The Bobs, Reelive

Bob Slydell
Bob Slydell

What would you say... you do here?

Peter Gibbons
Peter Gibbons

Well, look. I already told you, I deal with the goddamn customers so the engineers don't have to.

Bob Porter
Bob Porter

I see. So you are a customer service rep?

Peter Gibbons
Peter Gibbons

No! No! I’m a 'people person'!

Bob Slydell
Bob Slydell

What does that mean, 'people person'?

Peter Gibbons
Peter Gibbons

I communicate with the customers, I take care of their needs.

Bob Porter
Bob Porter

So then you’re not an engineer?

Peter Gibbons
Peter Gibbons

No, I’m not. I’m basically a glorified intern.

The Swingline Stapler, Reelive

Milton Waddams
Milton Waddams

Excuse me, I believe you have my stapler.

Office Worker
Office Worker

Ah, yeah, you can have it back later.

Milton Waddams
Milton Waddams

No, I want it now.

Office Worker
Office Worker

Can’t do that, Milton.

Milton Waddams
Milton Waddams

I’ll burn the place down.

Office Worker
Office Worker

You wouldn’t do that, Milton.

Milton Waddams
Milton Waddams

I’ll show you. Just give me my stapler.

Peter's Decision, Reelive

Peter Gibbons
Peter Gibbons

I don’t know. I just don’t care.

Michael Bolton
Michael Bolton

What do you mean you don’t care?

Peter Gibbons
Peter Gibbons

I’m just not going to care anymore.

Samir Nagheenanajar
Samir Nagheenanajar

But you can’t! What about your job?

Peter Gibbons
Peter Gibbons

What job? This is bullsh*t!

Michael Bolton
Michael Bolton

You mean you can just quit?

Peter Gibbons
Peter Gibbons

No, I’m not quitting; I’m just... existing.

The TPS Reports, Reelive

Bill Lumbergh
Bill Lumbergh

Yeah, I’m gonna need you to go ahead and come in on Saturday.

Peter Gibbons
Peter Gibbons

Sure, Bill. But what about the TPS reports?

Bill Lumbergh
Bill Lumbergh

Did you get the memo about that?

Peter Gibbons
Peter Gibbons

Uh, I think I still have it somewhere.

Bill Lumbergh
Bill Lumbergh

I need you to redo the cover sheet.

Peter Gibbons
Peter Gibbons

Wait, the cover sheet? For the TPS reports?

Bill Lumbergh
Bill Lumbergh

Yeah, that would be great.

The Office Space Complaint, Reelive

Peter Gibbons
Peter Gibbons

I'm just going to go up to the office, and I'm going to get that stapler.

Therapist
Therapist

Peter, you need to talk about how you feel.

Peter Gibbons
Peter Gibbons

I feel like I’m a waste of space!

Therapist
Therapist

And what does that mean to you?

Peter Gibbons
Peter Gibbons

It means I hate my job.

Therapist
Therapist

So what are you going to do?

Peter Gibbons
Peter Gibbons

I don’t know. Maybe I’ll just burn it down.

The Office Party, Reelive

Peter Gibbons
Peter Gibbons

Hey, what's going on?

Joanna
Joanna

Not much, just looking for a drink.

Peter Gibbons
Peter Gibbons

I hear that.

Joanna
Joanna

Yeah, this place is dead.

Peter Gibbons
Peter Gibbons

I thought they were supposed to be fun.

Joanna
Joanna

Yeah, until you realize you’re with your coworkers.

Peter Gibbons
Peter Gibbons

Exactly, who wants to be here?

Samir's Frustration, Reelive

Samir Nagheenanajar
Samir Nagheenanajar

I’m telling you, I’m not going to work this crap job anymore!

Michael Bolton
Michael Bolton

What are you going to do?

Samir Nagheenanajar
Samir Nagheenanajar

Anything but this!

Peter Gibbons
Peter Gibbons

What about your dreams?

Samir Nagheenanajar
Samir Nagheenanajar

Dreams? More like nightmares—working among these idiots!

Michael Bolton
Michael Bolton

They don’t appreciate anyone.

