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Speaker 1: Hi, I'm Kristin Davis, and I want to know, are

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Speaker 1: you a Charlotte. So we're back to the beginning of

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Speaker 1: the show. We're on for Women at a funeral, which

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Speaker 1: is wonderful, and we go to the funeral. There's so

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Speaker 1: many funny jokes. I mean, I've forgotten that this guy,

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Speaker 1: Javier died of a heroin overdose, but Carrie knew him

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Speaker 1: when he was what's the non Javier Harry or whatever. Like,

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Speaker 1: it's all very funny, and she were at the I

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Speaker 1: had also totally forgotten about this entire Samantha storyline, and

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Speaker 1: I do not remember any other time where Samantha has women,

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Speaker 1: other women like wives of guys that she's messed around with,

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Speaker 1: giving her a hard time like this. I hadn't remembered

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Speaker 1: any of that, and it was super fascinating. Do you

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Speaker 1: remember these women sort of? Yeah, they're like society women.

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Speaker 1: She has to go see like the Grandam to try

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Speaker 1: to get at her because she makes out with some

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Speaker 1: dude in his office and her his wife walks in.

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Speaker 2: Well, she gets caught on the on the sofa, yeah,

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Speaker 2: the guy and the wife walks in. Yeah, she has

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Speaker 2: to go and get on her knees virtually and plead

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Speaker 2: her case with this.

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Speaker 1: Woman, right, and it doesn't work. Doesn't work, and she

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Speaker 1: shames her, and Samantha says, do you want me to

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Speaker 1: say I'm a whore? I was like, what, I don't

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Speaker 1: remember this at all, and a part of me, I

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Speaker 1: do feel like some of this and I need to

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Speaker 1: ask Jaron and Michael. I feel like some of this.

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Speaker 1: We got so much mixed commentary after the first season

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Speaker 1: of like who are these women? No one wants to

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Speaker 1: date these women? You know, from male critics, right, And

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Speaker 1: I feel like some of that was incorporated into storylines

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Speaker 1: to say like, yeah, we know what you're all saying,

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Speaker 1: you know, and by the way, we don't care. We're

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Speaker 1: going to write it in, you know. And I felt

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Speaker 1: like that was the scene. And it's interesting because she

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Speaker 1: says like, do you want me to say this? And

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Speaker 1: the woman's just sitting there, and then she says it,

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Speaker 1: and then it doesn't work, and then she's like, well fine,

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Speaker 1: you know, and then she goes and has to do

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Speaker 1: like manual labor at the building of this this charity

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Speaker 1: thing that she was trying to make. I don't remember

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Speaker 1: any of it, and it was so adorable, and she's

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Speaker 1: wearing like regular clothes and she's dirty. But then as

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Speaker 1: Leonardo DiCaprio, who we filmed without showing because it's obviously

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Speaker 1: not him, do you remember this, You led him from

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Speaker 1: behind and he reaches down to her.

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Speaker 2: It's so good, that little kind of silly moment of

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Speaker 2: kind of an homage to the leon or Dvinui, you know,

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Speaker 2: the fingers.

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Speaker 1: Yes, it was beautiful. It was so good. I didn't

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Speaker 1: remember any of this. This is what I love so

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Speaker 1: much about rewatching is like the details and the interesting

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Speaker 1: things that there was so much of it. It was

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Speaker 1: packed in to this, you know, twenty five minutes, twenty

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Speaker 1: two minutes, and you look back and it's amazing.

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Speaker 2: I know, it feels like an hour show. It really

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Speaker 2: was because it's slow, but because so much happens.

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Speaker 1: Yeah, so much happens, and every little thing is really interesting,

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Speaker 1: especially when you're looking at it and then you think,

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Speaker 1: like I can watch it again. Like now I understand

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Speaker 1: when people come up and say I've watched the show

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Speaker 1: so many times and it's always so flattering. Now I

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Speaker 1: really get like you can see something different every time

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Speaker 1: you look at it. Absolutely, it's amazing it's amazing. Anyway,

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Speaker 1: I diverted from the in order rewatching, but that Samantha

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Speaker 1: storyline really caught me off guard. I didn't remember it

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Speaker 1: at all, and I think it's just so great and fascinating.

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Speaker 1: So I'm there, We're there. I also think it's really

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Speaker 1: funny that Carrie and I rarely dressed the same. We

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Speaker 1: dressed in the black dresses and we're like, you know, critical,

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Speaker 1: I'm like, is that an appropriate outfit? I say to Samantha,

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Speaker 1: And then we're the ones who are inappropriate because we

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Speaker 1: didn't wear the designer Javier, which is all kind of funny.

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Speaker 1: And then we get there. I borrow Samantha's hat because

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Speaker 1: I feel like I'm boringly dressed, and then it blows off,

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Speaker 1: which I vaguely remember, Oh my god, and there's another

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Speaker 1: thing coming. But I'm going to try to be an order,

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Speaker 1: I mean. And then we talk about this woman getting

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Speaker 1: her the sister of the designer, getting all the plastic

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Speaker 1: surgery done, which I mean, and then we make a

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Speaker 1: Dona Tella Versachi joke. I mean, we're we're very like,

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Speaker 1: kind of ahead of our time. I think in some ways, right,

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Speaker 1: it's crazy. And then and then Samantha decides to help

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Speaker 1: them so that she can get their mailing list, which

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Speaker 1: is interesting. This is when like she's in like publicist

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Speaker 1: mode and then we're gonna get Oh my god, I

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Speaker 1: don't even want to tell my story yet, because Miranda's

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Speaker 1: story of buying the apartment is so fantastic and literally

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Speaker 1: hasn't changed. Like when you go as myself, I have

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Speaker 1: bought a house by myself. Thank God I have the money.

