment Programs at Echelon Front

“At TOPGUN, the pilots most likely to be invited back as instructors were the ones with the most discipline,” Berke says. “They were the ones who did the tedious research to prepare for a brief. They were the ones who never cut short a debrief until every learning point had been identified. They were the ones who outperformed their more talented peers because they worked harder and longer.”

Discipline also played a vital, life-or-death role in 2006, when Berke traded in his F/A-18 Hornet for an M-4 Carbine, serving as an ANGLICO Forward Air Controller during the Iraq War. From the ground, Berke supported the Army’s 1st Armored Division during extensive urban combat operations in Ramadi, Iraq. It was here that Berke led his supporting arms liaison team on scores of combat missions into the most dangerous neighborhoods, and accompanied SEAL Task Unit Bruiser on virtually every major operation in the Battle of Ramadi. Without discipline, it would have been impossible for Berke to perform his job alongside Chris Kyle, the subject of Clint Eastwood’s 2014 biographical war drama, American Sniper.

ANGLICO Marines conduct a “talk on”, directing an aircraft on an armed reconnaissance mission over potential targets from a rooftop in Haditha, Iraq

“Most of my time in Ramadi was spent with men like Chris, who would sit next to me on rooftops, motionless for hours, observing the city through the scope of his rifle,” says Berke. “Day in and day out, I watched him do the tedious, thankless, and unrewarding work they don’t show you in recruitment videos or movies. Few things can sap your motivation and focus like Ramadi’s suffocating dust and 115 degree heat. The only thing that gets you through an environment like that is discipline. And although that discipline often goes unrecognized, it doesn’t go unrewarded: It allowed Chris to save countless lives and made him the most successful sniper in SEAL history.”

Berke’s goal to fly the world’s most sophisticated aircraft was later realized when he slipped into the cockpit of two similar-but-different fifth generation fighters. First, he became the only Marine selected to fly the F-22 Raptor, having served as an exchange officer at the Air Force’s 422nd Test and Evaluation Squadron as the Division Commander. Then, from 2012 to 2014, he became the first operational pilot ever to fly and be qualified in the F-35B, serving as the Commanding Officer of the Marine Corps’ first F-35 squadron. Each involved plenty of serious goal setting, coupled with the discipline needed to learn how to fly these next-gen fighter jets.

Dave Berke in the cockpit of an F-22 Raptor

“Guys like me, and everyone who’s ever transitioned from flying a legacy airplane like an F-16, F-15, or F-18, are always going to bring forward some habits,” says Berke. “A lot of those habits are going to be wrong. I quickly realized that you can’t fly the F-35 like a fourth generation airplane. With each flight, my goal was to leave behind those old habits and embrace the F-35 for what it is – a revolutionary aircraft with a fundamentally different set of capabilities.”

The differences between fourth and fifth gen fighters are impossible to ignore. The advances include nose-to-tail low observable or stealth technologies as part of the aircraft’s design that make it almost impossible for even other fifth generation fighters to detect; improved situational awareness through having multi-spectral sensors located across all aspects of the airframe; and a state-of-the-art network which allows them to receive, share and store information to enhance the battlespace picture.

“And those are just a few of the differences,” Berke says quickly. “I had to retrain myself to get the most out of the next-gen aircraft, because there are so many things that don’t translate. A maneuver that might work in an F-18 doesn’t necessarily apply to the F-35. At the end of the day, we’re just scratching the surface of what these new planes can do.”

The F-35B short takeoff/vertical landing (STOVL) variant is the world’s first supersonic STOVL stealth aircraft. Berle became the first operational pilot ever to fly and be qualified in the F-35B

It should come as no surprise that Berke was able to make that quantum leap to fifth generation fighters. As a child, he’d often daydreamed about becoming a pilot, only to have his mother challenge him to learn more, develop a plan, and set goals. Once a Marine, he faced long odds in becoming a pilot, competing with 250 officers for two spots in the flight program. He’s taught at TOPGUN, completed hundreds of nighttime carrier landings, logged thousands of hours in the air, flown at Mach 2, and emerged from the Iraq War in one piece.

Following his retirement from the Marine Corps, Berke joined Echelon Front, where he provides unmatched experience and unique perspective into combat leadership, analytical decision-making, risk mitigation, and creating winning teams.

All of it amazing. None of it possible without setting very specific goals, and then having the discipline to turn the dream into reality.

You grew up in Southern California.

My first real memory was of moving from San Diego to Orange County when I was five. We moved to a place called El Toro, which just happened to be home to a big Marine aviation base, and I remember that pretty vividly. Our house was right under the flight path, so seeing fighter jets in the skies became a daily occurrence and sparked my fascination with airplanes. As I got a little older I started going to the annual El Toro Airshow, which furthered my fascination with aviation. I guess you could say it was in my blood by a young age.


Growing up around these cool jets had to be a dream come true. When did you start to think that you might be able to climb into the cockpit?

There certainly is a big difference between dreaming about doing something and taking the necessary steps to achieve the goal. Make no mistake, at age 5 I was dreaming about flying fighter jets, but I had no real context for it. Probably the closest thing to reality for me at that time was the movie Star Wars, which, as a five-year-old, is pure fantasy. A few years later I started going to the airshows and realized that pilots are real people. At that point I certainly got the sense that, “Hey, this isn’t a fantasy. People are actually doing this.”


Did you feel it was your destiny to be a pilot?

I was definitely obsessed with flying jet airplanes, so that became a singular focus. I loved the Blue Angels. I got into building model planes. I read every book that you could possibly get your hands on related to aviation and military history. As fate would have it, I ended up in a town where these cool jets were flying around, and where we’d have people from the Marine Corps come to our school to speak. That was big for me. It gave me another way to interact with the pilots – I could ask them questions, listen to their stories, and learn more about how they came to do what they do. Suddenly, this dream that was somewhat abstract, started to solidify.

I was 14 when the movie Top Gun came out, and when I walked out of the theater I was pretty dead set on wanting to do that. By my junior year in high school I was doing some basic research and talking to the guidance counselor. I also went to a recruiting station and asked the questions on my mental checklist, because I wanted to know what was required how you went about doing certain things. So, I started to coalesce around the dream and began to take some fairly deliberate actions, such as talking to recruiters before I was old enough to enlist. By the time I graduated from high school there were no secrets. I knew exactly what I wanted, what was required, and how to take those very deliberate actions in order to make that happen.

The need for speed: Top Gun inspired a young Dave Berke to dream of becoming a fighter pilot

You decided to become a Marine rather than enlist in the Air Force.

Becoming a Marine had a lot to do with the fact that I was living in a Marine town. The base was right there, and most of the pilots in the 10th Special Operations Command were certified around the Marine Corps. That was a major influence. Early on I associated flying jets with the Air Force, and I might have gone in that direction if not for an influential father figure in my life, a Marine named Eric. He’s the one who revealed to me that I could be both a Marine and you a fighter pilot, so that’s when I decided that I 100% wanted to be a pilot in the Marine Corps.


The Marine Corps seems like the more daunting to becoming a fighter pilot.

Yeah, in some ways that’s true. There was a point early on where I had built up the Marine Corps in my mind as an almost impossible, unattainable goal. I was certain that being a Marine was the hardest thing to do of the four services, and that flying fighters for the Marine Corps was the most challenging. In retrospect, I have the utmost respect for the Navy and the Air Force and the paths those guys go down to become pilots, because their paths are equally daunting. Ultimately, I believed in the Marine Corps ethos, and I believed that becoming a Marine was the most challenging and the toughest route for me. I started to steel myself for the physical and mental challenges of being a Marine officer first, and being a pilot second – with the hope that I could combine the two. I actually contracted to join the Marine Corps as a ground officer, so there were no guarantees that I would be going to flight school when I first got there. I had to accomplish Officer Candidate School, finish my college education, and complete my ground commission. I was commissioned as a lieutenant in the Marine Corps, at which point they sent me off to something called The Basic School. Marine officers, regardless of their jobs, go through this six-month program. This is where you get assigned what we call an MOS, which stands for Military Occupational Specialty. This is a particular job or career field inside the Marine Corps. Only then could I compete for an aviation slot, so it was certainly a very daunting path for me.

Gunnery Sgt. Shawn D. Angell is a drill instructor at the Officer Candidate School aboard Marine Corps Base Quantico, Va., dedicated to training, educating, evaluating and screening the many candidates who go through the course and turning them into Marine leaders.

You were one of 250 new officers, and there were only 2 pilot spots available in your class. How did you convince yourself that you could rise to the top in such a competitive environment?

There were 250 guys who were in my company, but not everyone wanted to be a pilot. Some of them already had an aviation guarantee to attend flight training, so while I was competing with a lot of them, I wasn’t necessarily competing with all 250 in the class. During the first week we were told that there were two pilot spots available. That was a tough thing for me to think about, because the odds that I’d get one of these two spots were really slim. Competing with my peers and performing well enough to earn one of those two spots was another daunting task. Thankfully that’s what happened, which was obviously a pretty big thing for me. The next thing you know, I was going to flight school for the Marine Corps.


Please tell me about your TOPGUN experience, where you spent three years as an Instructor Pilot dual-qualified in the F-16 Fighting Falcon and the F/A-18 Hornet.

After completing flight school I was assigned to fly fighter jets. My plan all along had been to fly the F-18 in the Marine Corps, so I was living that dream when another career path – TOPGUN – revealed itself. TOPGUN represents the pinnacle of your profession as a fighter pilot for the Navy and Marine Corps. I decided to make it a goal, which meant that I had to train and work hard, and I was lucky enough to get the opportunity. At TOPGUN I found myself surrounded by like-minded people who had the same mindset about wanting to do really well in their career field. It was exciting to be part of a group of people that were like that. TOPGUN offered an environment where I was able to compete against the best pilots in the world. As a TOPGUN instructor, I was able to be qualified to fly the F-16, which meant that I was dual-qualified, which was almost unheard of back then. Interestingly, when I was seriously considering the Air Force in my early teens, the F-16 was the plane that fascinated me most. It was very special for me to do that as a Marine at TOPGUN.

The McDonnell Douglas F/A-18 Hornet is a twin-engine, supersonic, all-weather, carrier-capable, multi-role combat jet, designed as both a fighter and attack aircraft, with a top speed of 1,190 mph.

A TOPGUN Instructor Pilot is the best of the best. Do you attribute natural ability or hard work to reaching such heights in your chosen profession?

Some people have a natural talent when it comes to being a fighter pilot, but you have uniquely gifted individuals out there in every career field. The reality is, the two things that most TOPGUN instructors have in common are an unbeatable work ethic, and a ton of humility. Those are the things that actually make them successful. Are there gifted pilots out there? Absolutely. But that doesn’t make you a good teacher, and that doesn’t make you a good instructor. It also doesn’t mean that you are going to be better than everyone else. While I wish that I had been born with that gift, it wasn’t bestowed upon me. What I was actually most reliant on, and what most guys at TOPGUN rely on, is the work ethic and the humility that it takes to go out and get better every single day. Those things are required to be successful at a place like TOPGUN.


In addition to flying F-16s and F-18s, you’ve also flown the newer, fifth generation planes such as F-22 Raptor and F-35 Lightning.

After I left TOPGUN, I served as a ground forward air controller for the Marines and then went back to flying the F-18. It was during this time that I was selected to fly the F-22 Raptor. I spent almost 4 years on exchange with the Air Force flying the F-22. I got to see not only how the Air Force flies, but also how this new generation of airplanes was evolving and coming online. Then I became the first F-35 operational pilot in the Marine Corps, and got to spend three more years flying the Lightning. So I spent the last seven years of my military career flying the two most modern fighters in the world.

Dave Berke

I’ve read where there’s a dramatic difference between fourth and fifth generation fighters.

I had a good frame of reference when I was introduced to the Raptor, because I had spent so much time flying the F-16s and F-18s. This is not a small evolution in capability we’re talking about. It’s a revolutionary leap. It’s actually really hard to draw any comparison between fifth generation fighters and legacy fighters like the Hornet, or the F-16, or F-15, and certainly older airplanes like the F-14 Tomcat. The capability in the modern, fifth generation fighters like the Raptor and the Lightning is exponentially greater. These machines are unbelievable.


How steep is the learning curve when it comes to flying fifth generation fighters?

The transition from fourth gen to fifth gen is a huge transition for a pilot, especially for those who started out flying fourth generation airplanes. It’s hard to overstate how difficult it is to take 2,000 hours of fourth generation flight time and then one day say, “A lot of that doesn’t apply.” So much of it is different. The instinct to do certain things is no longer the right decision in a fifth generation airplane. It takes time to acclimate. It took me a long time to get used to flying in a fifth generation airplane and doing the things that a fifth generation pilot should do.


Let’s talk about the core functionality of the fifth generation fighters. The F-22 Raptor and F-35 Lightning are designed with different missions in mind.

First of all, the F-22 and the F-35 are much more like each other than they are different. Since both are fifth generation fighters, the most obvious similarities are inherent in the design – these planes are built from the ground up to be multi-mission, to take information and disseminate it to other aircraft, to offboard that information, and to be able to facilitate the development of an ecosystem that doesn’t even doesn’t right now. Those are qualities and characteristics of a fifth-generation plane that aren’t present in fourth generation platforms like the F-16s and F-18s.

The Lockheed Martin F-22 Raptor is a fifth-generation, single-seat, twin-engine, all-weather stealth tactical fighter aircraft developed for the United States Air Force. Its top speed is 1,500 mph

I’ve got to know: What’s it like to fly an F-22?

When you get into the F-22, right away it is impossible not to be enamored with it. It is just an immeasurably powerful airplane. I flew the F-16, and that was an amazing airplane. I flew F-15s, and they were powerful and fast, but the Raptor is just exclusive. In terms of pure performance, maneuverability, and speed, there is nothing on this planet like the F-22. You can see it at airshows. It’s impossible to get into that airplane and get up to 60,000 feet and not think, “This is unbelievable.” You’re flying at Mach 2 and pulling nine g’s. It’s an absolute performance machine.


Is the Raptor just as impressive inside the cockpit?

The performance of the airplane is incredibly impressive, but if you were to ask me to choose one of the qualities that this airplane brings to the table – speed, stealth, maneuverability, g’s, payload, range, or information – I would emphatically take the information. When you see what the F-22 presents to you, from the inside out, and how it uses all of the sensors and the information sharing at its disposal…and for that to be that much more impressive than the performance…I think that is my best way of telling you what is really going on inside the airplane. It is pretty overwhelming.


The F-35 is a pretty special aircraft as well.

The F-35 benefited a lot from the Raptor. A lot of the lessons that we learned from the F-22 – from its initial development to its mission sets – is inherent in the build of the Lightning. One of the things that makes the F-35 unique is that the spectrum that it operates in is much, much broader. The Raptor still mostly operates in the RF spectrum, and it is important to be able to dominate in that space, because that’s where a lot of the warfare is in aviation, but the F-35 brings electro-optical, infrared, laser, and radio to the table. As warfare changes and the world evolves, the threat gets a big vote in where we are going to operate. The F-35, inherent in its design from tip to tail, can operate in a much broader set of environments than the Raptor can.

F-35 Lightning in flight. This fifth generation fighter is designed for both air-to-air and air-to-ground combat

What is the biggest misconception when it comes to comparing and contrasting the two planes?

While the F-22 is designed for air-to-air combat, there’s a misconception that the F-35 is only an air-to-ground fighter jet. So there’s probably a little bit of a misconception with that, because the F-35 is designed as a multi-role airplane: It is a strike fighter that does both air-to-air and air-to-ground. Make no mistake, the most capable air-to-air platform in the world is the F-22 Raptor, but the second most capable air-to-air platform in the world is the F-35. So, for those people out there who are thinking that the F-35 isn’t primarily designed for air-to-air, that’s a true statement. The Raptor is designed for air-to-air combat. But, other than the F-22,  there isn’t another airplane in the world that can compete with the F-35 in the air-to-air arena. That’s where these big generational differences we are talking about come into play. It would be like me saying, “Your desktop is really designed for computing power, your tablet is designed to be more flexible.” That’s fine, but the tablet that I’ve got is infinitely more powerful than that 20-year-old computer sitting on my desk. A lot of times people misunderstand that when talking about fighter jets. The F-22 is the premier air-to-air platform, and the F-35 is a very close second.


Both the F-22 and the F-35 are also famous for their stealth technology.

In an F-22 and F-35, one of the most enjoyable things is being virtually undetectable until it’s way, way, way too late for the threat. If you manage the signature really well, and you do it in a way that is integrated with the other platforms, most of the time the threat doesn’t know you’re there. And that’s why I have extreme faith that the F-35 in particular is going to be the most dominant aircraft ever built.


How do these planes compare to their fourth generation predecessors when it comes to combat?

A combat configuration for the F-35 and F-22 is a completely low observable configuration. You want to compare the capability and the range of a fourth generation airplane after you attach the missiles and bombs? Fourth gen planes in that configuration are slow, draggy, and susceptible to threats. Trust me, a lot of times you’ve got to get rid of stuff just to stay alive. So the comparison point is often just not done correctly. Anybody who has been in combat in an F-18 or an F 16 knows that you are lugging a lot of stuff on the outside of your airplane, that it takes a lot of gas, and it’s very slow to get it there and back. The fifth generation platform can carry all of that stuff and it doesn’t change the dynamic of the airplane at all. So a side-by-side comparison of fourth gen and fifth gen is unfair, and the idea that a legacy airplane is better at combat than a fifth gen airplane simply isn’t true.

Lt. Col David R. Berke, Commanding Officer of Marine Fighter Attack Training Squadron 501 (VMFAT-501) (forward) and fellow pilots listen to the opening remarks of the F-35B Lightning II’s Showcase aboard Marine Corps Air Station, Beaufort, South Carolina, August 20th, 2013. VMFAT-501 will consist of 20 F-35B Lightning II’s and serve as the Fleet Replacement Squadron. (Official USMC photograph by Sgt Angela M. Maddux/ RELEASED)

Which flavors of the F-35 have you flown?

The F-35B is the short takeoff/vertical landing, and that is the plane that I have flown.


The vertical landing is incredibly impressive. Is it difficult to pull off?