Samir Nagheenanajar
Samir Nagheenanajar

Exactly!

The Office Space Vision, Reelive

Peter Gibbons
Peter Gibbons

I feel like I’m finally seeing things clearly.

Therapist
Therapist

What do you mean?

Peter Gibbons
Peter Gibbons

This job doesn’t define me.

Therapist
Therapist

So what’s next?

Peter Gibbons
Peter Gibbons

I’m not going to pretend anymore.

Therapist
Therapist

Then what will you do?

Peter Gibbons
Peter Gibbons

I’ll just be me.

Another Day, Reelive

Michael Bolton
Michael Bolton

Hey, Peter. You ready for another day?

Peter Gibbons
Peter Gibbons

Yeah, sure... another day.

Michael Bolton
Michael Bolton

You sound enthusiastic.

Peter Gibbons
Peter Gibbons

Just super. Can't wait to get into the grind.

Samir Nagheenanajar
Samir Nagheenanajar

Welcome to the club, brothers.

Peter Gibbons
Peter Gibbons

What are we doing with our lives?

The Change, Reelive

Peter Gibbons
Peter Gibbons

I want to do something different.

Michael Bolton
Michael Bolton

What do you want?

Peter Gibbons
Peter Gibbons

I want to change everything!

Michael Bolton
Michael Bolton

How do you even begin?

Peter Gibbons
Peter Gibbons

I’m not sure, but I need to start.

Bob's Therapy, Reelive

Bob Slydell
Bob Slydell

I think we need to create a synergy here.

Bob Porter
Bob Porter

Synergy? What’s that?

Bob Slydell
Bob Slydell

It’s about collaboration!

Bob Porter
Bob Porter

Seems like bullsh*t.

Bob Slydell
Bob Slydell

That’s the corporate world for you.

Bob Porter
Bob Porter

And we’re stuck in it.

The Dream, Reelive

Peter Gibbons
Peter Gibbons

What if we could just do what we want?

Michael Bolton
Michael Bolton

What do you mean?

Peter Gibbons
Peter Gibbons

I mean being free!

Samir Nagheenanajar
Samir Nagheenanajar

It’s a fantasy.

Peter Gibbons
Peter Gibbons

Maybe it shouldn’t be.

Michael Bolton
Michael Bolton

So how do we do it?

Peter Gibbons
Peter Gibbons

By starting now.

The Final Straw, Reelive

Peter Gibbons
Peter Gibbons

You know what? I quit!

Bill Lumbergh
Bill Lumbergh

What? You can’t do that!

Peter Gibbons
Peter Gibbons

Oh, can’t I? Watch me.

Bill Lumbergh
Bill Lumbergh

You need to give two weeks’ notice.

Peter Gibbons
Peter Gibbons

No, I really don’t.

Bill Lumbergh
Bill Lumbergh

You’re making a mistake!

Peter Gibbons
Peter Gibbons

This is not a mistake; it’s liberation.

The Job Offer, Reelive

Peter Gibbons
Peter Gibbons

What if I got a better job?

Joanna
Joanna

Then go for it!

Peter Gibbons
Peter Gibbons

But what if it’s worse?

Joanna
Joanna

You can handle it.

Peter Gibbons
Peter Gibbons

Or maybe I can’t.

Joanna
Joanna

You’ll never know until you try.

The Transformation, Reelive

Michael Bolton
Michael Bolton

Are you really doing this?

Peter Gibbons
Peter Gibbons

I can’t just stay in this pit.

Samir Nagheenanajar
Samir Nagheenanajar

Then we’re all staying?

Peter Gibbons
Peter Gibbons

I’m leading the charge here.

Michael Bolton
Michael Bolton

It’s risky.

Samir Nagheenanajar
Samir Nagheenanajar

But it’s worth it, right?

The Corporate Lie, Reelive

Peter Gibbons
Peter Gibbons

This place is a prison.

Michael Bolton
Michael Bolton

Why do we stay?

Peter Gibbons
Peter Gibbons

Because we’re scared.

Samir Nagheenanajar
Samir Nagheenanajar

Scared of what?

Peter Gibbons
Peter Gibbons

Of being free.