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Speaker 1: They literally are like, and where's the money coming from?

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Speaker 1: And like when workmen come over, they're like, and who

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Speaker 1: should I talk to about the villain? I'm like, uh me,

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Speaker 1: Like it is so insane, the sexist element.

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Speaker 2: Well, I mean, in fact, I know that I really

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Speaker 2: know the guy that plays making her fill out the form.

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Speaker 2: So that's you know, he keeps saying and that's and

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Speaker 2: finally he's just so and that's you or something like that.

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Speaker 1: Right, He's like he's like and oh he literally it

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Speaker 1: says is your father paying the down payment?

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Speaker 2: Seth Barrish is an actually friend of mine and he's

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Speaker 2: just wonderful on that. He's kind of very just he

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Speaker 2: doesn't even see her. He's just like guy, like lawyer

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Speaker 2: like that who's just you know, this is just an

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Speaker 2: object across the table from him, and right, he's dehumanized

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Speaker 2: her completely the way he treats her.

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Speaker 1: Right, And I mean, I think we've all had those

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Speaker 1: moments when you're dealing with money and stuff where people

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Speaker 1: you're not a person. But I loved how you shot

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Speaker 1: that too, because you don't do coverage. You just did

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Speaker 1: the angle of them at the table looking at each other,

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Speaker 1: and the profile. It's so powerful and she is just

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Speaker 1: sitting there going like, yes, it's just me, Yes, it's

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Speaker 1: just me.

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Speaker 2: I don't remember if I did close ups, but if

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Speaker 2: I did, I did them in profile.

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Speaker 1: Got it. I mean, yet they are close ups there.

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Speaker 1: What I mean is you didn't come around. Yeah they are.

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Speaker 1: You're right.

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Speaker 2: I didn't want to connect them. I wanted to say

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Speaker 2: there is no wow. I didn't put the camera over

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Speaker 2: them and connect them. I always kept him a separate

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Speaker 2: scene so that you're saying there is no connection here.

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Speaker 2: It's just too right.

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Speaker 1: And also it's just such a powerful shot because you

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Speaker 1: kind of there's a bit of backlighting, there might be

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Speaker 1: another window there, and there is just very strong silhouettes.

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Speaker 1: Yet you totally understand what's happening in the scene like

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Speaker 1: it works, It works so beautifully, and I just love

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Speaker 1: her entire stare at storyline because poor Miranda, Oh my god,

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Speaker 1: she goes through it. She buys herself to this apartment,

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Speaker 1: which really should be just purely a celebration of your

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Speaker 1: success in life. Yet she is made to feel bad

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Speaker 1: by her neighbor, who tells her that the woman before

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Speaker 1: her died in the apartment and no one found her

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Speaker 1: and her cat ate her face, which you know hopefully

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Speaker 1: is not true, right, But her neighbor tells her this,

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Speaker 1: and Miranda then has a panic attack in her apartment.

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Speaker 1: It almost chokes and has to call Carrie. And I

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Speaker 1: only vaguely remembered all this, but it's like so powerful

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Speaker 1: and good and amazing to think about how in many

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Speaker 1: ways it's still so true for single women.

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Speaker 2: Oh yeah, no, it's yeah, I know, it's very and

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Speaker 2: I actually it's just a footnote, has nothing to do

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Speaker 2: anything except that I Barbara. I think Barbara Spiegel or

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Speaker 2: Barbara Siegel, I believe, played the real estate agent who

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Speaker 2: brings her in. Oh yeah, yeah yeah, And I knew

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Speaker 2: her because I had directed her in an off off

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Speaker 2: Broadway play before I was even making a living as

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Speaker 2: a director. I remember that.

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Speaker 1: That's amazing.

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Speaker 2: Yeah, it was just a funny small world.

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Speaker 1: You know, it's fun to I mean, we have the

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Speaker 1: most amazing actors in literally every part in our show.

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Speaker 2: Oh yeah, yeah, I was just thinking I just had

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Speaker 2: to get her name because I couldn't remember Molly Price.

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Speaker 1: Yes, I had her on last week.

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Speaker 2: She has a moment with you in another episode when

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Speaker 2: the dog, your dog barks, Yes that only a dog

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Speaker 2: will be and you're on the bed. You remember this.

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Speaker 1: Yes, it's so good that moment.

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Speaker 2: Her reactions that is, I had to watch it like

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Speaker 2: three times.

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Speaker 1: It's so good. And I had her on the podcast.

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Speaker 1: She also came into the first episode of And just

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Speaker 1: like that as Susan Sharon and I went to college

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Speaker 1: with Molly. Like talk about multiple connections. Yes, we went

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Speaker 1: to Rutgers with Bill Esper at the you know, the

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Speaker 1: conservatory within Rutgers.