The vertical landing in the F-35B, I can’t describe how easy it is. The design of that airplane and what they were able to make it do with the technology and the software is incredible. My mom got to watch my very first vertical landing in an F-35. I was able to look out the window and wave to her, which was pretty special. The landing is so easy to do. It is the most rock steady, stable thing I’ve ever seen in aviation. Guys that flew Harriers will tell you the difference between the two is night and day.


Despite reports of budget overruns, the future for the F-35 seems bright.

It’s impossible to overstate the potential of the F-35. You can’t just say that it can do this, this, and this, and those are its limits. What this airplane does, and what it is capable of doing, it’s hard to put a ceiling on it. We’re still learning what it can do, so the worst thing that we do right now is take a template of the previous generation of airplane and overlay it on top of the F-35. We can’t go in and be satisfied with a little bit of a nuance change, or be happy with a little better performance. That’s the danger if we don’t push the envelope with this plane. We can’t get complacent. Look, pilots are habitual creatures. We’ve had a lot of success as aviators doing the things that we did, and it’s hard to have someone say, “That’s not how we do it anymore. Here’s all of the reasons why.”

Planes line up for a day of filming at the Navy Fighter Weapons School, better known as TOPGUN at Miramar Naval Air Station in San Diego, California, on Aug. 14, 1985. (San Diego Union-Tribune file photo)

So does that mean the pilots need to be flying more missions in order to learn how to get more out of these planes?

Absolutely. The sooner we get the F-35s to the pilots in the fleet, the better it is for everybody. Every day a fifth generation aviator gets into that airplane and after every mission he comes back and says, “You know what, look what I did here, here, and here. What should we think about here and here? Let’s get back to the engineers and talk about this. Let’s get back to the contractors and talk about this.” So, the growth of the airplane is all going to be internal to the people that are flying it. It’s not on a brochure, and it’s not on the assembly line. It comes from the pilots when they have the airplane in their hands. The biggest growth is happening in the operational tests, the FRS [Fleet Replacement Squadron], and the operational world, because they are the ones flying with it. If you want to limit the airplane, you can certainly do that. If you want to create unlimited opportunity, put in the hands of someone and say, “We don’t know what warfare looks like in 2030, we don’t know what this airplane is supposed to be doing in 2040. We have these particular missions that we know were going to operate, but what about all of the other opportunities that are out there?”


Let’s shift gears. Your military career took quite a turn – one minute you’re at TOPGUN, the next you’re on the battlefield in Ramadi, Iraq.

I left TOPGUN at the top of my game as a pilot – in fact, I was as good as I ever thought I was going to be. I had gone through this amazing experience as a TOPGUN instructor, and left TOPGUN not only as a Marine, but as the senior instructor on the staff. I was the training officer that ran the course. It was this amazing thing that happened, and I was really at the apex of my aviation career. The very next thing I did was volunteer to go and be a forward air controller. So I was suddenly back on the ground, back in Iraq, with a radio and a rifle and leading a team of Marines in this incredibly violent battle that I never anticipated being part of, which ended up being called the Battle of Ramadi. This was in 2006. As an aviator, I never thought that I would be a ground forward air controller, but that’s what happened. I certainly didn’t think that it would be one of the most seminal things that I would do in my career. Was I ready for that mission? Yes. Was I comfortable with that mission? Not even close. But despite how uncomfortable I was, and how different that environment was, and how in some ways I felt very much unprepared for being a ground FAC in urban combat, and how I was suddenly running around with a bunch of Navy SEALS that I work with now, I somehow learned to be comfortable with being uncomfortable.

US soldiers take up positions on a street corner during a foot patrol in Ramadi, August 2006

I can see where being on the ground during the Battle of Ramadi would make anyone uncomfortable.

There were so many different kinds of operations. You would go from doing something relatively benign to being in very dangerous, life and death circumstances where teamwork and communication is absolutely critical. And everything could change on a dime, so you never really had a chance to be comfortable. You just learned to be comfortable being uncomfortable, otherwise you couldn’t function effectively.


If you can share some of it, what was that world like for you?

You know, being part of a 3 Humvee presence patrol in downtown Ramadi is not cool. You are just waiting for something to go wrong. Whether that is getting lit up in a firefight, or having RPGs shot at you, you are literally just driving around and waiting for somebody to do something to you. Then you could go right from that to getting some intelligence that somebody you needed to grab was in a house somewhere in a totally different environment, and then you’d be off doing a raid. Then you might be a part of the QRF – the Quick Reaction Force – where you were literally stationed outside of the main base, waiting for somebody to call for help. Whenever those calls came we knew that something had gone wrong, and we’d get the coordinates and we’d mobilize.


I don’t think the average civilian stops to consider exactly how dangerous an environment like that can be.

A lot of time was spent doing what is called movement to contact. In a movement to contact mission, you literally take all of your folks out in Humvees, set up a staging area, and walk a patrol. You might be on the north side of this urban area, maybe it’s big and wooded there, with a lot of dirt, and you might have little ravines and trees and stuff. That would be your staging area. Then, 10 or 15 guys would go on foot patrol, canvassing this urban area from north to south. It was called movement to contact because you walked until you made contact with the enemy, and then you got into a firefight.

Chris Kyle, the United States Navy SEAL sniper and subject of the 2014 Clint Eastwood film American Sniper. Kyle and Berke frequently worked together in the Battle of Ramadi

This is a vastly different world than what you experienced in the air.

I remember my first day with Bravo Company 228, and meeting the platoon commander for the first time. As I got out of my Humvee, he walked up with a shotgun hanging on his kit. I was the brand new guy, and I’m thinking to myself, “What am I doing here? I’m going on a foot patrol with a guy with a shotgun.” So, I tell him that I have a rifle. He goes, “To be honest with you, I found out that this is the best weapon for these types of missions.” And it turns out that he was right. From then on I didn’t go on one of those missions without a shotgun.


Take me inside the day in the life of a forward air controller.

My job as a FAC might be to get into a building and get up on top of the roof right away, where I would do cover watch. I had radio connection to airplanes in the sky. I had Navy SEALS on the ground. I might go, “This is what I see. This is what the airplane sees. Okay, you guys jump to the next building. Go.” Sometimes the next building would be 20 yards away. Sometimes it would be 200 yards away. So you would do these compounding movements, building-to-building, and when they would get to the next building, my other guy would already be up on the roof, waiting. He would give the all clear, then we would go to the next building.

There was one mission where we worked our way into a building in Ramadi. If you can picture it, half of us are on the roof and the other half are trying to move to the next building, when suddenly 3 RPGs hit the building that I’m in. The explosions happen right underneath me. The problem was, the other half of our team was 15 feet below us, so the RPGs hit above their heads but below us. The enemy fire came from a car on a dirt road near some trees. Thankfully, we had two F-18s overhead.


Please tell me your radios were working.

Funnily enough, in the Marine Corps they tell you the story that one day you are going to be in a firefight, and there’s going to be an airplane overhead, and it’s going to be a buddy of yours from The Basic School. Your buddy is going to roll in on his white horse – in this case a Hornet – and blast the enemy away. As an aviator hearing these stories I was like, “Right on. I’ll be the one rolling in on the white horse,” but the problem on this day was that I was on the ground. Well, it turns out that the guy flying the plane was a buddy named Boo Freeman. I radioed that we had troops in contact, and that we were taking fire from wherever, and on the radio he says, “Hey Chip, it’s Boo. What do you need?” That took me right back to TBS, but again, the problem was that I was supposed to be in the airplane and not on the ground when that happened [laughs]. I gave him the coordinates of the car in the trees and we got four passes from these F-18s. They did strafing runs on the car. At that point I knew we were going to be fine.

Dave Berke

Following your military career you joined a leadership consultancy called Echelon Front. Please tell me about Echelon Front.

Echelon Front is a leadership consultancy started by two former Navy SEALS, Jocko Willink and Leif Babin. My involvement in Echelon Front had its genesis in Ramadi, where Jocko was in charge of a task unit and Leif was his platoon commander and second in command. My Marines were doing forward air controller stuff, and their SEALS  were doing field stuff, so I got to know those guys really well and built a really strong relationship with them. After the Battle of Ramadi it never occurred to me that I would see them again, but we stayed in touch. They wrote a book together called Extreme Ownership, which became a huge success, and they evolved their focus into Echelon Front. The company started to take off, and that’s when they asked me to join them. I had the utmost respect not just for who they were as people, but also what they were teaching, so joining them was a no-brainer. I have been with them ever since.


In what ways did your military career prepare you for your role at Echelon Front?

The key leadership attributes that allowed me to be successful at TOPGUN in an airplane – humility, ownership, teamwork, and discipline – were the exact same ones that helped me to be successful in Iraq. These leadership attributes translated to the corporate world. You need to stay very much unemotional with what’s going on. You need to follow standard operating procedures to be successful and deal with dynamic environments.

I had to lead my Marines and keep them calm, and I had to make good decisions and do all of the same things that I had done in every other setting leading up that. In Ramadi, people were literally shooting at us on a regular basis. We were getting into firefights almost daily. If I could deal with the reality that I was in this crazy urban combat environment as part of the counterinsurgency, and if I could deal with all of the bad things going on around us and maintain my composure, then those attributes were going to play a huge part in the outcome. I relied on those attributes heavily. It started with being very disciplined, and with building good relationships with my team members so that I could rely on them in that time of need. And then recognizing that, although I wasn’t as good as I could be, I would continuously strive to get better. This approach certainly served me very well in Iraq, especially in the Battle of Ramadi. As I transitioned to Echelon Front, these experiences became the foundation of my message to our corporate clients.

Echelon Front is a leadership consultancy started by two former Navy SEALS, Jocko Willink and Leif Babin

Do you draw on your journey to becoming a fighter pilot?

Absolutely. There are some big picture things that I call strategic goals, and then there are the shorter range, tactical types of goals that you strive to attain along the path to reaching those strategic goals. You have to visualize what it is that you want to be, and where it is that you want to go. For me, I had a lifelong dream of becoming a fighter pilot. That was a very big strategic vision. If it’s a company, and you are a part of the executive leadership team, then you are likely asking yourself where you want this company to go. It’s not what we do as a company every day. The focus is on the bigger questions, such as the company’s strategic vision. Where do we actually see ourselves in future? What impact do we want to make? You can do the exact same thing with your family. What do we really want out of our lives? Where do we see ourselves raising our family? Those are big decisions wrapped around big dreams, which ultimate become your strategic goals.


The strategic goals almost act as a compass.

Exactly like that. You can consider these strategic goals your guiding light – your North Star. For me, becoming a fighter pilot was my North Star. But wrapped up inside of that are all of these smaller, shorter range tactical goals that continue to happen. Even after I became a fighter pilot, I wanted to continue to get better. I wanted to learn more about aviation. I wanted to learn more about fighter jets and how to fly them better. I wanted to be effective in war. I wanted to be a better instructor. I wanted to influence an organization like TOPGUN to be even better. And while those don’t all fit in the same category as this lifetime strategic vision, inside of that larger vision you have a whole bunch of other tactical goals that are constantly changing and constantly being pursued. These smaller goals are what reinforce the big ones. They don’t work without each other.


You set goals. What were the other difference makers that helped you reach your goal of becoming a fighter pilot?

I think what allowed me to be successful was a combination of two things. One, I was singularly focused on accomplishing the big goal of flying fighter jets. I didn’t care about anything else. Anything in my life that I perceived to create a potential risk of reaching that goal, or that didn’t contribute to me accomplishing that goal, I didn’t do it. Anything that didn’t actually help me get to that end, I didn’t do it. I refused to get distracted by anything that could potentially get me off the path to becoming what I wanted to become. I had the discipline, fortunately, to not get wrapped up in other things. I wasn’t a big partier, and I wasn’t someone who would go out and do crazy stuff that might jeopardize my pursuit of that goal.

Two, I did the homework. Initially, becoming a fighter pilot might seem like an overwhelming endeavor, and in some ways it’s a little mysterious, but the reality is that it’s a process just like anything else. There is a way to go about doing things to at least optimize your chances. Certainly, there are no guarantees in the military. We follow orders, and we don’t always get to choose what we want to do, but there’s a fairly straightforward methodology to accomplishing the things that you want. I did the research to figure that out. I knew that I had to pass certain tests, and I knew that I needed to study a certain way to prepare for these tests. I needed to go to Officer Candidate School. I needed to go to college. So there were a whole bunch of things required to turn this dream into a reality, and you actually have to know what those are so that you don’t get caught off guard. That requires preparation. It requires a plan. It requires a timeline and a whole bunch of other components. So, I did the work that was required to understand what I needed to do to turn the dream into a reality, and I got on a path and I stayed on the path. That doesn’t mean that there won’t be deviations and movement around that path.

Echelon Front is a leadership consultancy started by two former Navy SEALS, Jocko Willink and Leif Babin

At Echelon Front, you talk about hard work, preparation, and attention to detail.

There’s no such thing as luck by itself, the other ingredients include timing and preparation. There are a bunch of things that are inside your control, and a bunch of things that are outside of your control. I cannot sit here and take credit for all of the things that happened that got me to TOPGUN. There were a lot of things that played into it that I had no direct influence on – good timing, good circumstance, good fortune – we call that luck. But for any goal that is very daunting or that very few people are going to achieve, there’s a ton of preparation that is required. The true differentiator is to have the vision to know when the opportunity and the preparation reveal themselves simultaneously. If, in those moments, you are prepared, capable, and available to execute on what is required, the probability of achieving your goal goes up greatly.


Even then, there aren’t 100% guarantees.

The truth is, you could do a whole bunch of really hard work and things still don’t always work out the way that you want. That is just a fact of life. But if you aren’t prepared to take advantage of opportunities that reveal themselves, then you can’t capitalize on them. Those opportunities will come and go and the outcome won’t be what you had hoped. Being prepared for those moments requires a ton of hard work that most people never see. And it can seem, for the most part, unrewarding. Being very disciplined is critical for when those moments do arise. It’s the same in business. Good deals don’t fall in your lap. But if you’re prepared and the timing works out, you’re in a better position to take advantage of the opportunity.


You speak about being comfortable operating in the margins where you’re not comfortable, and making hard decisions. How do  you deliver this message to your clients at Echelon Front?

A lot of times leaders don’t like making decisions when they are unfamiliar or uncomfortable with the situation. One of the worst things, if not the worst thing that we could do, especially when we are uncomfortable, is to be indecisive. Look, it’s easy to make decisions when you’re really comfortable and you are familiar with the setting and you think you got a good handle on things. It’s a lot harder to make decisions when you are not comfortable. I get that feedback all the time, especially from young, emerging leaders. But the reality is that being indecisive is one of the worst things you can do. Conversely, one of the best things you can do as a leader is to make a decision and then start to move in some direction. This is even more true if you are uncomfortable.

Dave Berke
Director of Leadership Development and Alignment Programs at Echelon Front

Can aggressive decision making turn out to be dangerous at times?

It doesn’t mean that you have to over-commit and be so overly-aggressive that you can’t maneuver and you can’t retrace your steps if required and go in another direction. But you have to start moving in some direction. You have to take action. You’re going to get some feedback over whether or not that decision was good. Once you start to move, you start to get a better assessment of what is going on, and then you continue to keep moving or you make adjustments. Otherwise, panic and fear and indecision can sink in because the environment can prove to be overwhelming. Combat is most certainly like that, but it’s true anywhere in leadership. If you don’t feel like you know what you’re doing, it’s only natural to feel that you don’t want to make a decision. That’s the worst thing that you can do, so I try to let people know that the best thing you can do is assess the situation the best way that you can, get the inputs that you need, make a decision, and then go in some direction and see what happens when you do that. Then, allow yourself the ability to make changes so that you are not the so wedded to your decision, and don’t lack the humility to admit that it might be wrong. You can’t be frozen in time, waiting for all of the information to reveal itself so that you can make the perfect decision. The perfect decision will never come.


Perfection is not attainable, whether that is in aviation or the corporate world. Mistakes are made all the time. Do you see mistakes as an opportunity?

I love the way you said that. Perfection is a lie. Perfection does not exist because we are human beings, and human beings are and always we will be flawed. What we hear a lot of times is that we want to attain perfection, and that we need to be perfect to be successful. You hear that from leaders all the time. The external view of TOPGUN is one where we are these amazing, awesome pilots and that our flights are perfect. The truth is, TOPGUN is made up of people just like you and me, and people make mistakes all of the time. Never once in my career did I ever see a perfect flight from anybody. Not at TOPGUN. Not anywhere.

In the corporate world, leaders who demand perfection from their people they are actually setting them up to fail. Think about it: If you have people that are working for you, what they want to do more than anything is to meet the goal and achieve what is being asked of them. When leaders tell their people that they need to be perfect to be successful, people will hide mistakes rather than admitting to them. Why? Since perfection is not attainable, they start to hide what appear to be really tiny, almost insignificant errors or deviations. These tiny little errors and deviations may be borderline insignificant by themselves, but over time they compound until you have a crisis or a catastrophic event.

Dave Berke

The kind that take down organizations like Enron or Lehman Brothers.

Exactly. So my mentality has always been, and what it really should be for every leader, is to not ask for anybody to be perfect because that state doesn’t exist. Instead, identify everything that you are doing wrong. Think about the strength of an organization that says, “I’m willing to tell you about a mistake that I made that was so small and so insignificant that you didn’t know that it happened. I’m going to tell you about it because it’s going to help me, it’s going to help somebody else, and it’s going to help our organization.” In a culture like that, an organization isn’t hiding all of these tiny little mistakes, it’s focused on identifying them, which is the exact opposite of the normal pursuit of perfection. Suddenly you have this open flow of communication through which errors are identified, which in turn creates cycles of learning. TOPGUN does that. At TOPGUN, we are actually rewarded for telling people about the things that we are doing wrong so we can learn from them. The primary goal is for our pilots to be able to come back from every flight or mission.


It might sound counter-intuitive, but some of the best leaders fess up to their flaws. Do you think this makes leaders more credible?

Our ego is what keeps us from wanting to tell people that we are flawed. We don’t want to fess up, we don’t want to admit that we’ve done anything wrong. Our ego tells us, “Don’t admit to that because you are going to look bad. You are going to look weak. You are going to look small.” I’ve got news for you. There isn’t another human being in the world that doesn’t already know that you are all of those things. As a leader, the amount of credibility that you lose by trying to hide a mistake that you’ve made is incalculable. It doesn’t matter if it’s in the private sector or you’re in a squadron in the military. By digging in and not admitting your mistake it compounds the problem and it undermines your credibility.