Michael Bolton
Michael Bolton

That’s the irony.

Samir Nagheenanajar
Samir Nagheenanajar

And we just accept it.

The Closing Scene, Reelive

Peter Gibbons
Peter Gibbons

I’m done with all this.

Joanna
Joanna

So what now?

Peter Gibbons
Peter Gibbons

Now, I’m just living.

Joanna
Joanna

That sounds nice.

Peter Gibbons
Peter Gibbons

It is. You should join me.

Joanna
Joanna

Let’s do it together.

Peter Gibbons
Peter Gibbons

Then let’s escape this place.

Peter Gibbons

I can't believe I can't do this. I can't believe I can't do this.

Peter Gibbons

Office Space, Reelive
Peter Gibbons

It's not that I'm lazy, it's that I just don't care.

Peter Gibbons

Office Space, Reelive
Michael Bolton

I’m just going to do a little work on my own, and I will keep my distance from you. You know, I’ll just work by myself, just not with you.

Michael Bolton

Office Space, Reelive
Peter Gibbons

You see, Bob, it’s not that I’m lazy, it’s that I just don’t care.

Peter Gibbons

Office Space, Reelive
Peter Gibbons

This is my only time for me. That’s why you got the bobble-head, okay?

Peter Gibbons

Office Space, Reelive
Peter Gibbons

Looks like you've been missing a lot of work lately. I wouldn't say I've been missing it, Bob.

Peter Gibbons

Office Space, Reelive
Peter Gibbons

I told you I don't want to be around you people anymore.

Peter Gibbons

Office Space, Reelive
Peter Gibbons

Why does it say paper jam when there is no paper jam?

Peter Gibbons

Office Space, Reelive
Peter Gibbons

This is the last time I'm going to take a nap at work.

Peter Gibbons

Office Space, Reelive
Bill Lumbergh

You’re going to need to come in on Saturday.

Bill Lumbergh

Office Space, Reelive
Milton Waddams

Excuse me, I believe you have my stapler.

Milton Waddams

Office Space, Reelive
Michael Bolton

I definitely got the feeling that everyone’s going to be dead.

Michael Bolton

Office Space, Reelive
Peter Gibbons

That’s not a part of my job description.

Peter Gibbons

Office Space, Reelive
Bill Lumbergh

I’m gonna need you to go ahead and come in on Sunday.

Bill Lumbergh

Office Space, Reelive
Bob Slydell

We don’t have a lot of time on this project, okay? You’ll need to pick up the pace.

Bob Slydell

Office Space, Reelive
Michael Bolton

I am very, very much looking forward to this.

Michael Bolton

Office Space, Reelive
Samir Nagheenanajar

As long as we don’t have to pay for it.

Samir Nagheenanajar

Office Space, Reelive
Peter Gibbons

I don't want to go to work, I want to stay home and play video games.

Peter Gibbons

Office Space, Reelive
Peter Gibbons

There's a problem with the fax machine. It just isn't working.

Peter Gibbons

Office Space, Reelive
Milton Waddams

I don’t know what the hell you’re talking about.

Milton Waddams

Office Space, Reelive
Milton Waddams

I was told that I could listen to music at a reasonable volume from nine to noon.

Milton Waddams

Office Space, Reelive
Bob Porter

Just let me know when your strategy is done.

Bob Porter

Office Space, Reelive
Peter Gibbons

So I’m thinking I’ll just go ahead and make a copy of that.

Peter Gibbons

Office Space, Reelive

Damn It Feels Good to Be a Gangsta

Damn It Feels Good to Be a Gangsta by Geto Boys, Played during the opening credits

Hot in Herre

Hot in Herre by Nelly, Played during a party scene

Still

Still by Geto Boys, Played during the car scene


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The Jump to Freedom

Peter Gibbons, feeling trapped in a mundane office job, arrives at his therapist's office. After a frustrating day, he has a moment of clarity about his life. He decides to quit his job, embracing a newfound freedom that leads him toward pursuing what he actually wants. The pivotal moment comes when he stands up to his boss, asserting his right to a better life. This declaration marks a powerful change in his character's trajectory, challenging workplace norms.