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Speaker 2: Well, it's funny. I know Bill Espert, not I know

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Speaker 2: who he is because I had a girlfriend at that

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Speaker 2: time who had studied with him, and her good friend

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Speaker 2: was Esper's assistant. Wow, but it's funny, but I had

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Speaker 2: all these inn yes, interconnect at least other kind of

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Speaker 2: connections to Esper, so I'm very aware of him, and.

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Speaker 1: Yeah, yes, and also weirdly, at Rutgers in New Brunswick,

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Speaker 1: Gandal Feini was a bartender at this restaurant, The Frog

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Speaker 1: and the Toad, I believe it was called something like

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Speaker 1: that that I used to go to before I quit drinking,

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Speaker 1: which now I have quit drinking. And I think he

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Speaker 1: was a BA student. We were in the bf FA program,

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Speaker 1: but he was there in a way, not in a

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Speaker 1: way where I saw him performed, but when I remembered

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Speaker 1: that he had been the bartender because he was really

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Speaker 1: interesting obviously, but I mean insane connections, right, insane connections.

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Speaker 1: And just a little side note because your sopranos and us,

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Speaker 1: and you're you're the first person that I've talked to

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Speaker 1: who has been both. But we obviously had just so

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Speaker 1: many memories and so many like to come up together

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Speaker 1: was incredible. Obviously we could never have even understood how incredible, right,

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Speaker 1: But do you remember Silver Cup when we would both

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Speaker 1: be there and they would have they were on Stage X,

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Speaker 1: which we went back and shot, not this past season

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Speaker 1: of and just like that the one before we were

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Speaker 1: back on Silver Cup, which is literally like falling down

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Speaker 1: around us. But we were there, and we my set

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Speaker 1: got to be on Stage X, which had been the Sopranos.

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Speaker 1: You had to go outside to get into it. Yeah,

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Speaker 1: I got to be there. I got to be there.

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Speaker 1: I felt very I felt very privileged. But back in

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Speaker 1: the day, remember there's like that middle area of Silver

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Speaker 1: Cup because it had been the bread factory, so it

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Speaker 1: wasn't really like a proper studio, and the different stages

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Speaker 1: would kind of have like a common area of hallways,

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Speaker 1: and the Sopranos would have their craft services, which was

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Speaker 1: like going to the best Italian restaurant that you could

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Speaker 1: possibly imagine, and our craft services was really really not

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Speaker 1: that no offense to anyone who made it. But we

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Speaker 1: would just be like, how can we get over there?

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Speaker 1: And they would guard that food, do you know what

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Speaker 1: I mean? Like they'd be like, no, you can't come

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Speaker 1: over here, and we'd be like, please, can we have

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Speaker 1: some meatballs? Like on like hour fifteen, right, you're like

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Speaker 1: really wanting the Sopranos meatball, but she can't have them.

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Speaker 1: Do you remember all this? Like it's such a crazy time.

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Speaker 2: I didn't realize that the mob was keeping you away

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Speaker 2: from the food from our foot.

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Speaker 1: They were they were prising that food because it was good.

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Speaker 1: It was really good. It's just crazy to think about.

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Speaker 1: I mean, there's something so adorably kind of humble and

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Speaker 1: New york Ish about the fact that we filmed those

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Speaker 1: two shows. We started in ninety seven or whatever year.

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Speaker 1: I think that was the year of our pilots. We

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Speaker 1: filmed in an old breadon factory that was not supposed

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Speaker 1: to be a studio by HBO, who was not supposed

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Speaker 1: to be a player, you know what I mean. Obviously

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Speaker 1: turned into one, thank god, But just the humbleness of

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Speaker 1: it all in the beginning.

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Speaker 2: Well, I have really I mean, I agree with you.

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Speaker 2: That was really I mean, that's well put. There was

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Speaker 2: something about that, particularly my first season before the Sopranos

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Speaker 2: was Hit and the Sex and the City, which was

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Speaker 2: you know, I guess it was the second season. There

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Speaker 2: was something about that that I sometimes referred to it as,

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Speaker 2: you know, the best summer job I ever had. Well,

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Speaker 2: what I did last summer write those little things when

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Speaker 2: you're a kid. That was it was really like I

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Speaker 2: remember walking out and the teamsters would be, uh, kind

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Speaker 2: of leaning back in their folding chairs with a TV

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Speaker 2: they'd set up because there was the Yankees were on,

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Speaker 2: were playing, and it was just like this is I

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Speaker 2: remember thinking, this is the best job you can have,

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Speaker 2: you know, or you're doing the Sopranos and then you're

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Speaker 2: doing Sex and the City. I just felt so privileged

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Speaker 2: to be, you know, basically shuttling between those two shows

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Speaker 2: the World Cup, you know, with the greatest view of

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Speaker 2: the city. You could have possibly looked like a backdrop

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Speaker 2: for a play about New York, you know, except and

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Speaker 2: I just and so I agree with you. There was

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Speaker 2: something about aside from the fact that you got blocked

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Speaker 2: from partaking of.

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Speaker 1: The food, it's okay.

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Speaker 2: Do you know what everybody on the Sopranos after the

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Speaker 2: first season game weight?

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Speaker 1: I mean, if you look at the how could you

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Speaker 1: not it was incredible? It was incredible.