The flip side is, if people know you’ve made a mistake and you stand up and say, “Look, I got this wrong,” then they immediately lower their defenses. That’s because they may be expecting you to defend yourself, or make excuses, or point the finger. The minute you take responsibility and take ownership of your mistake, you suddenly become a much more credible and effective leader. That’s how I approached it at TOPGUN or anywhere else I’ve been in my career. I would rather others view me as a standup guy who admitted to a mistake and then went and fixed it. I would rather someone say, “Dave didn’t blame me or anybody else. He took ownership of his mistake.” When you do that, not only do you get your credibility back, you get support from your counterparts because they realize that you are willing to take responsibility for the error.


That’s powerful stuff.

To take it a step further, think about someone who looks at you as a leader and thinks, “Man, this guy is so good. He never makes any mistakes. He’s our all-star player. He’s the best person on the team, and the person who consistently makes the best contributions.” Then you approach your team and say, “You don’t know about this yet, but I screwed up something the other day. I want you to hear about it from me, so that you don’t make the same mistake.” You want to talk about credibility! You already have a lot of credibility because people think that you are a highly effective person, and then you are also willing to admit, unsolicited, something that you’ve done wrong for their benefit. That type of leadership capital is really hard to come by. Those leaders can pretty much do anything, because now they’ve got an incredible group of loyal people around them who realize that that attribute of humility – admitting your mistakes – is being shared from the top, with full transparency.


What are your thoughts on empowering teams?

I’m a big believer in it for numerous reasons. As a leader, it’s impossible to be around all of our team members all of the time, so we want them to feel empowered to make really good, smart decisions on our behalf when we are not there. At Echelon Front we call that decentralized command, meaning that everybody leads.

Dave Berke

How do you create that culture of empowerment?

Since it’s critical to have everybody lead, it’s critical that your people understand the mission. They need the proper training and resources so that they are empowered to make decisions that support the mission. And then we need to support them. When they go out and make decisions you understand that they are going to make mistakes.


How do you respond to their mistakes?

As a leader I take responsibility for those mistakes because I am ultimately responsible for the people on my team. Empowerment comes from not just saying, “I want you to go out to make the decisions, and I want to go out and do things that are going to help the team.” You have to take it a step farther. You have to show them that if they get something wrong, or if they screw up, that you’re going to take responsibility for that. That’s how you cultivate an incredible amount of loyalty from your people. Suddenly they are saying, “Dave is willing to let me make decisions on his behalf when he is not around, and even if I get something wrong, Dave takes responsibility.” That’s powerful stuff. Conversely, when you point fingers or roll the bus over someone, people are less willing to make decisions when you are not around. Why? Because the last time they screwed up, you got mad at them, or you yelled at them, or you blamed them. You can only get the most out of your teams when you empower them to make decisions and then take responsibility for their mistakes. I’ve seen teams do some incredible things when the organization empowers its people the right way.

A sacred duty to remember those who gave everything, and to pass along their legacy to the next generation so our heroes are never forgotten.” – Dave Berke

Final Question: You’ve achieved great success in your life. If you had one piece of advice on leadership, what would that be?

You have to be humble. Without humility we can’t listen to other people, because we think we’ve got it all figured out. And if we can’t listen we can’t learn, and if we can’t learn we can’t get better. It doesn’t matter whether you’re flying fighter jets or a volunteer at the local food bank, humility is by far the most critical component to success.

Written By: Michael D. McClellan | Melora Hardin is on a roll. The Houston-born actor, who cut her teeth on ‘80s TV shows like Diff’rent Strokes and Magnum P.I. and later rose to fame as Michael Scott’s tightly-wound love interest on The Office, scored a 2016 Primetime Emmy Award nomination for her character Tammy Cashman on Amazon’s Transparent, and generated a stream of buzz from critically-acclaimed roles on Freeform’s The Bold Type and ABC’s A Million Little Things. Suffice it to say that Hardin is busier than ever, which is saying something since she’s worked nonstop in Hollywood since the age of six. Her IMDb is a roadmap of American television from the late ‘70s to today – skim it and you’ll find hit shows like The Love Boat, Little House on the Prairie, “Murder, She Wrote”, Friends, Caroline in the City, Family Guy, NCIS, Boston Legal, Gilmore Girls, and Monk. Impressive stuff for sure, but it’s as Jan Levinson on The Office that Hardin carved out the role of a lifetime, one that delivered international fame and legions of loyal fans.

“I still have so many fans,” Hardin says. “Because of the way things can stream and replay and play again, I sort of have a whole new generation of fans from The Office, so it’s really exciting to me.”

Adapted from a BBC series of the same name, The Office landed a whopping 42 Emmy nominations throughout its nine seasons, winning a total of five. Its cast won the Screen Actors Guild Award for best comedy ensemble twice in a row, and the sitcom itself earned a Peabody Award. For Hardin, not a day goes by that someone doesn’t bring it up.

“Fans know so many of the lines by heart,” she says, “and they feel like they know the characters personally. If someone says, ‘Walk of shame,’ it immediately brings back memories of Meredith stumbling back to her house at 6:00 A.M. to find Michael Scott and Deangelo Vickers delivering her Dundee Award nomination. The show has those types of iconic moments, and that kind of staying power.”

Hardin has a point. Try finding someone – anyone – who hasn’t heard the Michael Scott catchphrase, “That’s what she said!” Surprisingly, The Office wasn’t always on track to become the pop culture behemoth that it is today.

Melora Hardin as Jan Levinson – The Office TV Series

“We struggled that first season,” Hardin says. “Viewers compared it to the BBC version, which didn’t help, and there were only six episodes. We were still trying to find our footing, and it’s really hard to do that with so few episodes. The future of the show was on shaky ground.”

The first episode of The Office premiered in March 2005 to mixed reviews. The ratings steadily declined, which didn’t give the cast and crew much hope about the show’s future. One of the writers, Michael Schur (who also played Mose in the series), admitted in an interview (via Vox) that nobody liked the first season, and that everyone expected it would get axed.

Says Hardin: “Kevin Reilly was an NBC executive at the time, and he was extremely passionate about The Office.  He believed in the show, and was able to get a second season which lasted 22 episodes. That changed everything.”

It didn’t hurt that, prior to the Season 2 premiere, Steve Carell starred in the summer comedy film, The 40-Year-Old Virgin. The movie was a huge hit, and NBC loved the idea of having its newest comedy star under contract.

Propelled by a greenlit second season and Carell’s popularity, The Office now stood a fighting chance at survival. Lightening up Carell’s character was another shot in the arm. A masterful salesman with not much else, Michael Scott served as the Regional Manager of Dunder Mifflin’s Scranton branch through the first seven seasons. Jim Halpert (portrayed by John Krasinski) once made a color graph of how Michael spends his time: 80% distracting others; 19% procrastination; and 1% critical thinking. Jim added that he inflated the “critical thinking” percentage so people could actually see it on the graph. It was that kind of chemistry that turned the show into a hit.

“I always thought that Michael Scott’s character was a classic case of arrested development, and that he was really a 12-year-old kid,” says Robert Ray Shafer, who played Bob Vance, Vance Refrigeration. “There is a piece in Phyllis’s wedding, where they show flashback footage of Michael Scott when his mother marries his stepfather. When he sees himself at the wedding, I’m like, ‘You know, that’s who he is. He’s never gotten over Jeffrey getting his mom [laughs].’”

The “Dinner Party” episode – Angela Kinsey, Steve Carell, and Melora Hardin

And then there is the chemistry – or lack thereof – between Michael Scott and his boss, Jan Levinson. There are very few Office fans out there who will attempt to argue that Michael and Jan were right for each other. That awkward dynamic, however, is what made them one of the show’s most interesting couples. In fact, “Dinner Party” is widely considered to be the best episode of the entire series.

“Every day,” Hardin replies, when asked how often that episode comes up.

Today, The Office is still going strong. According to data compiled and analyzed by Nielsen, the Wall Street Journal reported in April, 2019 that The Office was the most-watched show on Netflix during a 12-month period that concluded during the summer of 2018. It attracted almost 3 percent of total user minutes, meaning that Netflix users spent 45.8 billion minutes basking in Dunder Mifflin’s chaotic energy. This even bests Friends, a fellow NBC comedy that attracted 31.8 billion minutes of attention and cost Netflix $100 million to keep through 2019. For her part, Hardin couldn’t be happier.

“The whole experience was amazing,” she says, reflecting on the show’s place in history. “The cast, the crew – it was a beautiful, fantastic, hilarious, wonderful journey. It will live forever in my heart, and it will live forever on film. I really feel grateful I was a part of it.”

You dad is actor Jerry Hardin, and your mother was an actress also. Is it safe to say that the acting bug bit at an early age?

Yeah, from the time I was six. I sort of tugged on their sleeves and begged and begged until they said, “Well, we’ll let her go on some auditions, and if she doesn’t get anything we’ll ease her out of it and she’ll never know the difference.” I got the first thing I went on, which was a commercial for a toothpaste called Peak, which is no longer around.


I’ve read where you started dancing at a very young age.

I was a very serious ballerina. I would’ve told you as a child that I was going to be a ballerina, and that acting was just my hobby. I went to Joffrey Ballet on scholarship when I was 13. I had some incredible dance teachers, and I’m so grateful for that. They gave me an incredible connection to my body, and confidence about my physical self and how to move through the world in a way that absolutely comes from my dance training.

Melora Hardin, child actor

What about acting lessons?

I was taught by my mom, but I also took a class with Stella Adler when I was 18 years old. At the time I was unsure about the direction I wanted to go, and I was contemplating whether I wanted to continue acting. My mom was an amazing acting teacher, and she had helped build this great foundation for me as an actor. She taught Leonardo DiCaprio, and discovered Jessica Biel and many, many, many people. But, at that point in my life, I had serious doubts about acting being a part of my future. I was thinking, “Is this really what I want to do?” Since I wasn’t sure at that point, I took the acting class with Stella Adler.


What was it like taking acting lessons from a legend like Stella Adler?

Ironically, she was really tough on women in particular. I did a scene from Agnes of God. I did all this work to prepare myself for the part, but I never felt like I arrived at what you might call a well-polished performance. I was very nervous when I got on stage to do it in the class, but it was one of those incredible moments as an actor where I got so in touch with the character that everything just seemed to fall into place. She turned to me at the end and said, “I have nothing to say to you, that was brilliant.” At that moment of time for me in my life, it was exactly what I needed to hear.


What advice did your parents give you that has helped in your acting career?

Teaching me the craft at a young age, and teaching me how to be professional, were very important. And most important of all: Persistence, persistence, persistence.

Melora Hardin as Trudy Monk – Monk TV Series

Did you have to audition for Jan, Michael Scott’s boss in The Office?

I did audition for the role of Jan Levinson. She was a guest star in the pilot, with the potential for the character to develop into a recurring role. I was made a regular in the second season. When I got the material for the audition I read it and I felt like, “I can connect to this.” So I auditioned, and I could feel from the vibe in the room that they really liked me. A big thing that worked in my favor was that they had taken my character from the BBC version, and [executive producer] Greg Daniels didn’t want to duplicate the same character on his show. He wanted it to be the character that I had created in the audition. I had never seen the BBC show until I got the role on The Office, and I didn’t watch the BBC version until the end of the first season.


When you took on the role of Jan in The Office, did you realize what was in store for her?

I really didn’t. It was written like she was this tightly-wound boss, because she needed to be a great “straight man” for Steve Carell. I hooked into her really well and that’s kind of how I played her, but we knew on the pilot that there was something special about the connection between Jan and Michael. There was a chemistry, I guess, that works with Steve and I, because we made jokes and played off of each other.

After we had filmed the pilot episode, Steve Carell and Greg Daniels and I were having lunch one day, and we all recognized that there was definitely an interesting spark between Michael and Jan. We kind of laughed and said, “Well, if this show gets picked up, Jan and Michael should hook up somewhere along the line, at some convention or something.” So we foresaw that that was in the cards for them. But as far as Jan’s weird unraveling, I don’t think anyone knew that was going to be the case.

Melora Hardin as Jan Levinson – The Office TV Series

Did the producers realize that there would be this crazy romance between the two characters?

I think we all just knew. We just felt that there was something going on there. So that was kind of what we did, we went down that road – I think hilariously. I think just the way she unraveled was kind of like the writers seeing something in me that I brought to the part and then me taking what they gave me and running with it. It was a wonderful, collaborative little dance that we did together to make it work.


Let’s talk a couple of popular episodes. In “The Client,” Jan kisses Michael during a weak moment in a Chili’s parking lot, jump starting their awkward romantic relationship.

I think to everybody, the first kiss in the Chili’s parking lot was ridiculous and surprising; the way the characters’ dynamic was just so push-pull, it was awful and pleasurable at the same time. It just sort of made you want them to hook up.


“Dinner Party” is an absolute fan favorite, and one of the most cringe-worthy episodes in a series made famous for its cringeworthy-ness.

I’m quite proud of the Dundie hitting the television every time. We shot that scene three times and I hit it every time – I think all the crew guys kind of had a crush on me after that! I loved the moment in “Dinner Party” where I put on the Hunter song and I danced inappropriately, because I am a dancer, and it was super fun for me to try to dance just a little off the beat, just a little wrong. I also loved the moment where Michael Scott heard the ice cream truck and he ran through the glass door, because Steve [Carell] and I were kind of improvising there and I said, “That makes me the devil.” And then I did those little devil horns, and he had such a real reaction! They were filming both of us at the same time, so you get to see me doing that and you also see his reaction to it in the moment.

Melora Hardin as Jan Levinson – The Office TV Series

Would you be up for a reboot of The Office?

If it was a feature film, absolutely. If it was a series I couldn’t do it. I’ve been too busy with other projects like The Bold Type and A Million Little Things to commit to a series. And I don’t think the idea of going back and being Jan Levinson again for a series reboot is really that interesting. I don’t even think the fans would really like that.

I would love to do The Office in a film because I think in a film you could get everybody, and you could probably get Ricky Gervais to pop in. A film would also be the best chance to get Steve to do it, and since all of my storyline revolves around Steve Carell’s character, Michael, I couldn’t really do it without him. I just can’t see him doing another series of The Office.


Although The Office ran on NBC from 2005 to 2013, it is reportedly the most-watched show of all time on Netflix.

It’s amazing. Jan has become an iconic character and she certainly is loved. I get people coming up to me every single day telling me how much they love her. It’s incredible to be a part of a show that has brought so much joy to people, and it’s exciting to know that it continues today. I mean, The Office seems to have a bigger, stronger life now that when it was being filmed. It’s like the show that never dies!


Your husband, Gildart Jackson, wrote the independent film You, released in 2009. You starred in it and directed it, and your parents were in it as well.

My husband went away on location for another project, and while he was there he wrote the screenplay. He was really missing us, which led him to write what I consider a love letter to me and the girls. The inspiration came from a moment that we had with our first daughter, Rory, where I had a daydream about what I might say at her wedding. And then he thought, “What if that time came and you weren’t there to say those things? How sad that would be?” So he explored how somebody who lost their soulmate would go through that process, how they would recover, and how they would find their way through the grief.


What did you remember most about filming You?

Wearing all the different hats on You was very exciting to me. It was my very first time directing and producing and being a part of the editing process. I have often thought it would be wonderful to try on the hat of every person involved in making a film. To have compassion and understanding of specific challenges and victories would give me a new appreciation for filmmaking. Taking on a project like You did just that.

Steve Carell and Melora Hardin – “The Deposition” episode – The Office TV series

What types of movies interest you, and did any film in particular have an impact on this project?

I’m very attracted to foreign, arty, and indie films. I see everything, but I find that I remember more detail from films like Amelie, The Secret of Roan Inish, The Cook the Thief his Wife and her Lover, The Piano, Delicatessen, Like Water for Chocolate, and many others. These films have made a distinct impression on me with their unique visual storytelling. Mostly what I wanted to do with You was to get the emotion, sensitivity, love and depth to leap off the page and up onto the screen.


You are also a wonderful singer. One of the producers for All the Way to Mars was acclaimed Broadway producer and director Richard Jay-Alexander. How did that come about?

Richard and I found each other through my mother, who called an agent friend of hers in New York and told her that her daughter needed to do an act. The agent connected me with Richard, and we met and really hit it off. He liked my music, and we ended up collaborating on an act together, which I performed at the Catalina Jazz Club. Then he hired me for the role of Fantine in Les Miserables at the Hollywood Bowl. Performing there was a pretty amazing moment for me, because it is one of the most beautiful outdoor amphitheaters we have in Los Angeles. That led to talks about my singing, and out of that came a decision to put out a new record. It had been ten years, and my previous record just wasn’t representative of how my voice had grown. So, with Richard’s coaching and Ben Toth, my musical director, we built a really beautiful repertoire of music.


Singing or acting – do you prefer one over the other?

You know, I can’t really say that I prefer one over the other. Music is one of the things that sort of rolls through you. With acting, you’re getting inside of different characters that really aren’t you. So I love them both. I’m constantly searching to express myself creatively in different ways, and I’m sure I’ll find other outlets as time goes by.


Do you enjoy performing on stage?

I played Roxie on Broadway in Chicago for three months when I was on hiatus from The Office. I am one of those people that there’s nothing more gratifying than being completely used up. I have been dancing since I was five. I’ve been singing all my life. I’ve been acting professionally since I was six. To be able to act, sing and dance all at once eight times a week was heaven on a stick. You basically don’t even need to pay me, I’ll show up!

Melora Hardin as Tammy Cashman – Transparent TV Series

Transparent earned you a 2016 Emmy nomination for Outstanding Guest Actress in a Comedy Series. What was that like?

Oh, my God! It was an unbelievably exciting time in my professional life, as you can imagine. I was totally shocked and just thrilled.


What was it like to be a part of such a respected show as Transparent?

You know, it’s funny. There was nothing difficult about working on the set of Transparent. It was so joyful because of its richness, and everything is really held in such love. As actors, what do we want? We want opportunities to stretch and to go places that we don’t go in our everyday lives, and I had that opportunity. It was really quite glorious to be honest. It feels really good to hook into the truth of a character and allow her to come through me that is, in a way, cathartic.