Context: This scene is situated after Peter has been overworked and undervalued, leading to his ultimate decision to break free from the corporate grind.

The All-Too-Relatable Printer Scene

A group of employees takes a printer outside to a field after it constantly malfunctions. As they smash it with bats, it symbolizes their collective frustration. The pivotal moment is when they laugh and cheer, realizing they are reclaiming their power. The aftermath shows a bonding moment between the characters as they unite against shared struggle.

Context: Set after Peter and his friends have had enough of their tedious office work, this scene encapsulates their desire for liberation from the system.

The Iconic 'Yeah, I'm Just Gonna' Scene

Peter tells his boss that he 'just wants to do his job' but doesn't want to take on extra burdens. The tension builds when his boss insists on more involvement. The dialogue showcases a pivotal rejection of corporate demands. This moment's aftermath leads Peter to realize he doesn’t have to comply with every expectation.

Context: This scene occurs as Peter grows more confident in rejecting the pressures of corporate life.

Peter vs. Lumbergh

Peter sits in an awkward meeting with his boss, Lumbergh, who constantly asks for more. The tension peaks when Lumbergh leans in, obliviously pushing Peter for more commitment. It culminates when Peter says he’s not going to work on the weekend. The aftermath sets Peter on a path of rebellion against his job expectations.

Context: This is after Peter's decision to stop caring about work, pushing back against persistent corporate demands.

Milton's Last Stand

Milton, the quiet and overlooked employee, finally confronts the chaos around him. The turning point comes when he learns he’s been fired and loses it at the office. His threats highlight the consequences of neglecting employee value. Aftermath leads to Milton's legendary revenge at the company’s headquarters.

Context: Milton's journey throughout the film has built up to this moment where he can no longer accept his mistreatment.

The 'Breach of Trust' Monologue

In a meeting, Peter exposes the company's lack of regard for its staff while reflecting on trust. The tension peaks as he connects with co-workers who feel the same. It shapes a new, bold Peter. The aftermath has him and his colleagues reevaluating their work lives.

Context: This scene illustrates the discontent brewing amongst employees, giving Peter the push to articulate their frustrations.

The Dream Sequence

Peter imagines his life dream as he escapes the drudgery of office life. The pivotal moment is when he breaks free, symbolizing desire for his ideal life. The emotional consequence leaves viewers feeling hopeful for change.

Context: This moment encapsulates Peter's internal conflict between working for a paycheck and pursuing personal satisfaction.

Nina's Warning

The office's human resources manager, Nina, warns Peter about the consequences of his defiance. Her anxiety peaks during the encounter, fueling Peter’s sense of rebellion. This leads to key revelations about the mental health crux in corporate settings.

Context: Directly illuminating the office's culture, this moment reveals the pressure on employees to conform.

The Smash and Bash of the Cubicles

Peter, Michael and Sam turn their shared frustrations into destruction, breaking office equipment in a frenzy. The tension culminates in giggles and relief when they finally let loose. It enhances their bond and their shared rejection of the corporate grind.

Context: This marks a high point of communal dissatisfaction with the absurdities of corporate life.

The Realization

After reflecting on what he wants, Peter realizes he must start taking control of his life. The pivotal moment comes through heartfelt dialogue with his friends. This leads to a shift in Peter’s priorities and the entire group’s outlook.

Context: This scene represents personal growth, contrasting with the previously stagnant lives of the characters.

The Office Building Burning Scene

The aftermath of Milton's fury leads to the literal burning of the office building. The pivotal moment is the realization that someone’s raw anger had consequences. This symbolizes chaotic release and a renewed perspective on life.

Context: This scene reflects the unchanged corporate machinery potentially leading to the downfall of individuals who work within it.

Peter's Grand Confrontation

During a showdown, Peter confronts his boss about everything wrong with their work culture. The tension hits as Peter stands up for others. This moment shifts the balance of power, showing individual strength in the face of authority.

Context: Having built up to this moment, it represents the end of Peter's passive role in his own life.