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Speaker 2: Yeah, I mean it was just you know, and then

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Speaker 2: I still remember enough to talk about the Sopranos.

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Speaker 1: You remember, it's fun.

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Speaker 2: I mean, it's it's the cousin, uh of your ship.

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Speaker 2: It is that. I remember we would shoot we were

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Speaker 2: shooting a scene at about a ban and you know

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Speaker 2: it's called the back room of about a Being where

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Speaker 2: they're all having uh lunch and imposta and stuff. And

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Speaker 2: so when you do shoot an eating scene, and this

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Speaker 2: would be true of Sex and the City, you always

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Speaker 2: have a spit bucket so that people don't have to

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Speaker 2: eat all this food and they just you know, pretend

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Speaker 2: to eat and then they just spit it out and

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Speaker 2: at the end of the table. So I mean, we're

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Speaker 2: shooting that, and I go over and and I was

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Speaker 2: looking at the guys and and the guys had the

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Speaker 2: spit bucket up on the table there, but it's completely clean.

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Speaker 2: I said, what's what's the deal there? He said, they

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Speaker 2: just eat everything, they said every so we just have

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Speaker 2: four takes and they would eat four meals.

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Speaker 1: You know, wow, wow, you know what that. I think

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Speaker 1: that's a theme because people have asked me about the

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Speaker 1: spit bucket thing. We never ever used a spit bucket,

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Speaker 1: but I think it was because Michael and I feel

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Speaker 1: like also Darren really wanted us to eat and keep talking, right,

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Speaker 1: so like we didn't really have the opportunity to be

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Speaker 1: like okay, but you know, and we would we would

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Speaker 1: order something that wasn't going to be insane, right for

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Speaker 1: eight million hundred takes or whatever. But like you remember,

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Speaker 1: how they love to have Cynthia with her mouth open

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Speaker 1: like literally like alaha, you know which she was game

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Speaker 1: to do.

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Speaker 2: You know, you guys did that very well because it's

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Speaker 2: it is hard for actors to eat and talk and

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Speaker 2: it's always a challenge and you guys, all four of

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Speaker 2: you really make you never question it. It just it's

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Speaker 2: just because these women are just eating and talking and

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Speaker 2: you never think about it. Then somebody wisely decided not

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Speaker 2: to serve Marte like spinach or something, so.

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Speaker 1: You didn't get it right. But I mean, one time

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Speaker 1: they have that in storyline for Cynthia, like you know,

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Speaker 1: they were just like, let's let's Cynthia do all that stuff.

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Speaker 1: And she does. She does. You know, she has no

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Speaker 1: like self consciousness about these things. You know, God, God

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Speaker 1: bless her.

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Speaker 2: All.

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Speaker 1: Right back to the show because that was really fun. Okay,

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Speaker 1: so oh wait, there's.

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Speaker 2: See.

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Speaker 1: One of the things I love about your episodes is

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Speaker 1: that when I'm watching my own developments as Charlotte and

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Speaker 1: kind of easing into my body, like being really present

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Speaker 1: and letting go of some of the anxiety that I have.

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Speaker 1: In the first season, we're in the car after the funeral,

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Speaker 1: it's Sarah Jessica, Kim and I and we're just chatting.

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Speaker 1: We all fit in the backseat. We must have been

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Speaker 1: some big old car and you're somehow lit us beautifully

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Speaker 1: in the back of this car. I don't know how.

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Speaker 1: I don't really remember filming this, which sometimes I do remember,

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Speaker 1: like in the older cars you could get in the

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Speaker 1: front seat with the camera and is that what you did?

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Speaker 1: Do you remember? Yeah?

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Speaker 2: Remember, I mean, I think Michael Spiller, I'm sure.

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Speaker 1: We should ask Michael Speller.

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Speaker 2: Yes, he gets credit for the lighting. I mean, yeah,

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Speaker 2: and yeah, we probably are in the front of a

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Speaker 2: I can't remember if it's the Limo.

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Speaker 1: In which case I think it is.

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Speaker 2: I think it is, I think. But again, you would

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Speaker 2: have had to make sure that there was not a

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Speaker 2: partition so you could get the camera there, right right.

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Speaker 2: I think at that point we were not allowed to

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Speaker 2: shoot kind of the wider format that we eventually did

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Speaker 2: on that eight or whatever it was, right right. Originally

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Speaker 2: it was, you know, a narrower format, so it's always

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Speaker 2: hard to get three.

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Speaker 1: People, really hard. I know, that's what I was saying.

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Speaker 1: I was like, I can't believe we're all here and

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Speaker 1: we all look great. That's amazing, and it's very It's

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Speaker 1: like the beginning of Charlotte. Like also at the dinner

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Speaker 1: scene when they talk about Miranda saying, you know that

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Speaker 1: she's buying her apartment, and I say, oh, no, you know,

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Speaker 1: it messes up the power structure between men and women.