You have such an amazing onscreen chemistry with Amy Landecker. Can you tell me a little bit about working with her?

Everyone always asks, “How did you create the chemistry with her?” The formula for creating chemistry with any actor is the same: It takes two people that dive in 150 percent. That’s all it takes. The thing that I can say that I loved the most – and there’s a lot I love about her – is that she jumps in with both feet. I think we were both very fearless in that we did a lot of very risky stuff together. That helps to create chemistry, because you have two actors who are willing to take chances.


What was it like playing a woman who unraveled the way Tammy did in Season 2?

It’s interesting, because when you play a very together character, obviously there’s something underneath those coils that is tightly wound. I think that Tammy, in a lot of ways, was tightly wound, even though her facade was very cool and easy with everything. I think Tammy was all about making the picture look right, and I think the picture looked really right with Sarah. I think that when they broke up, not only did it break her heart, but it also broke her vision of this perfect family.

Melora Hardin as Jacqueline Carlyle – The Bold Type TV Series

In The Bold Type, you play the Editor-in-Chief for a Cosmopolitan-esque women’s lifestyle magazine called “Scarlet.”

The show is inspired by the ex-Cosmopolitan Editor-in-Chief, Joanna Coles, who’s one of our Executive Producers and who is now the Chief Content Officer at Hearst [Magazines]. The show revolves around three young women who are working at Scarlet magazine, which is a Cosmo-type magazine. It features empowering women, sex, relationships, workplace conversations, fashion and beauty and all other things in the magazine.


It has to be exciting having Joanna at your fingertips as Executive Producer of this series.

Oh yeah. We spent quite a bit of time together in the workplace, also socially. I’ve been able to observe her and I’ve called her a couple of times to say, “Is this something you would say?” or “How would you say this?” or “what do you think, does this sound right to you?” And she’s reading all the scripts as well. We’re definitely in collaboration about all those things.


Please tell me about your character, Jacqueline Carlyle.

I’m the Editor-In-Chief of the magazine, and I think she’s a very empowering boss, not a Devil Wears Prada kind-of-boss. She’s much more realistic. She thinks of what real women of power are like in today’s world. Just much more collaborative, empowering, nurturing, setting a high bar for her employees and expecting them to reach outside their comfort zone and pushing them, but not doing it in a mean or manipulative or deceptive way. You don’t have to like her but she’s really going to make you your best at what you do. She has integrity, and she’s decent. That’s the main reason I accepted the role. I wasn’t comfortable with the idea of it just being a flat character. I really wanted her to be three dimensional, which I think she is.


Your character is tough on the girls, but she also cares about them and sincerely wants to see them thrive.

I was really drawn to my character for that reason. I was originally chosen to play the role of Jennifer Parker in Back To The Future, when Eric Stoltz was supposed to play Marty McFly. When they recast that character, I was actually fired because I was considered too tall to play opposite Michael J. Fox. Robert Zemeckis and Bob Gale called me at home when I was 17 years old and told me that it had nothing to do with me, that it was just that I was too tall. I later learned that they had no trouble with me being taller than Michael J. Fox. It was actually a female executive who pushed for the casting change, which was shocking to me. But again, that was 1985. I cannot think of one female executive that would say something like that today. I believe women in power want to support other women who are out there trying to make a name for themselves.


The show also shines the light on the importance of balancing a career with personal life.

You can be focused on being in the present. If you’re at work, be at work, if you’re at home, be at home. Turn the screens off in the house, put your phone down. Don’t be texting and emailing and being pulled and distracted. Stay with each other and take the time to be really connected. Eat dinners together and talk about the day. Ask questions of your kids, let your kids ask questions of you. I think that’s really, really important, to just really be where you are, don’t be half where you are. I think the people that struggle are the people that are half where they are and I think that sometimes you’re in one place and then you get pulled somewhere else. But I think that’s the exception more than the rule, and I think most women are learning how to have both things.

Melora Hardin as Patricia Bloom – A Million Little Things TV Series

Let’s talk about A Million Little Things. What was your approach to building a character that was originally cast as a guest spot?

Well, I knew that they were probably going to bring her back. I probably wouldn’t have done it if it was going to be a one-off thing. I knew that my character was interesting, and her character’s daughter on the show was struggling with cancer, and that was something that really drew me in.


Final Question – If you had one piece of advice for other aspiring actors, what would that be?

Persistence, persistence, persistence!!!

Written By: Michael D. McClellan | Robert Ray Shafer is perhaps best known for fawning over Phyllis as Bob Vance, Vance Refrigeration in the hit comedy series The Office, but the West Virginia-born actor has played a wide range of roles in a successful career spanning four decades, his resumé dotted with everything from coaches and dads to killers and creeps. He’s also a pro’s pro who trained at the feet of Peggy Feury, his foundation built on theater acting and his reputation made in film and TV, his range stretching from Sam Shepard’s anguished, funny True West to the role of Hollywood movie director Dick Dickster, a drunk hack with a big ego and a bad attitude. Better yet, Shafer has done it all on his own. There were no connections when he decided to make that quantum leap from Pinch Ridge, West Virginia to the City of Angels. Ruggedly handsome, Shafer splashed down in L.A. with grand designs on becoming a model, but all of that changed when an actress friend suggested that he take acting classes.

“I went to the Loft Studios and I fell in love with the craft,” Shafer says, the words tumbling out like dark brown velvet. “I knew right then that there was no turning back.”

Shafer’s 1980 arrival at Loft Studios coincided neatly with the Magic Theatre premiere of True West, just up the coast in San Francisco. Shepard – a prolific, Pulitzer Prize-winning playwright and a prolific, Oscar-nominated film actor – possessed a stoically handsome face and a rangy frame, physical traits similar to Shafer. Both men also shared something else in common: A fierce work ethic.

Phyllis Smith and Robert Ray Shafer – The Office TV series

“Back home in West Virginia, I had plenty of good role models,” Shafer says. “I was blessed to have family who worked hard to become successful in their communities. They were great examples for me to follow. I brought that with me to Los Angeles.”

Indeed.

Shafer went to work, chiseling out a successful acting career where others could only see a block of stone. He has appeared in commercials, most recently in the hilarious Geico commercial featuring Kenny Rogers. He has acted steadily in film and TV, including appearances on the ‘80s Primetime Emmy Award-nominated Highway to Heaven, starring the late Michael Landon. He’s worked on HBO’s cult favorite Arli$$, starring Robert Wuhl as Arliss Michaels, the president of a sports agency who caters to his clients’ every need as best he can. And he’s appeared on such well-respected shows such as The West Wing, Boston Legal, and Adam Ruins Everything. Along the way, Shafer has developed a huge cult following for his role as Officer Joe Vickers in the ‘89 film Psycho Cop, and the ‘93 sequel, Psycho Cop Returns.

“The fans continue to show their love for those movies,” he says proudly. “I’m asked about the Psycho Cop films all the time, and I’m always getting invitations to appear at conventions and festivals. The staying power for these films has been incredible.”

Robert Ray Shafer as Officer Joe Vickers – Psycho Cop (1989)

Always pushing himself, Robert Ray Shafer has also been known to push the envelope. He wrote, produced, and starred in 2018’s Dick Dickster, kicking political correctness to the curb and injecting his character with a biting sense of humor, the rough edges softened with hard drinking. The risk is worth the reward; Dickster is a comedy that unapologetically crosses the line with its dialog, but the lead character, who seemingly has no redeeming value, wins over the audience with his plan to pay back the money he owes the mob.

“Dick is offered $100K to turn his cult movie, Cult of Doom, into a porn movie,” Shafer says with a laugh. “That’s when his problems really start.”

When it comes to The Office, there are no problems. The show has been created lifelong friendships among the cast, conjured legions of fans worldwide, and turned Bob Vance, Vance Refrigeration into a cottage industry. Shafer, for his part, remains extremely grateful for the opportunity. He understands how lucky he is to have been cast for the role as Phyllis’ love-struck husband, and he goes to great lengths to reward Office fans for their loyalty.

“Best fans in the world,” Shafer says quickly. “They helped make the show a hit, and then make it one of the best-rated shows in syndication. Today, it’s one of the most-streamed shows in the Netflix universe. The fans have been great from Day One. I enjoy interacting with them wherever I go.”

You’re originally from Pinch Ridge, West Virginia. Do you still feel a connection to the Mountain State?

I absolutely feel a connection to the Mountain State. My family has been living there since 1756 – I still have family there – so my roots run deep. I visit quite often. I’ve always been proud to be a West Virginian. I felt like I was the state’s ambassador when I moved to L.A. in 1980, because there aren’t many West Virginians out here in Los Angeles. I was a rare specimen. I’d get defensive about where I came from, because we were always the butt of jokes. I would say, “Jerry West and Chuck Yeager both came from West Virginia and they’ve made names for themselves, so I decided to do what they did.”


Do you still run into people who take cheap shots at West Virginia?

Those stereotypes still exist today, so you’re always going to have someone out there who can’t resist saying something. There is some truth to it, because there is a lot of poverty in our state. Education has come a long way, and there continue to be strides made, but it still isn’t what it could be. Regardless, the good far outweighs the bad. You have to pick a side, and I chose to be very proud of where I came from. West Virginia made me.

Robert Ray Shafer

You were 11 years old when you moved away.

It was a very emotional thing for me. I used to lay in bed at night and cry because I wanted to be back home in West Virginia. I remember John Denver’s song Country Roads coming out around that same time. That song, even when I hear it today, is very emotional. It’s one of the greatest songs ever. If you search for it on iTunes you can find it in about 20 different languages. The sentiment of the song…I should have been home yesterday…if you’re a West Virginian and you’re away from home for any reason and hear those lyrics, it always takes you back.


You moved to California in 1980 and started taking acting lessons from the legendary Peggy Feury.

There have always been lots of acting teachers in Los Angeles, but back then Peggy Feury was the number one teacher as far as reputation and demand. She came from the Actors Studio, where she was Lee Strasberg’s right-hand girl, so she came from the world of Marlon Brando, James Dean, and that whole crowd. It was really cool, because our class had this direct connection to the birthplace of American acting.


Was there a waiting list to get in?

My girlfriend at the time was an actress named Susan Dey, from The Partridge Family. Yeah, that Susan Dey [laughs]. She was represented by the William Morris Agency. They were the best agents in the town, and they recommended that I go there. I was very fortunate to be in that class. My classmates included Eric Stoltz, Michelle Pfeiffer, Meg Ryan, Nick Cage, Sean Penn, and on and on and on. Needless to say, it was an incredibly competitive arena.

Leslie David Baker, Phyllis Smith, Robert Ray Shafer, Kate Flannery

What were the classes like?

We studied classic theatre, which meant we studied the great playwrights. One semester we would be doing Tennessee Williams, the next semester it might be Harold Pinter. It wasn’t geared toward film or television at all. Theatre is a different discipline, but much of what you learn on the stage that translates to the screen. The foundation for building characters is learned in theatre.


Being part of such a decorated class, did you feel pressure to succeed?

You always wanted to do your best. I was lucky to spend three years there. They called me “Mr. Scene” because I was always working. I didn’t go there to watch other people work. I was there to act. The more that you read and rehearsed, and the more partners that you had, the more opportunities you had to work inside of the class.


Did you feel like the class helped prepare you for your career in Hollywood?

I learned the tricks of the trade early on, but acting is the kind of profession that you can never master. You can never be perfect, or even great. There are times when your performance is better than others, which makes acting a little like golf. A golfer never has a perfect round. He’s always in search of the perfect swing. When it comes to acting, you strive that perfect performance but you understand that it’s one of those pursuits that never ends. You can never say, “I have mastered this. I’ll never be better than I was today.”


Does acting come naturally to you?

The trick is learning how to work in front of people. In other words, even when you are on camera, you’re living without appearing to know that people are watching you live. Like everything else, you have the good and you have the bad. Take Anthony Hopkins and Flavor Flav, for example. They are both considered actors, and they have both been accused of acting, but I would put my money on Anthony Hopkins. That’s because he’s a little more convincing to me. He won the Academy Award for Silence of the Lambs, and yet he is only on camera for 17 minutes in that film. Seventeen minutes. That’s called having an impact. His trick for that role was that he didn’t want to blink. The next time you see it, watch for that. Very rarely does he blink. After I learned about that, I watched the movie again. Afterwards I was like, “That’s a little something, but how hard could it be?” And then I tried it. It is hard as hell.

Interestingly enough, Jodie Foster’s character in that film is from West Virginia. Hannibal Lector recognizes her accent. And her accent isn’t too bad. That’s one thing that drives me nuts – actors doing bad Southern accents out here.

Robert Ray Shafer and John Krasinski – The Office TV Series

Does your West Virginia drawl ever turn heads?

Everybody thinks that I am from Texas. Maybe it’s because of my name – Bobby Ray seems like a Texas name – or because I’m a big-framed guy. But I have a pretty good ear for dialect, and there’s a big difference between West Virginia and Texas accents, right? There is a huge difference.


Are dialect coaches big in L.A.?

Oh yeah. There is a great story about Robert Duvall, who is one of my favorite actors. He’s getting ready to play General Robert E. Lee in the film of Gods and Generals. This is Robert Duvall we’re talking about, a living legend. He goes to a dialect coach in Los Angeles, the top guy, and he says, “I’m going to play Robert E. Lee, and I need a Virginia accent.” The teacher looks at him and says, “Which one? There are fourteen of them.” That is how specific the dialect is. You have the Tidewater area of Virginia, the mountains, the beltway around Washington, D.C., etc. The guy needed Duvall to be specific about the regional dialect he was trying to master.


Duvall does a great job in that picture.

Here’s a little Hollywood story for you. I actually got to meet Robert Duvall one night. I was at a nightclub that Jack Nicholson owned down in Silver Lake, and when I look around, Robert Duvall was on the dance floor doing the tango. He’d married an Argentine girl, and he had done a movie called Assassination Tango about a tango dancer. Tango is not easy, but he’s killing it and everybody’s watching. When he finishes dancing, he walks over to me and introduces himself. He says, “Hi, I am Robert Duvall.” And I’m like, “Yes, Mr. Duvall, I know who you are. Can I buy you a beer?” So I buy him a Heineken and we stand there and talk. Well, I happened to know about a really obscure Robert Duvall film called Tomorrow. Horton Foote was the screenwriter, who happened to be a famous Texas playwright that we’d studied in Peggy Feury’s class. I explained that some of Horton Foote’s family had come to watch the class do his original stuff. Once Robert Duvall learned that, we became pals.


Does Tomorrow fly under the radar because it came out the same year as The Godfather?

Absolutely, but what a great formula for a movie – a film based on a Faulkner short story, with the screenplay by Horton Foote, and Robert Duvall in the lead! Duvall plays a backwoods Mississippi guy who’s the caretaker of this piece of property, and he’s all alone in the woods. One day this woman comes along, and she’s pregnant. She gives birth to a child and she dies, and he raises the child as his own for four years. He’s happy – he’s got this kid, he’s got life – until the woman’s brothers show up and take the kid from him.

I’m here to tell you, that scene is one of the greatest scenes ever filmed. Those three brothers come and take the kid…they just take him. That scene is powerful. So when I mentioned Tomorrow to Robert Duvall that night, and talked to him about the play, he was really, really pleased. Everybody wants to talk to him about Apocalypse Now, or The Great Santini, or The Godfather. It was just a great moment for me, because I’m such a Robert Duvall fan and we really got to connect on an actorly level.

Robert Ray Shafer playing Chuck Henson in the 2014 film Friended to Death

When I asked Melora Hardin about you, she said that you are the consummate professional.

Melora is great. I love her. My goal when I started acting was very simple: Whatever I acted in, I wanted people to say, “What a pro.” I didn’t want anybody to say anything bad about me when it came to my work. That was the case when I started out, that was also the case when I first walked onto the set of The Office way back in 2005, in the middle of Season 2, and that’s still the case today.


That work ethic had to come in handy when The Office took off.

The Office became such a monster hit, and the pressure only went up with the ratings. I remember going to other sets and people would see me and say, “That’s Bob Vance, Vance Refrigeration. He’s Bobby Ray.” They would gather around to see what you were going to bring. That’s because you had more notoriety after the show became a hit. The ratings didn’t change anything for me. I was there to kick ass every time. There’s never been a part that I thought, “Oh, I’ll just walk through this thing.” There have been times when I’ve been less enthused about the people that I am working with, but that didn’t mean that I diminished the effort.


Your first big break in acting was landing the lead role of Officer Joe Vickers in the 1989 cult classic Psycho Cop.

That was another example of where my training paid off. Wallace Potts was a stuffy, Southern gentleman from Alabama who wrote and directed the movie, and I auditioned at his house in the Fairfax District of Los Angeles. The audition piece was Sam Shepard’s play, True West. I had already been studying the script, so I knew it cold and didn’t have to look at the page once. I did one audition for it, and they offered me the role.

By the way, Sam Shepard was great at everything – as an actor, director, playwright, author – he won the Pulitzer Prize for his play, Buried Child, and was nominated for an Academy Award. He acted with Jessica Lange, for God’s sake. I’m a huge fan, and I’m lucky to have met him as well. The guy was good in every movie that he acted in. He was so cool. And hell, could he write.

Robert Ray Shafer is Officer Joe Vickers

How confident were you that you’d gotten the part?

Well, I knew True West. I’m sitting in the waiting room waiting my turn, and I’m watching all of these actors go in and read, and I can hear them in the other room just butchering it. Shepard’s material isn’t really easy to do, but I did know one thing: At the beginning of the script for True West, Shepard writes, “Do this play exactly as it is written.” That’s what I did. You have to honor the writer’s wishes. It’s not an exercise in improv or ad-lib.


Which begs the question: Are today’s actors taking more creative liberties than ever before?

Absolutely. A lot of actors these days are really casual with the language. It’s almost like they are dyslexic. They just make up their own shit. Their attitude is like, “As long as it’s close, that’s all that matters. Approximating it is good enough.” That’s not my style. In 2000, I actually got to do the 20th anniversary of True West out in Pasadena where Sam Shepard wrote it, and I remember getting into a fight with the other actors before the play even started. I said, “Hey, you’ve got to quit changing this dialogue. You got to do it exactly the way it’s written.” Even the director didn’t have a problem with the other actors improvising the lines.