The Trifold Decision

Peter decides not to return to the office after having a frank conversation with his girlfriend. The conversation is a decisive moment as they discuss their future. This revelation helps Peter finally trust in the possibility of change.

Context: Peter's relationship with his girlfriend builds to this moment, where their dreams intertwine and conflict.

My Job is So Great!

In a moment of irony, all the characters express false enthusiasm in an office meeting. The ludicrous enthusiasm ends in laughter. It symbolizes deep satire of corporate life and collective disillusionment.

Context: This moment highlights the disconnect between what the characters feel and what is expected of them.

Construction Site Revelations

After being laid off, Peter finds his life on a construction site. He learns valuable skills that lead to self-discovery and growth. The turning point is his realization of what truly matters to him.

Context: This change shows viewers that leaving corporate life can lead to more fulfilling opportunities.

End with a Smile

The film concludes with Peter genuinely smiling, hinting at a hopeful future. The pivotal moment shows his shift toward optimism and ambition. It leaves the audience with a feeling of potential.

Context: This final moment encapsulates the overarching theme of finding true happiness beyond the cubicles.

The Frustration of TPS Reports

In a meeting, Peter’s boss repeatedly questions Peter about the TPS reports. The awkwardness peaks when Peter finally loses his patience. Humor comes from the absurdity of corporate jargon and its impact on employee morale.

Context: This scene exemplifies the absurdity of corporate culture and how formalities outweigh productivity.

The Power of the Red Swingline Stapler

Milton's attachment to his red stapler becomes a symbol of his individuality and the oppressive corporate environment. The pivotal moment is when he nearly breaks down over losing it. This emotional investment highlights the neglected workers' struggle.

Context: Milton’s character arc often reflects the unsung labor of the office, making his stapler a focal point in his story.

The Last Day at the Office

As the characters wrap up their work, there’s laughter mixed with a sense of freedom and closure. The moment is bittersweet as they leave behind something familiar. This scene evokes nostalgia and hope.

Context: This marks a culmination of the characters' journeys, representing both loss and liberation.

Unfurling Potential

Peter connects with co-workers over their shared dreams during a coffee break, finally unveiling their aspirations. The pivotal moment comes when each character begins to envision a life beyond the office. The outcome is bonding and realization of their potential.

Context: This scene highlights the importance of camaraderie in a place that often breeds isolation.


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The Iconic Red Swingline Stapler

The original Swingline stapler used in the film was actually gray, as red wasn't a color they manufactured at the time. The production team had to paint it red to match the script's description.

Why it matters: This decision not only solidified the stapler as an iconic symbol of Milton's character but added an extra layer of humor and absurdity to the film, helping to flesh out the mundane slightly exaggerated office environment.

Real-World Inspiration

Mike Judge drew inspiration from his own experiences working in corporate America, which lent authenticity to the film's portrayal of office culture and the ridiculousness of bureaucratic routines.

Why it matters: The relatable flaws of Corporate America captured in Judge's screenplay resonated deeply with audiences, making 'Office Space' almost a documentary-like representation of the struggles many face in their offices.

A Last-Minute Casting Change

The role of Peter Gibbons was almost given to actor Jim Carrey, but the casting ultimately went to Ron Livingston due to scheduling conflicts.

Why it matters: Ron Livingston's more subdued demeanor perfectly captured Peter's disillusionment with corporate life, creating a memorable protagonist whose journey resonated with viewers.

The 'Breach of Security' Scene

The scene where Peter and friends destroy the copier was inspired by Mike Judge's own experiences with faulty office equipment.

Why it matters: This moment encapsulated the frustration of office workers everywhere and became a cathartic release for both the characters and the audience, illustrating the film's comedic critique of corporate life.

Milton's Love for His Stapler

Stephen Root, who played Milton, had a deep fondness for the props, specifically the red stapler, claiming it was pivotal to his character's quirks and the film's humor.

Why it matters: The genuine emotion Root brought to the character's attachment to the stapler deepened the humor and tragedy of Milton's character, making his eventual fate in the film all the more impactful.

Rapper Geto Boys' Soundtrack

Mike Judge included the Geto Boys' 'Still' as an ironic choice to underscore the office workers' foibles, juxtaposing hip-hop's rebellion against their mundane existence.