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Speaker 1: You have to rent. That's why I rent. Like it's

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Speaker 1: a crazy, crazy conversation. But the good news is they

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Speaker 1: just giggle at me so lovingly. They don't roll their eyes,

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Speaker 1: you know what I mean, They're just oh, that's Charlotte,

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Speaker 1: you know. But it's interesting because as much as I

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Speaker 1: don't agree with my own character's point of view at

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Speaker 1: those moments, it is actually kind of makes some sense,

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Speaker 1: you know, from that perspective, right, because like Miranda is thinking, like,

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Speaker 1: I'm bang apartment. It's amazing. Yet everyone's just doubting her

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Speaker 1: and doubting her and doubting her and sent her down

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Speaker 1: a road of like self doubt where she has panic

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Speaker 1: attacks and she's going to die alone, you know, which

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Speaker 1: is what society will do to you, you know what

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Speaker 1: I mean. Yeah, So Charlotte's kind of the voice of

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Speaker 1: that in some ways, which is not unimportant, you know,

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Speaker 1: but at the time I remember being like, oh, no,

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Speaker 1: I don't want to say this, you know, because I'm

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Speaker 1: not really like that, right, But it's important, I think,

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Speaker 1: to have the different point of views. And I think

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Speaker 1: that's part of what was great about the show.

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Speaker 2: Well, I think, I mean your character. I mean, really

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Speaker 2: she Charlotte's she really stands apart from the other three

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Speaker 2: because they tend to be all pretty much in agreement.

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Speaker 2: I mean if they actually disagree, of course, but she

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Speaker 2: really is always just tagging along. I mean just you know,

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Speaker 2: they're either they're somehow either corrected you or sort of

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Speaker 2: gently teasing you on. I can't believe that, you know.

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Speaker 2: I mean even when you decide you've had it with

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Speaker 2: and you're just going to get a dog. You know,

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Speaker 2: they're pretty gentle about all those things. I think that

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Speaker 2: I love the way it's handled because Charlotte is never

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Speaker 2: treated poorly by many of the women's remember, but she

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Speaker 2: is clearly following her own drummer. I mean, that's for.

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Speaker 1: Sure, right, which is actually really strong in so many,

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Speaker 1: so many ways, you know, when I look back on it,

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Speaker 1: I mean I did know, like, I don't think you

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Speaker 1: had to direct any of the ones where I really

377
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Speaker 1: give like a long, long speech, like a didactic like

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Speaker 1: I have one where I have the book. I haven't

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Speaker 1: gotten it to it yet in the rewatch, but I

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Speaker 1: have a book about how to get a husband or

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Speaker 1: something kind of like horrific, and I'm like for like

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Speaker 1: a page and a half, you know, and they have

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Speaker 1: to just sit there and you know that they don't

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Speaker 1: agree with it, right, But I just keep going because

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Speaker 1: that's how Charlotte believes, you know, like she believes one

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Speaker 1: hundred percent, which I love that, but it's also hard.

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Speaker 2: Yeah, but it's a good quality. I never thought of that.

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Speaker 2: It's a nice quality about her is that she's very

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Speaker 2: committed to whatever her latest thing is, whether it's a

390
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Speaker 2: dog or you know, she just she just goes.

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Speaker 1: Full ahead for definately most definitely, and like with that.

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Speaker 1: That's what I also like about the widow storyline in

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Speaker 1: this episode. It makes such good emotional sense that this

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Speaker 1: is interesting to her. Like when we're walking down the street,

395
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Speaker 1: which I do remember shooting with Kurt Deutsch plays the guy,

396
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Speaker 1: and I remember him struggling a little bit. I hope

397
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Speaker 1: this is okay that I'm saying this with the he's

398
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Speaker 1: supposed to be crying and this turned Charlotte on, and

399
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Speaker 1: I remember I feel like you guys had a conversation

400
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Speaker 1: about the fact that he might be putting it on.

401
00:19:42,600 --> 00:19:45,119
Speaker 2: Yeah, I wondered about that when I was watching it.

402
00:19:45,119 --> 00:19:47,760
Speaker 2: Then I thought, I'm not sure. I don't remember what

403
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Speaker 2: I had said to him, but I had the feeling

404
00:19:50,480 --> 00:19:53,919
Speaker 2: when I was watching, and it's like, yeah, I'm not

405
00:19:53,960 --> 00:19:56,359
Speaker 2: convinced that this guy is really feeling this, you know,

406
00:19:56,760 --> 00:19:58,720
Speaker 2: and he's a good factor that if he needed to,

407
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Speaker 2: he could. But right, it may be some one of

408
00:20:01,800 --> 00:20:04,280
Speaker 2: those things. Again, I just don't remember quite what the

409
00:20:04,280 --> 00:20:06,360
Speaker 2: conversation was, but it could be one of those things

410
00:20:06,359 --> 00:20:09,960
Speaker 2: where it's like there's some reality to it, but he

411
00:20:10,160 --> 00:20:11,360
Speaker 2: just milks it right.

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Speaker 1: Well, because in the end, when all the other women

413
00:20:14,119 --> 00:20:16,560
Speaker 1: get out of the car to come to this ceremony

414
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Speaker 1: at the wife's grave, and they all have the lilies,

415
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Speaker 1: and that's when I beat him with the lilies. And sorry,

416
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Speaker 1: I gave you a terrible allergy, but that's I'm glad.

417
00:20:25,600 --> 00:20:28,639
Speaker 1: I'm glad. But that's it all makes sense when you

418
00:20:29,119 --> 00:20:32,439
Speaker 1: think it through, right, because he very well was milking it.