It’s still happening today. When I was auditioning people for my movie Dick Dickster, which I wrote, produced, and starred in, I auditioned a couple of hundred actors and I was stunned by how many of them weren’t doing the language the way that it was written. I had agonized over those lines. There is a comma in there because that’s where there needs to be a comma. The actor should probably take a break there. When I do a piece, I always assume that the writer is in the room, and that he or she wants to hear it exactly the way that it’s written. I’m not there to rewrite the work. I’m not going to be able to improve upon it, but even if I could, that’s not my job. My job is to say what he or she wrote.

Actors Richard Grieco and Robert Ray Shafer

Tell me a little about the producers of Psycho Cop.

Cassian Elwes, who was a hot, young Hollywood producer at the time. He wasn’t sure he was going to make the film, and even then it took a couple of months for the financing to come together. He had just done Jack’s Back with James Spader, and he was also working with guys like Rob Lowe and Emilio Estevez, so that’s the company he was keeping. He’s gone on to work with everyone from Natalie Portman to Ryan Gosling to Antonio Banderas, so he’s gone on to have a great career.

Psycho Cop was coproduced by Jessica Rains. You may recognize that last name – her dad was the great  Claude Rains, who is one of the guys that I’m trying to emulate in that movie. He had acted in movies like Lawrence of Arabia, Mr. Smith Goes to Washington, and The Invisible Man. He was just a terrific actor. To have his daughter involved was a great connection to the past.


You very much looked the part for that film. You cut quite the imposing figure.

I actually went to his Elwes’ office dressed as the cop to close the deal [laughs]. I showed up in Beverly Hills in the middle of the afternoon in a rented the outfit from Western Costume. It cost me 100 bucks. I went into his office and acted tough for about a half hour or so. I think I cracked him up [laughs]. He said, “Alright, let’s make it.”


Like some other ‘80s movies, Psycho Cop is campy but fun!

There is no nudity in Psycho Cop, and there is very little bad language. It was really old-fashioned, even back then, so much so that some people thought that we were making a parody. I call it malevolent glee, when the villain takes such pleasure in his villainy. I mean, you’ve got to have a good time, right? My character wasn’t written that way. He wasn’t the silent killer. He had a quip and a one-liner for everything. That was the way that you had to do it.

Robert Ray Shafer as Officer Joe Vickers – Psycho Cop Returns (1993)

In ’93, you reprised your role in Psycho Cop Returns.

The original plan called for a Psycho Cop franchise, and I signed a $1.5 million, five picture deal. I remember thinking at the time, “Holy crap, I’m the next Freddy Krueger. I’m the next great horror villain.”


What happened to the Psycho Cop franchise?

I lived in Melrose / La Brea at the time, in this little Spanish bungalow apartment. I remember coming home after signing that contract and celebrating with an actor friend of mine who lived next door to me. It was a crazy period in my life. I had turned down a role in Back to the Future 2 for these five movies, and the casting director was stunned. She called my agent and said, “Are you kidding me? He’s not going to come and shoot with Steven Spielberg and Robert Zemeckis? Is he crazy?” My agent was like, “Listen, he’s got a five picture deal. He’s going to be Psycho Cop.” It was a tough decision. But on the one hand, Back to the Future 2 was just one movie, and this deal with Psycho Cop was for five. In my mind, I’m going for the gold. I’m betting on myself. I’m going to take the risk. I’m going to be good, the movie is going to be a hit, and I’ll make five of them. As it turns out, the distributor that acquired Psycho Cop also had Maniac Cop, so they killed Psycho Cop and we ended up only making two of them. By the way, Psycho Cop Returns just had its 25th anniversary on Blu-ray last year. The amount of love that we got for that was just crazy good.


Like a lot of actors trying to make it, you cut your teeth on commercials.

Yes. It takes a good commercial agent who knows the business to make that happen, and even then it’s hard. You audition everywhere. You get rejected a lot. I told my commercial agent the last time I met with him that I’m not sure how anybody ever gets one of these things. It’s really a numbers game. It’s also more of a modeling job than anything else. They are putting together a bunch of pieces, and they need everything to fit together. Do you fit the puzzle?

Robert Ray Shafer as Officer Joe Vickers – Psycho Cop Returns (1993)

Even big-name directors get involved in the commercial game.

I did a Kentucky Fried Chicken commercial with David O. Russell, the Academy Award-nominated director from Silver Linings Playbook and Three Kings. He’s a bit of a legend here because he is really hard to work with. KFC paid him a lot of money to direct this product launch, so there’s no doubt that they are airing it. I knew about his reputation going in, and I knew that you’ve got to get along with this guy. There’s a great YouTube video of him tearing Lily Tomlin apart. He’s screaming at her, calling her the C-word, treating her like shit. Who does that to Lily Tomlin? David O. Russell. When you have a director like that, it changes everyone’s mood. You’re walking on eggshells around this guy. You’re wondering when he’s going to come apart. You know that there’s going to be some screaming before the day is over, guaranteed.


How did you handle working with David O. Russell?

I was determined not to let him rattle me. He directs you inside the moment – in other words, he doesn’t wait until the take is done. He starts talking to you in the middle of the shoot. He’ll say something like, “No, I don’t believe that.” Or he will tell you to stop what you’re doing and do it another way. So you’re making adjustments live, on the spot, and most actors hate that. That’s why he and George Clooney got into a fist fight [laughs].


You’re an imposing figure. David O. Russell has a short fuse. Were there any punches thrown on that shoot?

Surprisingly, no. I arrived on the set early that day, and I was wearing my dad’s 1954 high school class ring. Bob Vance always wore it, and I’ve worn it in every movie I’ve been in, except in scenes where there is blood involved. It’s a beautiful ring, and David O. Russell spots it right away. He asks me where it’s from, and I say that it’s from Elk View High School, in Elk View, West Virginia. David O. Russell immediately lights up, and a huge smile spreads over his face. He says, “The first love of my life was from West Virginia. People from West Virginia are unique, and there are great girls from there.” From that point on we immediately liked each other, and the rest of the day went swimmingly – except for the fact that it was 105° and they kept giving us buckets filled with chicken. We ate a lot of chicken on that shoot [laughs].

Robert Ray Shafer and others from the cast of The Office – “Crime Aid” Episode

Let’s talk about The Office. How did you land the role of Bob Vance, Vance Refrigeration?

I got the call for from Allison Jones, who is one of Hollywood’s great comedy casting directors. She does a lot of big films and works with all of the big name comedic actors, people like Will Ferrell. She wanted me to audition at 5:00 PM in her office. I jumped on the freeway thinking I’ve given myself plenty of time, because it’s ordinarily a 20-minute drive, but the freeway was a parking lot. I failed to realize that it was Halloween, which meant that they were holding the annual West Hollywood Halloween Carnival, and by the time I got there I was fifteen minutes late. I’m pouring sweat and out of breath because I’d sprinted from my car to her office, and the I’m immediately asked to audition. I figured I’d blown it.  Instead, I wiped the sweat off and nailed it!


What thoughts went through your head at the time?

I remember walking outside afterward, and there were three girls standing in the parking lot, dressed as angels for Halloween. We exchanged pleasantries and then they anointed me with their magic wands, and I’m thinking to myself, “That’s something that doesn’t happen every day…maybe that’s a good omen.” Sure enough, a couple of weeks later my agent called. The producers wanted to meet me. They wanted me to come to the lot where they were shooting, which was on Saticoy Street in Van Nuys. So I went over there. Phyllis was there. She was in the casting room when I walked in, and it boiled down to her choice – who she felt most comfortable with, who she felt was right for the role. They asked her who she wanted…and she picked me. There were some big boy character actors auditioning for that part, so it was a good get.  Thank you, Phyllis!


What was the audition like?

They had me do a lot of improv. That’s not something you normally do at an audition. You’re not supposed to be in there writing for them, you know what I mean? They are supposed to provide you the material, and you are supposed to act and read the lines provided to you. But what are you going to do, refuse?  I felt like I struggled because they would point to an empty space and say, “That’s Michael. React to Michael.” But there was no Michael there. There were five producers sitting in chairs with Phyllis. Interestingly enough, the part of Bob Vance was originally intended for one of the show’s producers, but he decided that he didn’t want to do it. The very next morning I was on the set. So, I went from auditioning for the part to filming on the set the very next day.

Robert Ray Shafer and Rainn Wilson – The Office TV Series

Had you watched The Office prior to auditioning?

I had watched a couple of those first season episodes, and I remember thinking, “What the hell is this?” The mockumentary format was so shocking. We’ve seen it in films, but not in a TV series like that. Michael Scott was sort of a dark character that first season, because they were pretty much going word-for-word with some of the early British scripts.


Ratings-wise, The Office got off to a slow start.

There were six episodes in that first season. It was a summer replacement, and it was one of the lowest rated shows in NBC history. It pulled 2.1 average Nielsen rating, meaning that no one was watching it. Then The 40-Year-Old Virgin came out and became a $100 million box office hit. It crushed. Steve Carell was not a name at the time – I mean, nobody knew him – but the movie was a big hit, so NBC said, “Maybe we’ve got something with this guy,” and they ordered 13 more episodes. I came onboard during Episode 10 of Season 2, and later that week The Office got picked up for the rest of the season.


Bob Vance and Phyllis are unwavering in their love for each other.

That’s all my doing, and it was selfishly fueled by my desire to get myself more appearances on the show [laughs]. I remember sitting there talking to Phyllis – her real name is Phyllis Smith – and I said, “Do you remember your first love in junior high school? I do, and I didn’t have eyes for anybody else but her.” So that’s what I what I decided to make Phyllis – my first love. I wanted to put her on a pedestal and make everything all about her. I know the writers try to take credit for it now, like it was an idea that they came up with. But that was all me [laughs].

Phyllis Smith and Robert Ray Shafer – The Office TV Series

Bob and Phyllis weren’t above sneaking in a little sex whenever they had the chance. In one of the “Valentine’s Day” episodes, one minute they’re having lunch with Jim and Pam, then next they slip off to the restroom for a quickie.

I looked around the restaurant and there weren’t any disabled people at the time, so that made the handicap-accessible restroom fair game. Had there been a disabled person, we wouldn’t have gone in there [laughs]. Seriously though, that was one of the funniest moments that Phyllis and I ever had on the show. We were in that restroom, the lights were off, and all we had with us was a mic. There’s no camera shot of us in the restroom; it’s just us making noises in there, and trust me, they really pushed us to come up with something on the naughty side [laughs].  They had us making noises for 30 seconds to a minute at a time, all to get two seconds of moaning. Meanwhile, the cast and crew were outside the door laughing at us. Hell, it was hard for Phyllis and I not to laugh. And then you had Jim and Pam’s reaction, which you see onscreen, and that is what made the scene work so well.


How did The Office evolve while you were on the show?

The bathroom scene is a great example. That type of timing and comedy was the hallmark of the first five seasons. Then the writers started to change – we lost Greg Daniels and Michael Shur, who actually created Bob Vance, to Parks and Recreation; Gene Stupnitsky and Lee Eisenberg left to write Bad Teacher and work on the Ghostbusters reboot – so there were some subtle changes in how the material was presented. You suddenly had people in there who were fans of the show. They weren’t writing behavioral comedy anymore, they were writing joke comedy…set up, set up, punch line. If you go back and watch, Michael Scott and Dwight Schrute became much more jokey those last couple of years.


The Office is a  show about heart. People identify with the mundane, funny moments associated with working at a place like Dunder Mifflin. When do you think the audience started to connect with the characters?

Seasons 2 through 5 were as good as it gets. Then, once the show became a hit, everyone’s makeup was better, the wardrobes were better, the hair was better…because people are stars now. Those first couple of years, no one was in a hurry to be somewhere else. Everybody was happy to be there and to be doing that show. But The Office opened up so many doors. People were like, “Listen, I’ve got to be out of here by four because I got a movie promotional with Fox.” Those are the kinds of things that happen when a show takes off and there are so many more opportunities.

Phyllis Smith and Robert Ray Shafer – The Office TV Series

Was it that easy to wrap up filming and head off to do something else?

On most film and television shoots, you’re usually not in every scene every day, so that was one dynamic that the cast had to deal with. When you’re filming The Office, once you were in a scene, you were in it. There weren’t all of these separate camera angles, so if you were in a long scene, once you’d taken up a position, you became a permanent part of the background. You couldn’t leave. That used to drive all of the desk jockeys nuts, because they would need to be working at their desks while the crew filmed a scene with Steve Carell. They would be like, “I’m stuck here…I can’t go anywhere…I’m here all day…there’s no leaving.” Me, on the other hand, there were times when I would only be in a couple of scenes. I’d wrap up by lunch, and I would be like, “Okay, see you later. You guys have a great afternoon. I’m going to go play some golf now [laughs].”


The camera work in The Office was unique at the time.

The cameras were handheld all of the time, never on skids or dollies. The two original shooters, Randall Einhorn and Matt Sohn, both came from shooting the first couple of seasons of Survivor. When you’re handling a 75-pound camera, that’s a long day at work. There were guys standing right there beside them, and every time you’d hear cut they would immediately get the cameras out of their hands.


Was it hard to get used to that style of filming?

It was interesting to watch actors other than the regular cast come on set and shoot in that format. I remember Amy Pietz, from Caroline in the City, coming in to shoot an episode. Caroline in the City was a standard format TV show, and she’d never done anything like The Office. She was having trouble adjusting at first, but she got the hang of it and was fine. Once you get used to where the camera was, it became a very liberating way in which to shoot.


That handheld, close-up style of shooting really draws the audience close.

I remember shooting Desperate Housewives, and they were doing old-fashioned setups; the master, the two shot, and the close-up. Every setup is the same, really. It’s wide, medium, and close every time. It’s just a completely different discipline, right? With a standard close-up, you approach it differently than how you behave in front of a video camera. With a video camera there’s no need to set yourself or minimize your movement. You don’t turn and lean into the camera. It’s just different. You just live in it. In a lot of ways, it’s like doing theatre.

Phyllis Smith and Robert Ray Shafer – The Office TV Series

Do the shows take on a rhythm of their own after a while?

I remember the “Crime Aid” episode of The Office, when Dwight and I are bidding for a hug from Phyllis. We’re going back and forth, and he’s raising me a penny every time, and there are other people bidding as well. There was one take where it was absolutely musical. Everybody just nailed it. Everyone was right on top of when they were supposed to be in. It was perfection. I remember thinking, “What we’re doing in that moment is on par with the musical Oklahoma. What’s that line…[sings] Oklahoma, when the wind comes sweeping down the plain. That’s really what great comedy is all about; the timing and the rhythm of the thing. Sam Shepard wrote in a rhythm. If you learned it exactly the way he wrote it, it just flows. That’s what good writing does.


Steve Carrell was perfect as Michael Scott.

I always thought that Michael Scott’s character was a classic case of arrested development, and that he was really a 12-year-old kid. There is a piece in Phyllis’s wedding, where they show flashback footage of Michael Scott when his mother marries his stepfather. When he sees himself at the wedding, I’m like, “You know, that’s who he is. He’s never gotten over Jeffrey getting his mom [laughs].”


Tell me about the “Five Families.”

The name’s funny, just in and of itself. And then there’s the crime connection. You’ve got the cool guy, Paul Faust, whose only appearance was in the “Chair Model” episode. They referred to him as “Cool Guy Paul,” because one of the producers had met him and thought that this guy was really cool. I remember thinking, “Wait a minute, I am the cool guy here. I have an air conditioning company, shouldn’t I be ‘Cool Guy Bob?’” The guy that played W.B. Jones was a friend of mine. I had auditioned with him for years. We used to always be up for these policeman roles, and every time I’d go in to audition he would be there too, so it was great to have him on that set.


I love the “Chair Model” episode.

The “Chair Model” episode was memorable for me because part of it was shot in the Vance Refrigeration conference room. There were all of these little touches, so it felt like my own set. It had my name on the door, there are pictures of Phyllis on the wall. That was a pretty pleasing day for me right there.


Here’s a mouthful:  Michael Scott’s Dunder Mifflin Scranton Meredith Palmer Memorial Celebrity Rabies Awareness Pro-Am Fun Run Race For The Cure.

Great episode. It was Michael Scott’s idea, and then the sonofabitch “carbo-loads” on fettucine alfredo and throws up…he blows his cookies right there on the street, but at least he finishes [laughs]. There’s also a deleted scene where Angela spits on Bob Vance at the beginning of the race. I remember thinking, “What the hell is this? Why is she spitting on me? Phyllis will take her out!”

It was a tough shoot, because it was 110° in the valley that day. Every time I drive by the park that we ended up in, I remember that day and how hot it was. As a matter of fact, the week that we shot that episode, I was getting on a plane and flying back to Charleston to throw out the first pitch at the West Virginia Power baseball game. I was pretty excited to go throw out that pitch. Last year I went to Scranton on Labor Day and threw out the first pitch at their game in Wilkes-Barre, Pennsylvania.

The “Dinner Party” – The Office TV Series

In a show made famous for its cringe-worthy moments, “Scott’s Tots” and the “Dinner Party” episodes stand out.

Well, the “Dinner Party” is one of the greatest episodes ever made. In fact, Rolling Stone magazine put together a book about The Office, and I wrote an article about the “Dinner Party” for it. That episode was based on Edward Albee’s play, Who’s Afraid of Virginia Woolf? If you’ve ever watched Richard Burton and Elizabeth Taylor in that movie, they make Jan and Michael look like they are in love [laughs]. Burton and Taylor just go at it, and that’s pretty much what they were going for in that episode. Melora Hardin is just great. When we shot that prison movie together, the “Dinner Party” was the episode that we had a big laugh about.


Please tell me a little known fact about your friend Melora Hardin, who plays Jan in The Office.

Melora and I did a prison movie together a couple of years ago. It was odd because you had two actors from The Office ending up in a prison movie, and a gritty one at that. Trust me, it was not a comedy. She played the bad prison guard – basically, I was the good cop and she was the bad cop – and she was as scary as hell. Yeah, she really roughed this guy up.


The Office really put Scranton on the map.