Why it matters: This music choice directly contributed to the film's unique tone, melding contrasting elements of high-energy frustration with low-key humor and making the office setting feel alive.

Documentary-Style Filming

The directors used a documentary-style approach during certain scenes, employing a handheld camera to create a sense of realism and intimacy.

Why it matters: This technique enhanced the viewer's immersion into the characters' world, making their frustrations feel relatable and allowing for nuanced performances that added depth to the humor.

Dialogue Inspiration

Much of the film's humorous dialogue came from Judge's real-life interactions, including phrases that became iconic such as 'That would be great.'

Why it matters: These genuine, quoted lines became instantly quotable, allowing audiences to connect through shared experiences of boredom and frustration, contributing to the film's cult status.

The Setting: A Real Office

The filming location, a real office building in Austin, Texas, lent authenticity to the film's look and feel; its bland interior matched the sterile atmosphere of corporate environments.

Why it matters: This realistic backdrop further immersed viewers in the world of the film, emphasizing the mundane nature of the characters' lives and making their antics feel even more relatable.

Plot Element of the Virus

The idea for the 'virus' that steals money from the company was inspired by Judge’s own thoughts on the financial practices he observed in corporations.

Why it matters: This plot device introduced an unexpected twist and highlighted themes of greed and corporate corruption, marking a sharp satire amidst the humor.

Original Title Changes

The original title of the film was supposed to be 'Directors Cut', which was later changed as it didn't encapsulate the essence of the story.

Why it matters: The final title, 'Office Space', encapsulated the film's critique of corporate culture and made it more memorable and relatable for viewers.

The Famous 'TPS Report' Scene

The TPS report, another infamous symbol from the film, was originally a joke Mike Judge made about the unnecessary paperwork that plagued the offices.

Why it matters: The repeated mention of TPS reports underscored the absurdity of bureaucracy and became a hallmark of office jargon, making it a relatable aspect that audiences still reference today.

Late-in-the-Day Filming

Several scenes were filmed late at night to create an 'after hours' feeling that contributed to the film's distinct vibe.

Why it matters: This creative choice allowed for a more relaxed atmosphere among the cast, leading to some of the best improvised moments which enhanced the film's authentic comedy.

Cameos and Guest Stars

Various cast members made cameo appearances, including the real-life programmers that inspired the characters’ experiences.

Why it matters: These cameos added an insider element, bridging the gap between the reality of office life and the exaggerated characters, enriching the film's authenticity.

Improv Moments with Gary Cole

Gary Cole, who played Bill Lumbergh, often improvised his lines to create the perfect deadpan delivery the character is known for.

Why it matters: His improvisation added an extra edge of humor, making Lumbergh one of the most memorable villains in a workplace comedy.

The Building's Blueprints

The blueprints of the office building were designed to maximize the feeling of monotony and sameness, with numerous cubicles and bland colors.

Why it matters: This architectural design visually substantiated the themes of confinement and dullness in corporate life, enhancing the film's overall impact.

Focus on the Characters’ Clothing

Costume designer Christine McCann chose bland colors for the characters’ clothing to reflect their monotonous lives.

Why it matters: These choices further emphasized the humor of the characters' personalities and their struggles, symbolizing the spirit-crushing impact of corporate culture.

The Bar Scene's Backdrop

The bar scenes were shot in a real bar where locals described the way office workers vented their frustrations on weekends.

Why it matters: This authenticity added to the off-beat humor, making the setting relatable for anyone who's sought solace from the grind of corporate life.

The Background Music Choices

Music that plays during pivotal scenes, such as the destruction of the printer, was selected to amplify the emotional stakes and humor.

Why it matters: These carefully chosen tracks enhanced viewers' enjoyment and added a layer of irony that elevated the film's comedic moments.

The Office Culture Focus

The film initially aimed just to satirize office culture but evolved into a critique of broader societal issues, aligning with audiences’ growing frustrations towards corporate structures.

Why it matters: This evolution allowed 'Office Space' to resonate on multiple levels, catering to viewers who found themselves disillusioned by their own work experiences.


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