419
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Speaker 1: But I do remember I remember him being stressed and

420
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Speaker 1: somehow you saying something to him that freed him to

421
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Speaker 1: do the scene. You know, like their layers, you know,

422
00:20:42,320 --> 00:20:43,840
Speaker 1: like there's different ways to come at it.

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Speaker 2: Yeah, I think that, but he yeah, no. But it's

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00:20:48,160 --> 00:20:50,080
Speaker 2: a sweet scene in a way, you know. I mean

425
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Speaker 2: Charlotte is so taken with his you know, vulnerability.

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Speaker 1: Right, which makes perfect sense for her. Like, it's good.

427
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Speaker 1: I liked it. I hadn't remembered this as one of

428
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Speaker 1: my The main thing I remembered about this episode was

429
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Speaker 1: the rain and the hill and running my shoes and

430
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Speaker 1: being cold. And then when I look back on it,

431
00:21:10,040 --> 00:21:13,159
Speaker 1: I'm like, no, no, this is like real. It's a

432
00:21:13,200 --> 00:21:18,160
Speaker 1: big step forward in characters, Charlotte's character development, because every

433
00:21:18,280 --> 00:21:20,919
Speaker 1: element of that makes sense, right. She goes to the girls.

434
00:21:21,280 --> 00:21:22,879
Speaker 1: First of all, she says, you know you got to

435
00:21:22,920 --> 00:21:25,800
Speaker 1: rent because the power dynamic. Then she says, no, no,

436
00:21:25,840 --> 00:21:29,280
Speaker 1: he's full of feeling. You know, he's been through this thing.

437
00:21:29,320 --> 00:21:32,560
Speaker 1: It shows he can commit, but yet he's vulnerable. And

438
00:21:32,600 --> 00:21:35,800
Speaker 1: then you know, he cries on the street and she's like, oh,

439
00:21:35,960 --> 00:21:38,359
Speaker 1: you know, she wants to mother so badly, you know,

440
00:21:38,520 --> 00:21:41,200
Speaker 1: which I don't think she realizes in an intellectual way,

441
00:21:41,240 --> 00:21:44,640
Speaker 1: but you see it, like it's a great episode for her,

442
00:21:44,840 --> 00:21:46,639
Speaker 1: and I'm so happy that you were there so that

443
00:21:46,680 --> 00:21:47,359
Speaker 1: it could be good.

444
00:21:47,680 --> 00:21:50,000
Speaker 2: Well, I will say that what you just made me

445
00:21:50,000 --> 00:21:53,080
Speaker 2: think is that Charlotte really is an interesting character in

446
00:21:53,119 --> 00:21:58,159
Speaker 2: that she's always she's willing for a person who's essentially

447
00:21:58,920 --> 00:22:02,520
Speaker 2: cautious and conservative, she's always trying new things. She's willing

448
00:22:02,600 --> 00:22:06,560
Speaker 2: to try something. She's very game about the next thing

449
00:22:06,600 --> 00:22:09,960
Speaker 2: that she's going to do, so admitting fully commits to

450
00:22:10,080 --> 00:22:15,359
Speaker 2: that new adventure in the search for Charlotte.

451
00:22:15,440 --> 00:22:18,119
Speaker 1: It's so true. It's so true, especially in the early days,

452
00:22:18,160 --> 00:22:20,640
Speaker 1: you know, and it's interesting as she's you know, developed,

453
00:22:20,680 --> 00:22:23,160
Speaker 1: and as we go and obviously many many things happen,

454
00:22:23,200 --> 00:22:25,560
Speaker 1: and I'm still playing her, and sometimes when I look back,

455
00:22:25,600 --> 00:22:28,000
Speaker 1: I'm like, I need to remember this stuff, like, you know,

456
00:22:28,040 --> 00:22:30,720
Speaker 1: because I'm still playing her, right, I mean, it's in me,

457
00:22:31,160 --> 00:22:33,840
Speaker 1: but like sometimes there's little details that I forget, and

458
00:22:33,840 --> 00:22:36,320
Speaker 1: it's to professcinating. Oh my god. There's another time when

459
00:22:36,359 --> 00:22:38,879
Speaker 1: Miranda thinks she's going to die by herself and she

460
00:22:39,119 --> 00:22:42,440
Speaker 1: talks to she calls Carrie, and Carrie's screening her calls

461
00:22:42,440 --> 00:22:45,120
Speaker 1: because Big has been calling her. After she called Big

462
00:22:45,119 --> 00:22:47,040
Speaker 1: I'm out of order now, but this is how I however,

463
00:22:47,119 --> 00:22:51,639
Speaker 1: Roll and Carrie, sorry, sorry, Miranda says to Carrie, is

464
00:22:51,680 --> 00:22:55,320
Speaker 1: such a very rare moment. She says, you know, on

465
00:22:55,359 --> 00:22:59,359
Speaker 1: my emergency list, I have my parents, but I don't

466
00:22:59,400 --> 00:23:03,280
Speaker 1: even like them, and they live in Pennsylvania. And Carrie says,

467
00:23:03,600 --> 00:23:06,560
Speaker 1: why don't you have me? And Miranda says, I can't

468
00:23:06,560 --> 00:23:09,440
Speaker 1: put you because you screen your calls. This is when

469
00:23:09,440 --> 00:23:11,240
Speaker 1: she's had to go to the hospital with the panic attack.