The tourism in Scranton because of The Office is legendary. Every business that we’ve ever mentioned on that show loves us. Poor Richards is a great example. I’ve been to Scranton three times so far. We did a convention there in 2007, and 15,000 people came from all over the world…Ireland, Australia, you name it. It was crazy. The organizers had a police escort assigned to us, and I’m thinking, “I’m from West Virginia I don’t need a stinking policeman.” Turns out I did. The minute you stepped out of the Radisson Hotel you were surrounded. The next time back was part of a fan tour, and then we went back for an event last year. I think it was Kevin who said, “Holy crap, it’s kind of like being a Beatle!” They all love you, so there’s nothing wrong with that.


Let’s talk about your movie, Dick Dickster and the Cult of Poon…a down-on-his-luck drunk with a hitman on his heels.

There’s a movie that I loved when I first started out in the business, called The Stuntman. Richard Rush was the director, and Peter O’Toole was just brilliant as the lead. He’s very manipulative. So that was where I started, and then it got darker and darker because I wanted to make Dick Dickster someone that everyone hated. I believe I achieved that [laughs].


Dick Dickster has no problem crossing the line when it comes to political correctness.

I set out to offend everyone – which I did – and I am proud of it. I don’t believe in P.C. comedy. I think everybody is a fair mark. Dick is sexist, misogynistic, racist, homophobic…he’s everything. So, the trick was figuring out a way to soften him up somehow. You can’t keep him on the edge all of the time. He has to have some sort of redeeming value. By the end of the movie, people love him and they are rooting for him, even though he is a monster.


How did you pull that off?

The trick was alcohol. He was drunk the whole movie. He constantly has a drink in his hand. A drunk is allowed certain liberties when it comes to forays into sensitive material. For instance, Dick has a run-in with a gay wardrobe guy in the movie. He doesn’t call him “faggot.” He calls him “cocksucker.” It’s that kind of little nuance that lets you get away with a little bit more. In that way it softens the direct blows, if you will.

Robert Ray Shafer and Cela Scott – Dick Dickster (2018)

Jan Brogerg is in the film. She had the Netflix documentary Abducted in Plain Sight.

She plays Coco Hart. Funnily enough, I’m partly responsible for Abducted in Plain Sight. Jan was originally going to make it into a Lifetime movie, and she gave me a copy of the book that her mother had written. I read the book and told Jan that I was really freaked out by it. I was like, “Listen, you’re not going to get this made into a Lifetime movie, you need to make a documentary.”  That’s what she ended up doing.


How much did it cost to make Dick Dickster?

I made the Dick Dickster in six days, for $75,000. I don’t know about you, but I think that movie holds up pretty well for that budget.


It looks like it cost a lot more than that.

I had a sweetheart deal with the Screen Actors Guild, so that was an advantage that I had with the talent. I was able to get Tim Russ from Star Trek: Voyager. I got Richard Grieco. For that level of budget, you are talking some big names. Everybody involved was into it, and attacked it with abandon. Another key thing was that I edited that movie myself using Final Cut. I cut it down from 135 minutes to 87 minutes. Then I had a professional editor finish it off with his equipment.


You were the producer, writer, and lead actor. That’s a lot on one plate.

People ask me why I didn’t direct it. The simple answer is that it was too much. I can’t direct myself when I’m acting, because I want somebody else watching it. They need to see things through a different lens, so to speak.

I’ll give you an example. I was doing a play, and it was the night before opening night and we were doing the dress rehearsal. I had this big scene where I am at my father’s grave, and I’m saying, “Old man, you were this, you were that, you were a son of a bitch.” All of a sudden the director calls for cut and says, “What are you doing?” I’m like, “What do you mean, what am I doing? I’m standing here at this grave, and I’m talking to my father.” The director looks at me and says, “Well, your father is not in the grave, you dumb ass. He is up in heaven. Look up to the heavens when you say your lines.” The minute I looked up to the heavens, the whole thing changed. Oh my God, I started weeping. I wasn’t talking to a dead guy in the ground anymore. I was talking to a material being who was looking down from above. That is what a good director does.

Robert Ray Shafer as Dick Dickster – Dick Dickster (2018)

Let’s talk craft: Is there a technique when it comes to auditioning?

Absolutely. After I’d done Psycho Cop, I thought I was pretty hot stuff because I had a big movie under my belt. I assumed the roles would fall into my lap. I quickly learned that I wasn’t booking work at the rate that I needed, so I went to an acting class that taught me an audition technique. My professional life changed almost immediately. I booked Las Vegas, Boston Legal, and a little show called The Office, all because I had taken this class – and because I decided to outwork everyone.


In what ways?

I made it a point to get the actor breakdowns. Those are write-ups of the projects that includes a synopsis or description of the project, in addition to detailed descriptions of all the characters/roles in the script they are currently casting for. Basically, I was submitting myself. I got up at 4 o’clock every morning and submitted postcards that I had in the mailbox by 6:00 AM. It would be delivered that day, and I could be assured that the casting director would have a picture of me by 10:00 AM. I quit thinking like I had made it, and that’s how I changed things around.


Do you recommend acting classes?

They are a must. You have to learn how to memorize lines, you need to learn scene study, you need exposure to a lot of different disciplines. And again, I think theatre is where you get your foundation, so that’s another must. I was working with this hot young actor on a movie once. He was very successful, and had done a bunch of TV series. I asked him if he’d ever done any theatre and he was like, “Oh, hell no. It’s too scary. I will never do it.” I asked why, and he said it was because theatre is live. The thought of standing in front of a live audience and acting scared the living hell out of him.

Jan Broberg, Robert Ray Shafer, Cela Scott – Dick Dickster (2018)

Do you think that it’s a sign of the times? Actors today specializing in either film or theatre?

Call me old school, but performing live makes you a better actor. There are no multiple takes. You’ve got one shot. You go out there, and you live the thing for two hours. That is the purest form of acting that there is. You don’t break the character, you stay in it. And you learn to project; when I did True West, I was right on top these people, and I was ripping them. They felt the power of this thing, especially with my voice in a small room because I’m going to crush it. I am always the sound guy’s favorite guy [laughs]. They love me because they never have to worry about hearing me. When you’re in the theater you can use that weapon to its fullest potential.

I’m not the only actor to go down that path. True West is the piece that launched John Malkovich and Gary Sinise. Philip Seymour Hoffman and John C. Reilly did True West on Broadway and switched parts…one night one guy would play one brother, and the other night the other guy would play it. The Quaid brothers did it. Ed Harris did it. It’s one of those measuring sticks. All of the big boys have done it. Why? Because a live performance of True West demands that kind of perfection.


Zach Galifianakis just released Between Two Ferns: The Movie on Netflix. What was it like to be involved in a project like that?

I’m sure you’ve seen the cast list, it is just crazy. There are a lot of name people in this. When I was shooting, Gal Gadot – a.k.a., Wonder Woman – was also there. Matthew McConaughey, John Legend, Keanu Reeves, Will Ferrell, Chance the Rapper…I mean, hello?

It was a great experience. First of all, I am a huge fan of Zach Galifianakis. He is a funny, funny, guy. I went and auditioned for the role of his dad, even though I am only 10 years older than him, but that’s okay – I’m there to make him look good, I am not there to steal scenes from him. It’s not going to happen. It is always going to be Zach that closes the scene, right?

Director Wallace Potts and Robert Ray Shafer at the wrap part for Psycho Cop (1988)

Netflix and other services like it are really changing the way we watch content.

I told somebody this today, the one downside to Netflix is that you don’t get to see a great movie like Between Two Ferns in a crowded theater with everyone laughing. That is really what makes this kind of comedy work. I remember seeing There’s Something About Mary in a crowded theater, and the connection with the audience made the experience so much better. When we screened Dick Dickster, we had a full theater and everybody was laughing. There’s a community to comedy that is missing when it’s five people and popcorn and beer at your house.


What was it like acting with Zach?

I tell people, that it’s a bit like being locked in a car with the windows rolled up, and somebody has thrown a bobcat in there [laughs]. Somebody is getting mauled. Zach’s going to be funny. At one point, I stand up at the dinner table, and I take my belt off and threaten to spank him. He jumps up and he takes his belt off. I mean, his talent for improv is just crazy.

Robert Ray Shafer and Creed Bratton – The Office TV Series

Zach has made it big, but I’m sure he’s had to work his way up like everybody else.

We were talking on the set one day and I said, “When you went away to become an actor, did you ever ask your father for money?” He said he remembered being broke in New York and getting a package in the mail from his father. He went on to explain that, when you’re struggling and you need money, you are hoping that somebody is just going to know it intuitively, and that they are going to send it to you with you asking. He said he was excited when the package arrived, because he just knew that his father could sense the desperation coming from his struggling actor/son trying to make it in New York. He was hungry, he needed to pay his rent, winter was coming and he could use a warm jacket…surely his father had the intuition to send a check. Zach said that when he opened up that package, a check was nowhere to be found. Instead, what he found was a 3-pack of Haynes underwear. I listened to him tell that story, and the deadpan way in which he delivered it, and I just burst out laughing. It was like I was watching a live scene straight out of The Hangover.


Money is always good, but there’s something to be said for clean underwear!

I have a quick-but-funny underwear story of my own. My uncle, who lives in Upper Pinch Ridge, West Virginia, has a very successful company there called Power Plant Services. Anyway, years ago he came out to Hollywood with his family to visit me. I had this girlfriend at the time, and, as luck would have it, she had broken up with me right before they got here. She said that things weren’t working out between us, and that it would just be too painful to meet my family, so she thought that she would just go ahead and end it.

Anyway one of my cars was parked in the garage where she lived. She had put some of my belongings on the car, including a couple of books, and a pair of underwear that she had decided to run down the car antenna. Well, we get to the car, and my uncle, who’s a West Virginia boy, takes one look and says, “What the hell is that?” I just look at him and say, “It looks to me like a pair of 32-inch BVDs. Those must be mine!” It was the perfect ‘Welcome to L.A. moment [laughs].”

Robert Ray Shafer

Last question. If you had one piece of advice to offer other aspiring actors, what would that be?

If you want to make it in this business, you have to outwork everybody. When other people are having a good time at the bars on a Friday night, you are in theatre class. You have to outwork people. You have to learn the craft. You can’t think that you are going to get by on good looks, or charisma. Acting is a serious business.

My best buddy, Nick Vallelonga, just won two Academy Awards for Green Book – Best Original Screenplay, and Best Motion Picture of the Year. We had been working our way up for nearly twenty years, and at one point I finally said to him, “Listen, we’ve got quit acting like we’ve made it, because we haven’t made it. There’s no reason that we should be out at the best bar in L.A. on a Saturday night. We’ve got to outwork these fools.” He’s a regular guy from New Jersey, and I’m a regular guy from Pinch Ridge, West Virginia. Nobody gave me anything out here. I had no connections. I wasn’t born into it. I just worked my ass off and never quit.

Editor’s Note: Robert Ray Shafer’s scenes in Between Two Ferns: The Movie were not included in the original release. There’s no doubt that they were funny as hell.

Written By: Michael D. McClellan |Nobel laureate Arthur Bruce McDonald’s world, much like the solar neutrinos he’s so passionately studied for decades, changed in ways that could only have been theorized until October 6, 2015, when an early morning phone call from Stockholm, Sweden, transformed the unassuming, highly-regarded astrophysicist into a global scientific sensation. McDonald – who still prefers “Art” despite honors and awards that include the Order of Canada and the Fellowship of the Royal Society – woke to news that he, along with Japanese physicist Takaaki Kajita, would share 2015 Nobel Prize in Physics. What followed was a blizzard of phone calls, emails, and interviews, along with a realization that the flavor of McDonald’s life would be forever altered, relative anonymity replaced by mainstream celebrity. It was as if he’d gone to bed with a guitar in his hands and awakened as Buddy Holly.

“That phone call created a whirlwind,” recalls McDonald, without the faintest hint of hubris. “It took a long while for the media requests to settle down. Even today, I have to be selective about the frequent requests I receive for speaking engagements and travel, because my primary focus is once again on research.”

To appreciate what all the fuss is about, one must consider that everything in the universe – comets, crash test dummies, a Wayne Gretzky rookie card – is found to be made from a few basic building blocks called fundamental particles, governed by four fundamental forces. Our best understanding of how these particles and three of the forces are related to each other is encapsulated in something called the Standard Model of particle physics. That’s where McDonald comes in: The work by him and the team  at the Sudbury Neutrino Observatory in Northern Ontario led to the discovery of neutrino oscillations, which proves that neutrinos have mass, which, in turn, requires changes to the Standard Model at a very basic level. It’s the kind of revelation that not only turns heads, but turns an already brilliant career into the stuff of legend.

“Neutrinos are the basic building blocks that we know the least about because they are so difficult to detect,” says McDonald, professor emeritus at Queen’s University. “Therefore they were of substantial interest, because if one could measure their basic properties it would be of great significance for the fundamental laws of physics.”

Nobel Laureate Art McDonald

Billions of neutrinos harmlessly pass through our bodies every second, yet we cannot see or feel them.  The existence of these almost massless, electrically neutral particles was postulated back in 1930, when Wolfgang Pauli suggested their existence to explain a loss of energy when neutrons decayed. For over two decades these particles remained hypothetical, but in 1956, two American physicists, Frederick Reines and Clyde Cowan, detected neutrinos streaming from a nuclear reactor, which proved their existence. Experimenters later found that there were actually three kinds of neutrinos – electron, muon and tau neutrinos – but confusion in the scientific community ensued, because models of the Sun predicted there should have been more solar neutrinos than detectors picked up. This led to the “solar neutrino problem” that aggravated physicists for so long, as well as concerns that perhaps our understanding of the basic laws of physics were wrong.

“As scientists, we needed a way to measure the type of neutrinos produced in the core of the Sun and also the sum of all types of neutrinos,” McDonald says. “That’s where SNO and the SNO Collaboration comes in.”

The detection of neutrino particles in labs is difficult because of the many other cosmic particles reaching the Earth, and the numerous natural radioactive decays taking place. So, in 1990, McDonald began supervising the construction of SNO, a giant neutrino detector built 2 kilometers underground in a nickel mine in Sudbury, Ontario. A huge transparent acrylic tank, containing 1,000 tons of heavy water worth $300 million, was surrounded by a geodesic sphere equipped with over 9,000 light sensors. This assembly, in turn, was sunk in a massive cavity filled with regular water. All of the construction was carried out in ultra-clean conditions.

By 2002, McDonald and his team were able to prove definitively that neutrinos produced in the Sun were changing into the other two types as predicted. In fact, two-thirds of the electron neutrinos had transformed into muon and tau neutrinos on the eight-minute journey from the core of the Sun.

“We had an extremely clear result that showed neutrinos do change from one type to another,” McDonald explains. “This meant that, first of all, we had a clear indication that neutrinos change their flavor and therefore have a finite mass. We were also able to determine that the model of how the Sun burns, and in particular the nuclear reaction that we were measuring, was being calculated very accurately. Those measurements were quite significant, it was felt, in the world of physics and astrophysics.”

~  ~  ~

Let’s pump the brakes.

While there is no disputing the groundbreaking nature of the SNO Collaboration’s discovery, part of the success arises from the makeup of the man at the helm. Long before Art McDonald morphed into the tall, bespectacled, silver-haired scientist with a Nobel Prize in his dossier, he was a friendly, fun-loving teenager from Sydney, Nova Scotia, the kid who attended the local high school dances on Saturday nights. He met his wife, Janet, at one of those dances. They have been together ever since.

“And we still dance,” McDonald says proudly. “It helps keep us young.”

Art and Janet McDonald – Still dancing

He was born Nova Scotia, Canada in 1943 and McDonald’s father left shortly afterward to fight in the war. The resulting void was filled by his mother, two aunts, and grandparents who lived close by. He played sports, held down a 104 house paper route (which he now recalls as being all uphill, particularly in winter), and did well in school.

“I had a very pleasant childhood, with lots of interaction with family and friends, and very nice teenage years,” McDonald says. “My family were congenial and warm, and encouraged open communication. They helped me understand that you can be far more productive if you got along with others. It was a great environment to grow up in.”

The lessons learned during his childhood help lay the foundation for the expert leadership he would later demonstrate at SNO. He chose Dalhousie University in Halifax, N.S. for his undergraduate and master’s degrees, trying chemistry, geology, and math before falling in love with physics. From there, McDonald landed at Caltech, where he had plenty of beam time running the Kellogg Lab’s Van de Graaff accelerator, and where he also got to know two famous scientists, Raymond Davis and John Bahcall. It was Davis and Bahcall, ironically, whose work in the Homestake Mine in South Dakota and on the theory of neutrino production in the sun led to the solar neutrino problem that McDonald and his team would ultimately solve.

“Ray Davis came to Caltech during the summers while I was there,” McDonald explains. “John Bahcall was a junior faculty member in theoretical physics at that time, so I was certainly quite knowledgeable about their work, and what came to be known as the solar neutrino problem.”

Nobel Laureate Ray Davis, Jr. (Center)

Where the Higgs boson has famously come to be called the “God Particle,” neutrinos have earned a  well-deserved nickname of their own.

“The Ghost Particle,” says Arthur Loureiro, study author and PhD student in the University College London’s Physics & Astronomy department. “Neutrinos are tiny, very weakly interactive ghosts, but they are also abundant – a hundred billion neutrinos fly through your thumb from the Sun every second, even at night.”

On the hunt for the elusive Ghost Particle, Davis set out to observe neutrinos by monitoring what happens on the rare occasion when a neutrino collides with a chlorine atom and creates radioactive argon, which is readily detectable. At the core of the experiment was a tank filled with 600 tons of a chlorine-rich liquid, perchloroethylene, a fluid used in dry-cleaning. Every few months, the scientists would flush the tank and extract about 15 argon atoms, evidence of 15 neutrino interactions. The monitoring continued for more than 30 years. Meanwhile, the solar neutrino problem continued to baffle scientists.

“Imagine trying to catch a mosquito traveling at the speed of light with a butterfly net,” says Giuliana Galati, physics professor at University of Naples Federico II. “Even though neutrinos are the second most abundant particle in the universe after photons, they are the most elusive.”

The most intriguing explanation for the missing solar neutrinos was that, while the Sun creates as many electron neutrinos as it should, on the way to the detector they change into their cousins, muon and tau neutrinos, and possibly back again. Muon and tau neutrino flavors were invisible to Davis’s detector. To test this “neutrino oscillation” hypothesis, new kinds of detectors were needed.