470
00:23:11,480 --> 00:23:14,679
Speaker 1: It's such a great scene and it's so powerful, and

471
00:23:14,720 --> 00:23:17,720
Speaker 1: I don't remember her ever previously saying my parents are

472
00:23:17,720 --> 00:23:20,720
Speaker 1: from Pennsylvania and I don't like them, Like it's so fascinating.

473
00:23:21,160 --> 00:23:23,679
Speaker 2: Well, that's funny, but I had forgotten that, and now

474
00:23:23,720 --> 00:23:26,960
Speaker 2: that you're saying it, i'd forgotten that. But also to

475
00:23:27,480 --> 00:23:30,160
Speaker 2: the technologically, it must be interesting for people to watch

476
00:23:30,240 --> 00:23:33,199
Speaker 2: it now because there's scenes and payphone booths. I mean,

477
00:23:33,240 --> 00:23:39,639
Speaker 2: there's one thing in fact where Carrie calls from a

478
00:23:39,640 --> 00:23:42,959
Speaker 2: phone booth. And I had decided to have it raining yes,

479
00:23:44,200 --> 00:23:48,280
Speaker 2: because I wanted to. Again, this is you know, inside

480
00:23:48,280 --> 00:23:51,240
Speaker 2: of baseball here, But but I like the suggestion of

481
00:23:51,320 --> 00:23:55,200
Speaker 2: tears on the yes, and I think she's pretty emotional

482
00:23:55,240 --> 00:23:55,359
Speaker 2: in that.

483
00:23:55,600 --> 00:23:58,600
Speaker 1: It's when she we think she's calling Big. She runs

484
00:23:58,600 --> 00:24:04,119
Speaker 1: off from maybe Roley Cooper, she runs off from somebody,

485
00:24:04,440 --> 00:24:06,760
Speaker 1: and she runs to the phone booth and you think

486
00:24:06,800 --> 00:24:09,160
Speaker 1: she's she's like, I had to call, and you think

487
00:24:09,200 --> 00:24:12,560
Speaker 1: she's calling Big, but she's calling Miranda. It's so good.

488
00:24:13,119 --> 00:24:15,200
Speaker 2: I know, it's great. And then it's raining there too,

489
00:24:15,320 --> 00:24:18,679
Speaker 2: you know, Yeah, it's on the windows, and it just

490
00:24:19,080 --> 00:24:21,639
Speaker 2: I always like to include and I did it a

491
00:24:21,680 --> 00:24:24,720
Speaker 2: good deal, like whenever I could on Sex and the

492
00:24:24,760 --> 00:24:28,800
Speaker 2: City of including weather because it's it's it's got a

493
00:24:28,880 --> 00:24:31,920
Speaker 2: sensual quality. And when you watch movies when there's rain

494
00:24:32,160 --> 00:24:36,880
Speaker 2: or log or there's you know, uh, it really you

495
00:24:36,920 --> 00:24:43,880
Speaker 2: feel it, and it makes the events feel more relatable becaueah,

496
00:24:44,520 --> 00:24:48,080
Speaker 2: you know. And and it's visually really interesting too. And

497
00:24:48,119 --> 00:24:51,000
Speaker 2: it was just better to see her through the refracted

498
00:24:51,119 --> 00:24:54,040
Speaker 2: light of the rain drops on the glass.

499
00:24:53,680 --> 00:24:56,320
Speaker 1: And you know, definitely. But see, you just gave yourself

500
00:24:56,320 --> 00:24:58,639
Speaker 1: away because you said we had to give credit to

501
00:24:58,680 --> 00:25:02,320
Speaker 1: Spiller for the lighting. No, oh, you are the mastermind.

502
00:25:02,480 --> 00:25:05,760
Speaker 1: I knew it. I knew it because there's such a difference,

503
00:25:05,840 --> 00:25:09,280
Speaker 1: like because obviously everyone's working together it's a true collaboration, right,

504
00:25:10,640 --> 00:25:13,600
Speaker 1: but you up everybody's game when you have a vision.

505
00:25:14,880 --> 00:25:17,920
Speaker 2: Well, that's I'd like to think that I was true.

506
00:25:18,760 --> 00:25:21,679
Speaker 2: I did a when I was just getting started. I

507
00:25:21,680 --> 00:25:24,840
Speaker 2: did this show called New York Undercover. Oh no, there

508
00:25:24,880 --> 00:25:28,040
Speaker 2: was a DP on that, and he later became an

509
00:25:28,040 --> 00:25:32,240
Speaker 2: executive producer and a criminal minds I think. And I

510
00:25:32,280 --> 00:25:35,000
Speaker 2: went by for another reason that I was trying to

511
00:25:35,600 --> 00:25:38,679
Speaker 2: help a woman who I was trying to sort of

512
00:25:38,720 --> 00:25:40,359
Speaker 2: help her get and started as a director, and so

513
00:25:40,440 --> 00:25:42,399
Speaker 2: I went over there to say you should have this

514
00:25:42,480 --> 00:25:45,200
Speaker 2: person's shadow or whatever, and we ended up in a

515
00:25:45,240 --> 00:25:47,600
Speaker 2: conversation and he said something to me that at the

516
00:25:47,600 --> 00:25:50,439
Speaker 2: time I wasn't sure how to take it, but I

517
00:25:50,480 --> 00:25:53,000
Speaker 2: think it was a good thing. He meant it well,

518
00:25:53,359 --> 00:25:55,280
Speaker 2: and that was he said, every time you would come

519
00:25:55,320 --> 00:25:58,919
Speaker 2: to do an episode, I would get nervous, aha, because

520
00:25:58,960 --> 00:26:01,080
Speaker 2: I was never sure I could do what you wanted.