SNO was initiated in 1984 primarily to provide a definitive answer to the solar neutrino problem. The persistence of the problem motivated Herb Chen to contact Canadian scientist Cliff Hargrove, a former colleague, to explore whether enough heavy water could be made available on loan to perform a sensitive measurement and determine whether the neutrinos change their type in transit from the core of the Sun.

“Heavy water is deuterium oxide, rather than hydrogen oxide,” McDonald says. “Instead of having just a proton in the nucleus, you also have a neutron in the nucleus, which makes it heavier than ordinary water but chemically similar. The unique properties of deuterium made it possible to observe both the electron neutrinos produced in the core of the Sun and the sum of all neutrino types.”

With the immediate involvement of George Ewan, who had been exploring underground sites for future experiments, a collaboration of 16 Canadian and US scientists was formed in 1984, led by Chen and Ewan as Co-spokesmen. In 1985, David Sinclair brought the UK into the collaboration. Sadly, Herb Chen passed away from leukemia in 1987. The collaboration continued with Art McDonald and Gene Beier as US spokesmen and grew with the addition of other institutions in the US and Canada for a total of 13 institutions. In 1989, funding was provided jointly by Canadian, US and UK agencies with McDonald as Director of the project and the scientific collaboration.

All of which brings us back to McDonald, who not only had a reputation as a brilliant scientist, but who was also someone well-connected to the Canadian and United States scientific communities. As affable as the day is long and an expert consensus builder, McDonald was a good choice to lead the SNO Collaboration.

“Art was always soft spoken at collaboration meetings, and asked the simplest, but most important questions about each of the details being studied,” University of Winnipeg Associate Professor Dr. Blair Jamieson was recently quoted. “He valued the ideas and input from everyone involved. I was part of a small group at UBC working on the third phase of SNO where all flavors of neutrinos were detected in the SNO heavy water, and in a set of proportional chambers.  For that analysis I developed a new Bayesian analysis that simultaneously fit the data from both detectors.  Art had many questions about this new analysis method, and eventually was convinced that it should be adopted as the main analysis for extracting the solar neutrino fluxes.”

Neutrino Detector – Sudbury Neutrino Observatory

On Jan. 4, 1990, the SNO project was announced in Ottawa. Scientists, engineers and contractors descended in droves upon Sudbury, until then a city known primarily for the nickel-copper ore discovered in 1893 at the edge of the Sudbury Basin. It was this 19th century discovery that brought the first waves of European settlers, who arrived not only to work at Murray Mine and others like it, but also to build a service station for railway workers. Nearly 100 years later, the mines were of keen interest to neutrino hunters.

“We looked at a number of mines and developed a good relationship with the people at Inco, who owned and operated Creighton Mine at the time,” Ewan, now Professor Emeritus of physics at Queen’s University, was quoted as saying.

SNO gained momentum. With McDonald as Project Director, crews completed construction of the plastic acrylic tank, which was built two kilometers underground and 12 meters in diameter. The work proved tedious, as each of the 120 pieces had to be lowered down in the mine elevator and then seamlessly bonded. Sometimes the bonds would form bubbles; workers had to sand them down and start over. Whether it was complications with the tank, or issues encountered with the detector’s 9,600 light sensors, McDonald looked to the very competent scientific collaboration and technical team to solve the problems. Perhaps mostly importantly, McDonald kept his cool through the myriad crises cropping up on a weekly basis – not surprising to anyone who’d ever taken classes from him.

“He was an excellent professor,” says Dr. Ian Hill, who did his fourth-year undergraduate thesis on the SNO Collaboration. “Art is very genuine, down-to-earth, and humble – just a very nice guy. He conveyed information very well, and was never intimidating – which of course, theoretical physics certainly can be.”

~  ~  ~

Stephen Hawking – yes, that Stephen Hawking – was there when SNO opened in the spring of 1998.

A rock star in the scientific community as well as an undisputed pop culture icon, Hawking brought a street cred to SNO that made the world take notice: Something important, and equally cool, was about to happen at this wintry Canadian outpost.

In 1999, SNO began collecting data. In 2002, the team announced its definitive results: Neutrinos from the Sun weren’t disappearing. Instead, the pathologically shy particles were oscillating, switching “flavors” on their journey – which is why Davis was unable to account for the anticipated number.

Stephen Hawking, Art McDonald and others – Sudbury Neutrino Observatory – 1988

“We were able to show that we understand very accurately how the Sun burns,” McDonald says. “It was an exciting time for everyone involved.”

The SNO Collaboration’s results, in conjunction with the work led by Takaaki Kajita at the Super-Kamiokande (Super-K) detector, resolved the solar neutrino problem that had perplexed scientists for decades. As expected, the findings were met with great fanfare; the same year that SNO published its results, Raymond Davis won the Nobel Prize in Physics, alongside Masatoshi Koshiba of Japan, for the “detection of cosmic neutrinos.”

As for the Standard Model?

Gone was the Standard Model’s massless neutrino traveling at the speed of light. In order to exchange identities, neutrinos have to have mass, if only a little, with a different mass for each flavor. Despite the discovery of the Higgs boson, the Standard Model isn’t complete. The results from SNO and Super-K offer a pathway toward a new model, and a new way to understand the universe.

~  ~  ~

Hawking returned to Sudbury in 2012 and went underground with McDonald. A specially designed railcar allowed the wheelchair-bound scientist to travel through “The Drift” and into the clean facility. Hawking toured the expanded surface and underground facilities at SNOLAB and put the science there back into the spotlight.

There were many who felt it was only a matter of time before a Nobel was awarded for the SNO measurements. McDonald, for his part, chose not to buy into the hype. “There are things beyond your control,” he says, “and the Nobel Prize is one of them. You can either worry over it every year the awards are announced, or you can get back to work. All of us involved with the project got on with doing science.”

Stephen Hawking, Art McDonald and others – SNOLAB – 2012

Indeed.

And then, on October 6, 2015, everything changed with a 5:15 a.m. phone call.

“It was an incredible moment, but winning the Nobel Prize isn’t about one person,” he says quickly, pointing out that a maximum of three Nobel laureates and two different works may be selected for the Nobel Prize in Physics. “That is regrettable, because there were 273 others involved in our discovery, and they deserve as much credit for this award as I do. How do I bring 273 people with me to Stockholm?”

~  ~  ~

Today, SNO has expanded into SNOLAB, the facility doing additional research into those maddeningly elusive neutrinos. There are also other experiments underway, including the hunt for dark matter, the mysterious substance that makes up more than a quarter of the known universe. McDonald, as you might expect, has rolled up his sleeves and is pouring his energy into the science currently underway.

“It’s an exciting time for the DEAP experiment,” McDonald says, touching on the direct dark matter search experiment which uses liquid argon as a target material. “The Nobel Prize and everything that has come with it has been wonderful, but I’m happy to be back doing research. I’m looking forward to what we learn about dark matter with DEAP and its successors and about neutrinos with the new SNO+ experiment.”

Let’s start at the beginning.  Where did you grow up?

I come from Sydney, Nova Scotia. It was, and still is, a city of about 30,000 people, and therefore a small town, so to speak. It’s interesting, actually, because there have been six Canadian winners of the Nobel Prize in Physics, and every one of them has come from a town of fewer than 40,000 people or so at the time they were born. So, in Canada at least, the Nobel Physics Prize appears to be a small town exercise.


Early on, who were some of the key people instrumental in your development?

My early childhood education was an important part of my later success. I attribute that to close relatives and the closeness of the family. I had a grandmother and grandaunts who taught me many things when I was very young. My parents also played very important roles in my development.

Interestingly, neither my father nor my mother went to university. This is partly because of what was going on in the world at the time – I was born in 1943, and shortly after I was born, my father went overseas as part of the European campaign. He received the Military Cross for the role he played in the liberation of Holland. It is the second highest military medal in the Canadian Armed Forces, so he was a strong achiever. He later earned an accountant’s degree, and went on to become the business manager of the newspaper, and also a town councillor.

Baby photo – Art McDonald with his parents

My mother was a housewife. In those days, that was essentially the normal thing – when you got married, you stopped working, and you became a housewife. In this case, she stopped her secretary job, but she was a very intelligent person as well. Later, she and my father developed a subdivision in the city and she served as contractor for a number of homes. So, even though my parents never had a university education, they certainly were very inspirational, both to me and to my sister, who is ten years younger and obviously a post-war baby.


What were your high school years like?

It was the late 1950s, so it was the Rock and Roll generation. We had service clubs at the local YMCA, boys clubs and girls clubs that had meetings on Friday nights followed by dances afterwards. We also ran the dance for the high school every Saturday night. It was an ideal situation to meet people in a very nice atmosphere. Everybody was having fun. I met my wife through that group. We were married seven years later, after we finished university. My wife and I have continued to dance, even now that we are in our 70s. We still enjoy it, so that has certainly been a part of my life all the way along.


Let’s talk mentors. Who in high school inspired you?

I went to university with a significant interest in mathematics, rather than particularly science, or particularly physics, and that was mainly because I had an excellent mathematics teacher in high school. His name was Bob Chafe. We had a class of about 35 students during my senior year, and those were the ones that were interested in math and science. There were two others in that class besides myself who went on to get PhDs (in mathematics). Bob Chafe certainly had an inspirational effect on that class. Every now and again you are lucky to get a mentor like that.

Art McDonald shows off his Nobel Prize medal

Following high school, you went to Dalhousie University in Halifax, Nova Scotia. How did you become interested in physics?

Kids often ask me how to choose a career. I respond by saying, “You should choose a few things that you would be happy to do when you wake up in the morning. Then try them out. See what you are good at, and what you actually enjoy doing.” That has been basically my experience. I tried physics, chemistry, geology, and math in my first year. Physics just worked for me. I loved the way that you could apply math and calculate things that actually applied to the way the world worked. I did well in it and I had very good marks, and that was because I really enjoyed doing what I was doing. I went on to complete my master’s degree in physics, and that convinced me that I wanted to do experimental physics.


Please tell me about Professor Ernie Guptill, your first year Physics teacher.

Ernie Guptill, or Ernest Guptill, was also a great mentor. He was originally from Grand Manan, a small island located between Nova Scotia and New Brunswick. He loved outdoor activities, and he loved sailing. He lived on the shore of the harbor in Halifax, where he had a pet lobster tethered underwater in front of his house, which was quite interesting. To see it, you had to don a wetsuit. Once, he invited a close friend of mine and I over to see the lobster, and I actually got to go down and meet the lobster personally. I still have a picture from that day. I’m wearing the wetsuit.


It sounds like Ernie Guptill cared about his students.

He was the chairman of the department at the time, but he also went out of his way to teach first year physics. He inspired me, as well as a number of other people in my class, to go into physics as a serious activity. He was also very personal with the students, and took a vested interest in their work. He was a well-revered professor. It was that kind of friendliness that, coupled with the educational activity, made what was really a small university at the time a very warm and friendly place. It was filled with good people. It was an excellent place to do your undergraduate and post-graduate work.

Tragically, Ernie Guptill lost his life attempting to save someone who had fallen into the cold water in the spring in Halifax. They both perished from hypothermia. That happened about 10 years after I left Dalhousie. I was honored to go back at one point and deliver a lecture in his honor.


SNOLAB – Dark Matter Detector

While at Dalhousie, you were introduced to engineering physics by working in the summer for Professor Ewart Blanchard, measuring gravity on the roads of Nova Scotia.

You have really done your homework. That is correct. Ewart Blanchard, one of my professors, was a pioneer in what these days is referred to as technology transfer. He went on to become the Director of the Nova Scotia Research Institute, which was a government agency supporting research – particularly supporting the connection between universities and industry. At the time he had two programs going, both of which turned out to be very productive. One in which I was involved was measuring gravity to a part per million over large areas. Professor Blanchard also had students involved in seismic activities, setting depth charges off boats in the surrounding waters, which eventually led to the discovery of a gas source off the coast of Nova Scotia. This was the 1960s, so this was somewhat pioneering activity at the time. I have a lot of respect for Professor Blanchard, not only as a person, but also for his foresight in moving in these sorts of directions, and for the way he used students in the process.


How did you conduct your measurements?

We had our own Jeep. I was using a device that was sort of like a coffee percolator, which was basically a thermos to insulate the inside material, the material being a quartz spring that was capable of measuring gravity to about a part per million. We actually discovered what eventually turned out to be a very productive gypsum mine in Nova Scotia. This was because gypsum, with a very low density, gave a big difference in the gravity. My friends were measuring elevation, because you have to correct for elevation when you are dealing with a part per million, so they played an important part as well. It was a wonderful summer experience. Professor Blanchard and I became very good friends.


You earned your Master’s Degree in Physics at Dalhousie University. What memories do you look back fondly on?

I was studying the lifetimes for positrons in metals. What we discovered in the year that I was there, which was followed on by a couple of other graduate students thereafter, was that the time that it takes a positron to find an electron and annihilate with it – which is time that is in the nanosecond region – depends strongly on whether or not there are defects in the material. That was the basic discovery. In fact, this work remains one of my highest cited papers. It has turned out to be very useful in situations where there is a buildup of defects in materials, like nuclear reactors, where the question is, “What’s the longevity of the material that you are using in terms of the integrity of the reactor?”


That is a significant research effort.

It was very practical. This was ten years before positrons were used for positron emission tomography, a medical diagnosis tool of great value. At the time I had a professor named Innes MacKenzie, who was a very good experimentalist, and very creative. He was a good mentor for me. I was in the laboratory 5-to-7 days a week, and he made the experience fun. The attitude was, “Let’s try this; let’s try the next thing; let’s follow our ideas as to what it is that’s causing this.” And I just discovered that having your hands on equipment, and being able to make these measurements, was great fun. That continued when I got to Caltech.

Innes MacKenzie

And Professor Innes MacKenzie is someone else who’s had a big influence on your life.

Professor MacKenzie did have a big influence, and we maintained contact for many years. To give you a feel for the sort of consummate experimental physicist that he was, we both happened to be back at Dalhousie speaking at an undergraduate physics conference there, and we had dinner together. During dinner we were talking about a problem that we were faced with at the Sudbury Neutrino Observatory project, where the team was preparing to spray layers of material on the cavity walls. This is a cavity that is 70 feet in diameter and 100 feet high – or roughly 22 meters in diameter and 34 meters high – and we needed it watertight and radon tight in order to keep the radioactivity in a very low level.

Innes MacKenzie was actually retired at the time, and he was working on the backscattering of x-rays from materials – in fact, he had developed a technique whereby you could measure bone density for bone density scans by looking at the backscatter of these x-rays.

He said, “I think my device would work for your situation.” Six months later we were delivered not only a device that measured the thickness of the layers that we were putting on, but also was coupled to a small, belt-suspended computer system to capture the data and store it.

I maintained contact with Professor MacKenzie for many years, including speaking to him after the award of the Nobel Prize. Sadly, he passed away a couple of years later, but he maintained contact with his students throughout his life.


Aside from science, what were some of the other things you were into while at Dalhousie?

I was on the junior varsity football team for a year at the university. I wasn’t part of the topline team, but that year I was probably in the best physical shape I’ve ever been in. Football just took too much time after I got into the third and fourth years of my studies. I also played golf and tennis recreationally. I wasted a lot of time in university playing ping-pong and pool, but that was the primary form of relaxation at the time.


The average layperson may think of highly successful scientists as being an arrogant and humorless lot. In your case, I don’t think the stereotype applies.

With respect to humor, I’ve always liked approaching things in a positive and humorous way whenever possible. Point of fact, I actually started every one of our collaboration meetings with a joke that, unfortunately, became known as “Art’s Joke,” which was not necessarily a positive term [laughs]. If anybody got into a serious argument during the process of our collaboration meetings, which often happened, anyone was allowed to yell out the punchline of that particular joke as a way of diffusing the tension. The point being, let’s not get too serious about ourselves here, we got into this to have some fun. That is one of the messages that I like to give to students. Science is fun. You really can have an enjoyable time doing science if you work hard, but also if you realize you’re in it to enjoy it.

Order of Nova Scotia recipient Peter Nicholson

I’ve read where Peter Nicholson, who served as head of policy in the Office of the Prime Minister of Canada, was one of your closest friends in college.

Peter Nicholson is a very remarkable individual. He was the other fellow who was at Ernie Guptill’s when we went to meet the lobster [laughs]. He was my college roommate after second year at university, which worked out because we got along really well, and still do. He and I went to a space physics course at Columbia University in 1963. It was a summer six week summer course run by NASA. A poster described where you could apply, so we did. It was amazing. They accepted a couple of Canadians at the time, and we not only got the space physics course, but we got to tour the NASA facilities in Houston and Cape Canaveral as they were back then.


Is it true that the two of you hatched a plan to visit various graduate schools on the US east coast?

We were both looking at United States universities for post-graduate studies, so we went together to the chairman, who happened to be Ernie Guptill at that point. We said, “Look, we would love to go and visit these places. We will make you a deal. If you’ll write some letters on our behalf and support our trip, then what we will do is go and interview people at the universities and evaluate each school’s facilities. When we come back, we’ll give a seminar that highlights the possibilities at these various institutions. We’ll give our impression of what it’s like at these places, and we’ll do it for students and faculty alike.” And that is basically what we did. You have to remember, it was a much different time back in the ‘60s. There were no smartphones. Social media didn’t exist. You didn’t have a wealth of information at your fingertips.

Art McDonald – Nobel Prize Ceremony

What memories from those trips stand out?

The interesting people. Jim Peebles won the Nobel Prize this year – he was a colleague of mine at Princeton, and is still a good friend. He and Bob Dicke – Peebles theoretically and Dicke experimentally – were working on various astrophysical measurements. One of the things that they were trying to do was to measure the cosmic microwave background. As it turns out, this was actually measured for the first time down the road at Bell Labs by Arno Penzias and Robert Wilson, who then came to Princeton in 1965 and learned what it was they were observing as background in their experiment. Penzias and Wilson later got a Nobel prize for it. This year, the committee finally recognized that Jim Peebles was one of those motivating Penzias and Wilson back then, but that he has further developed a real understanding of how the world has evolved since the Big Bang. We met Dicke and a number of other top physicists because the department chair in each case had received a letter from our chair, and they introduced us to top scientists. Those are the things that stand out.


You decided to go to Caltech.

We applied to the places we were visiting, and we were actually accepted into several of them, but I was also accepted at Caltech and Peter Nicholson was accepted at Stanford. After Peter completed his Master’s in Theoretical Physics, he decided that he wanted to do operations research. We both looked at the map and said, “Boy, California looks kind of neat.” There was a friend of Innes MacKenzie’s at Caltech by the name of Charles Barnes – he was known as Charlie Barnes – that wrote back to me and said that he was willing to take me as a student. He turned out to be a wonderful supervisor. So, Peter and I both went to California. Going to Caltech was great, because I got to do experimental nuclear physics in the laboratory, which was headed by William Fowler, who later received the Nobel Prize for having pioneered the calculations of how elements are produced in the Sun.


Peter Nicholson also went on to do great things.

He went on to an illustrious career, both as a teacher, businessman and as key figure in the Canadian government.  He was a financial advisor to Canada’s Minister of Finance starting in 1993, and was very actively involved in establishing the Canada Foundation for Innovation, which is the principal source of funding for infrastructure for basic science and engineering in Canada. He eventually became the founding president of the Council of Canadian Academies, which provides advice to government on various scientific questions. So, it has been interesting to maintain contact over the years as we went through our separate careers. It all started back in our university days.

Crown Princess Victoria of Sweden and Nobel Laureate Art McDonald

At Caltech you got to work in the Kellogg Laboratory.

There were actually three Van de Graaff accelerators in the laboratory; two smaller ones, and a larger, EN Tandem Accelerator. The EN Tandem Accelerator was nothing compared to the scale of the Large Hadron Collider, which has collaborations with about 4,000 scientists who are building enormous, complicated experiments, but it was extremely useful for our purposes.


What was some of the research that you were into at the time?

I worked with a graduate student, Eric Adelberger, who is an exceptional scientist and is now still an active emeritus professor at the University of Washington. He has gone on to make the definitive measurements of gravity at short distances with very ingenious devices to balance out the systematic uncertainties that you get in those sorts of experiments, so he has had a wonderful career as well.

Eric and I worked on experiments that were looking for symmetries in nuclei, which were an indication of how the electromagnetic interaction worked inside the nuclei and whether there were any differences in what you might expect from conventional theory. It turned out that we were able to constrain it very strongly and found no significant differences. We also worked on measurements where we looked for the weak interaction in nuclei as a test of the Standard Model, which was relatively new at the time. We were able to make measures of the weak interaction between quarks that were a part in a million effects in some cases.


Were these measurements made using the Kellogg lab accelerators?

Yes, many of them. The nice thing was that you had access to a very large amount of beam time. It had to be scheduled, but you could be running your experiment a couple of days a week on that accelerator. You actually had to run the accelerator yourself, so that was a good experience as well. And we had a little fun with it; there was one knob on the control console that wasn’t connected to anything, so the new graduate students were asked to control the beam using that knob [laughs]. We didn’t let that go on for very long before we let them in on the joke, but it was fun at the time.


I think that debunks the myth that scientists don’t know how to have fun.

The experience of that laboratory really made me understand the importance of social activities. The seminars at Caltech at that time were on Friday nights at 7:30 PM, which were always followed by a party at one of the professor’s homes. There was also something called the Kellogg Band, including Charlie Barnes on the piano, and students and Post Docs who went on to have very good careers, so that was a great social time as well.

Nobel Laureate Art McDonald at SNOLAB

The solar neutrino problem was big at Caltech while you were there.

Ray Davis, who was the one who originally detected neutrinos from the Sun, came from the Brookhaven National Laboratory to Caltech during the summers to work with John Bahcall, who was a theorist and junior faculty member at that time. So, I was quite knowledgeable about what came to be known as the solar neutrino problem.

John Bahcall’s calculations predicted something three times larger than what was observed in the Homestake experiment, which was an underground detector built in a South Dakota gold mine – essentially, a very large tank filled with cleaning fluid. Bahcall did the theoretical calculations and Davis performed the experiment. Davis eventually received the Nobel Prize for his work in pioneering the detection of solar neutrinos.


Could you have ever imagined that your work at SNO would vindicate Bahcall’s solar neutrino theory?

When we solved the solar neutrino problem with the Sudbury Neutrino Observatory, a New York TV station interviewed John Bahcall. They asked him what he thought when he heard that the results verified his calculations after 30 years of scrutiny. He replied, “I feel as though the DNA evidence has just overturned my conviction by the scientific community for having got it wrong.” [Laughs]. He got it right, to within 10% or so.


Physics and mathematics are inextricably linked, but creativity can be equally important.

I do agree. As Director of the Sudbury Neutrino Observatory I was involved with hundreds of very intelligent scientists, engineers and technicians. It was a real pleasure to see the creativity that resulted, creating solutions to very difficult technical problems. As a result we were able to build an ultra-clean detector the size of a ten story building, housing 1,000 tons of heavy water safely 2 kilometers underground in an active nickel mine, and observing one burst of light from a solar neutrino per hour with little or no interference from radioactivity of any kind. There were many creative firsts in this project. I am very careful to point out, that while they give the Nobel Prize to one individual, there are many authors on our papers plus many other technical people that don’t get on the author list. And I am a representative of them. So I would say, working with collective creativity has been what I have been mostly involved in for many years.

SNOLAB

Please tell me about the SNO Collaboration.

Herb Chen, who was from the University of California at Irvine, had a very good idea, which was, if you could get enough heavy water, then you could potentially use it to solve what had come to be known as the solar neutrino problem. In fact, he had worked with Ottawa scientist Cliff Hargrove at the Los Alamos Meson Physics Facility using heavy water for this purpose. So, at one point he called Cliff and said, “Do you think it would be possible to borrow 4,000 tons of heavy water?” Well, that would have been $1.2 billion in 1984 dollars. But to our amazement, Atomic Energy of Canada had 5,000 tons of heavy water in reserve for the use in CANDU-style nuclear reactors and said, “Well, maybe not 4,000, but maybe 1,000. Do you think you can do it with that?” And sure enough, that’s what we eventually designed, which was a detector that used $300 million worth of heavy water to do the measurements.

Unfortunately, Herb Chen passed away about three years later. He was at a collaboration meeting and said that he didn’t feel well, and that turned out to be leukemia. He passed away within a year, in his mid-40s. We still like to preserve his memory, because he was a founding member of the collaboration and an inspiration to all of us.


How did you become involved in the SNO Collaboration?

I was a professor at Princeton at the time and became involved at the beginning of the project along with 15 other scientists. I took over as the US spokesman for the project when Herb passed away in 1987 and was soon joined by Gene Beier from the University of Pennsylvania. I then became the overall director when the Canadian spokesperson, George Ewan, was about to retire, and at that point I moved from Princeton to Queens University. It took us from 1984 to 1990 to eventually get the funding because the project was very large, particularly in Canadian terms in those days. So I was involved early on, but it really was Herb Chen, George Ewan and those original 16 people that got everything going.

Nobel Laureates Art McDonald and Takaaki Kajita

As Director of SNO, how would you describe your leadership style, and how did you resolve conflict?

Conflict is unavoidable whenever you are dealing with people. I attempted to resolve conflict by having everyone focus on the facts associated with what they were doing, and the objectives that they were trying to accomplish. And, in some cases, you had to factor in the timeline in which you are trying to make it happen.

I try not to get overly involved in the emotional approaches that people take in decision-making. People love their own ideas. You have to sit there and recognize that the reason that this person is being so adamant is that they clearly think that they are right. They wouldn’t be saying it if they didn’t think they were right. So, in some cases, you have two people who think they are right who are directly opposed to each other. How do you resolve that? Well, you try to get around the subjective aspects of it, and get down to the basic facts. You try to determine which is the right way, or the best way, to do something. If you can direct the conversation towards the factual topics that are necessary to resolve a dispute, and reduce the rhetoric associated with it – then you can come to a decision. This is especially true if you keep in mind that we are in this for some enjoyable science. This isn’t supposed to be a knockdown, drag out fight. It’s something where, if we can come to a conclusion and get on with things, then we can really have some good experiences and do some excellent science. That’s my approach.


Were any of your classmates involved in the SNO Collaboration?

Absolutely. The SNO Collaboration included a number of people who had worked together internationally. Hay-Boon Mak, who is a friend and who was just behind me as a student at Caltech, is a good example. He eventually moved to Queens University and became a significant part of the Sudbury Neutrino Observatory project. Bob Stokstad is another example from Caltech days. Hamish Robertson, with whom I had worked starting in the 1970’s and who joined Gene Beier as US Spokesperson and George Ewan, with whom I worked at Chalk River, are other examples at a more senior level. So working with your friends is another way you can enjoy science.


Tell me a little about SNOLAB.

SNOLAB is the deepest cleanroom facility in the world. It’s 2 kilometers underground to reduce cosmic rays. What is distinctive about SNOLAB is that the entire laboratory is a class 2000 cleanroom, just as it was when we were building the Sudbury Neutrino Observatory. That makes it easier to achieve class 100 in our actual experiments, as good as the table-tops in a semiconductor fabrication facility. So, SNOLAB is ultra-clean, as well as being ultra-deep.


Let’s talk solar neutrinos.

Neutrinos change from the moment they are created in the core of the Sun. Electron neutrinos are the only one of the three neutrino types that are produced by the nuclear reactions that power the Sun. Then, as one of these electron neutrinos traverses the Sun, it changes to a different composition, in which if you make a measurement of it, it is only one-third electron neutrinos at that point. Two-thirds of the time it behaves like muon or tau neutrinos. And so, that is where our experiment comes in. When the electron neutrinos eventually got to the Earth, we were able to measure, using heavy water, that that change had taken place.

Art McDonald – Nobel Prize Ceremony

How does the SNO detector work?

The way we did it was the following: Heavy water is deuterium oxide, rather than hydrogen oxide – it is D20 rather than H2O. The D means that it is heavier than ordinary hydrogen, because, instead of having just a proton in the nucleus, you also have a neutron. Because it doesn’t change the charge of the nucleus, it doesn’t change the number of electrons going around nucleus, which match the charge of the proton. So chemically, D2O is essentially the same as H2O because deuterium behaves chemically like hydrogen. That extra neutron is the secret to being able to resolve the question of whether these neutrinos actually changed from electron neutrinos to another type…because, with the extra neutron, there are two reactions we can observe: One being explicitly caused by only electron neutrinos, and one which is equally sensitive to all neutrino types.

What we found was that the number of neutrinos observed with the reaction that was sensitive to all neutrino types, matched exactly the calculations of how many were produced in the Sun according to Bahcall and his coworkers. Whereas, the number of electron neutrinos that survived were only one third of the total. By being able to do this  we were able to have an explicit measurement, independent of calculations of the number produced in the Sun, proving that neutrinos had, in fact, changed from one flavor to another. The change from one type to another also implies that neutrinos have a finite mass, which is outside of the Standard Model of particle physics. This means that you have to extend the Standard Model beyond what we have so far, perhaps even going back to things that are of relevance for how the universe evolved in the early days. So that was the significant contribution that we made, and the reason the Nobel Prize was awarded.


The Standard Model has been the definitive source of truth for a long time.

The Standard Model of particle physics has been absolutely remarkable. The discovery of the Higgs particle was predicted from the mathematics that underlie the set of particles that make up the Standard Model. It was predicted to be in the range where it was discovered – 125 giga-electron volt mass – which was an absolutely remarkable confirmation that the Standard Model works, except that the Higgs particle is not the origin of mass for neutrinos. It’s the origin of mass for all of the other particles in the Standard Model.

Stephen Hawking at SNOLAB – 2012

It isn’t every day that the scientific community is presented with evidence that changes the Standard Model.

You might think that scientists say, “Oh my, our model is broken.” Instead, they take the attitude that this is interesting, because we really need to have a more extensive theory of everything. And that’s because the Standard Model that we know has its limitations. Right off the bat, it doesn’t include gravity. It also doesn’t also explain the so-called dark matter particles, which are the object of our current searches, so it isn’t a final, total model.


Neutrinos were long thought to be massless.

It turns out that one of the best models for how neutrinos do get their mass, the so-called seesaw mechanism, is regarded as one of the best contributors to what happened to all of the antimatter in the early universe. We think that the Big Bang was energy being converted into equal amounts of matter and antimatter, but all of the antimatter has decayed away. It is thought that there are other massive neutrinos that are at the highest mass that you can imagine. They are thought to be involved when the energies in the original Big Bang were high enough to have them participating in the processes that would’ve led to all antimatter decaying away. So, in many respects, neutrino physics has become an extremely big topic now. In fact, Fermilab, the highest accelerator laboratory United States, is basically doing almost all neutrino physics.


Where is this new physics taking us?

One of the things that scientists are still attempting to determine is that question of how antimatter decayed away in the early universe. We, at our underground laboratories at SNOLAB, which is an outgrowth of the Sudbury Neutrino Observatory, are studying what’s called the SNO+ experiment. By replacing the heavy water used in the SNO experiment with liquid scintillator, the detector will be able to study low energy solar neutrinos, geoneutrinos and reactor neutrinos as well as conduct a supernova search. The SNO+ experiment will also add tellurium to search for neutrinoless double beta decay. Neutrinoless double beta decay occurs if there is a neutrino symmetry property, which contributes to the overall theory of how the antimatter decayed away in the early universe. So, neutrino physics has become a very big part of particle physics. We are fortunate in Canada to have a laboratory that enables us to continue to do things that are at the frontier, both for neutrinos and for dark matter studies. That’s why I’m still doing it, and still having fun.


Dark matter is equally elusive.

In addition to the SNO+ experiments studying neutrinoless double beta decay, we have four different experiments studying dark matter at SNOLAB. The experiment that I have been working on is a DEAP experiment, which uses liquid argon as a way of detecting the dark matter particles we know… or at least, if you assume that the phenomena you observe and call dark matter are particles, and in particular, weakly interacting massive particles – WIMPS, as we call them, with a bit of whimsy –  then the way that our galaxy is held together by these dark matter particles implies that we have millions of them going through us right now, with very weak interaction…even weaker than neutrinos. So, you need a large amount of material, and you need a very low radioactivity environment, and we can do both at SNOLAB.

Art McDonald and his wife, Janet, at Queen’s University, November 12, 2015.
(Photograph by Kayla Chobotiuk)

Why liquid argon in the search for dark matter particles?

Liquid argon is an interesting material to use, because, if a dark matter particle hits a nucleus causing it to recoil, then the light comes out in about 10 ns (nanosecond). If it’s typical gamma and beta background radioactivity, then the light comes out over about 10 (microseconds) µs, around 1000 times longer. So, if you digitize each one of the pulses you observe in a detector where you are observing the light, you can compare the short time versus the full time of the pulse and discriminate against background by factors of greater than a billion, which we have been doing.

The experiment that is running now has 3 tons of liquid argon. We have a major international collaboration of over 400 scientists that are working on a 50 ton detector that is due to start in about three years in the Gran Sasso Laboratory near Rome, Italy. Both the CERN laboratory and Fermilab are involved in the work. The decision has been made by the collaboration to push to an even larger detector, on the order of 400 tons. The location of choice for that project will be SNOLAB. So, I’m having fun doing things that I will probably be too old to participate in. Nevertheless, I’m in on the early stages and I’m enjoying it.



In 2015, you shared the Nobel Prize in Physics. That is an immense award, but one you accepted with grace and humility. Please share some of the memories of being nominated, and receiving, this incredible honor.

Well, the phone call came about 5:15 AM. My wife answered the phone and was about to say, “What you mean by calling at this time of day?” [Laughs.]  I picked up the extension and heard the Swedish accents, and at that point I realized what was going on. Each of the committee members congratulated me and then they said not to call anybody, because they wanted the line open for a news conference in the next twenty minutes. So I hung up and gave my wife a hug and said, “Wow, what are we involved in now? What’s next?”

Nobel Laureate Art McDonald

Any fun memories from that phone call?

I have been a fan of the Toronto Maple Leafs for years and still follow them closely. When the committee called me, one of the committee members – the secretary of the committee – happens to be a hockey fan. At the end of the conversation announcing to me that I had won the Nobel Prize, he said to me that the last time we had spoken, we also spoke about hockey as well as physics. I said that I wished that Mats Sundin from Sweden was still the Captain of the Maple Leafs as they were not doing so well at the time. So, after the exchange on the phone that morning, one of the articles written said something like, “Typical Canadian. He learns he wins the Nobel Prize, and all he wants to talk about is hockey.” [Laughs.]


What came next?

An absolute whirlwind. I received 1,500 emails the first day, the media coverage continued until about 5 o’clock that evening, and then the university held a great reception in my honor. And then we had a wonderful week in Stockholm. I managed to arrange for 35 people, including mostly collaborators and their spouses to have the experience with us by sharing the opportunities for events during the week. My wife and I were treated literally, like the royalty we were meeting. Since then I’ve received many invitations to many places in the world, which I’m having to restrict because I’m interested in research again. I’m trying to get back to active participation at the design level in the experiments that I’m working on. I no longer have my own students, because I am doing too much traveling to do justice to what a supervisor should do. On the other hand, I have wonderful opportunities to participate and interact with all of these wonderful students that are in our collaborations. So, I’m trying to make some scientific contributions as well as simply interacting with people and trying to inspire students to do good science.


What activities are you into today?

I like to stay active. At my present age, I try to get moderate exercise on a regular basis. I live in a condo that has an indoor pool and exercise equipment. I try to do that at least three times a week, and I still play a bit of golf. My wife and I have started playing pickleball, which I suppose you could say is a step down from tennis, but it’s fun if your mobility gets a little lower as mine is now.

I have four children, as well as nine grandchildren ranging in age from one to 20. They are a great joy to my wife and myself. Over the years I’ve tried to be a family man to the degree that I can within my scope of activities as a scientist. I was a manager of the downhill ski teams that my children participated in. I was a Cub Scout leader and helped my children  build 9 wooden Cub Scout cars to race on tracks over the years. So, we’ve had a very close family situation for many years, and I have enjoyed it immensely.


Final Question: You’ve achieved great success in your life. If you could offer one piece of advice to aspiring scientists, what would that be?

How about two, two-word statements. For a scientist, I think they are both important. One is: Be nice. And the second is: Be curious. I think in terms of success in life and having a happy existence, the first one is very important. As a scientist, you should never lose your curiosity, and that will enable you to have a great career.