521
00:26:01,440 --> 00:26:03,359
Speaker 1: Oh that's sweet.

522
00:26:03,480 --> 00:26:07,760
Speaker 2: Though it was really in retrospect, it was like, oh, okay, good.

523
00:26:07,840 --> 00:26:12,480
Speaker 2: So I was challenging him and you know, under limited circumstances.

524
00:26:12,480 --> 00:26:15,760
Speaker 2: And that's not a show that was noted for its looks.

525
00:26:15,480 --> 00:26:15,640
Speaker 1: But.

526
00:26:17,840 --> 00:26:20,480
Speaker 2: You know, but he was he but anyway, he said that,

527
00:26:20,520 --> 00:26:21,480
Speaker 2: and I thought, well, good.

528
00:26:21,560 --> 00:26:23,199
Speaker 1: It's a great thing. It's a great thing. I mean,

529
00:26:23,200 --> 00:26:26,159
Speaker 1: I think with actors. I've known different actors, some of

530
00:26:26,200 --> 00:26:30,639
Speaker 1: whom want to feel that way from a director and

531
00:26:30,720 --> 00:26:34,840
Speaker 1: some of whom it might make us shut down. Right,

532
00:26:34,920 --> 00:26:39,000
Speaker 1: So it's like, I personally, I feel like with you,

533
00:26:39,160 --> 00:26:41,840
Speaker 1: the thing that you did that I loved, especially at

534
00:26:41,840 --> 00:26:44,320
Speaker 1: the timing that you came right when we were we

535
00:26:44,320 --> 00:26:46,639
Speaker 1: were like all possibility, you know what I mean. I

536
00:26:46,640 --> 00:26:49,879
Speaker 1: felt like we were excited and ready to play and

537
00:26:49,920 --> 00:26:52,120
Speaker 1: ready to do all this stuff, but we needed guidance,

538
00:26:52,200 --> 00:26:55,680
Speaker 1: you know, we needed like to get like coal East

539
00:26:55,800 --> 00:26:58,240
Speaker 1: into what we became. And you were a big part

540
00:26:58,280 --> 00:27:02,399
Speaker 1: of that. And for me, I thought, like, technically, like

541
00:27:02,480 --> 00:27:04,399
Speaker 1: that scene you said where we had to find the

542
00:27:04,480 --> 00:27:06,160
Speaker 1: lens and kind of find the reason that we would

543
00:27:06,160 --> 00:27:08,040
Speaker 1: walk to that person, Like stuff like that is really

544
00:27:08,080 --> 00:27:11,280
Speaker 1: like ooh oh, we get to we have to think

545
00:27:11,320 --> 00:27:12,679
Speaker 1: and we have to do this and we have to

546
00:27:12,720 --> 00:27:15,960
Speaker 1: remember and you know, there's like an extra added technical

547
00:27:16,080 --> 00:27:21,440
Speaker 1: challenge which is really fun. But then from an emotional standpoint,

548
00:27:21,480 --> 00:27:25,560
Speaker 1: you're very safe feeling like like we can ask you anything,

549
00:27:25,640 --> 00:27:27,919
Speaker 1: we can talk to you. We can. We don't have

550
00:27:28,000 --> 00:27:31,680
Speaker 1: to feel like, oh, we've got to keep our personal

551
00:27:32,000 --> 00:27:35,280
Speaker 1: stuff in check and just perform, which you do feel

552
00:27:35,320 --> 00:27:37,560
Speaker 1: with some directors, you know, which I don't. I don't

553
00:27:37,640 --> 00:27:38,359
Speaker 1: love that feeling.

554
00:27:39,760 --> 00:27:44,520
Speaker 2: I'm glad that that comes across I. I really do, truly,

555
00:27:45,520 --> 00:27:49,000
Speaker 2: with almost no exceptions I can think of too. But

556
00:27:49,600 --> 00:27:52,320
Speaker 2: other than that, of all the things I've done, I

557
00:27:52,359 --> 00:27:54,280
Speaker 2: just love working with actors. I just I really like

558
00:27:54,359 --> 00:27:56,679
Speaker 2: to be around actors. I like to I like the

559
00:27:57,240 --> 00:28:01,160
Speaker 2: I like to feel that it's fun and game and

560
00:28:01,200 --> 00:28:05,840
Speaker 2: that that uh and I do think, maybe not quite consciously,

561
00:28:06,800 --> 00:28:08,680
Speaker 2: I'm not going to let anything bad happen, you know.

562
00:28:08,800 --> 00:28:11,199
Speaker 1: Right, but we can feel that. You know.

563
00:28:11,880 --> 00:28:14,040
Speaker 2: That's great because I just want I want everybody to

564
00:28:14,080 --> 00:28:17,159
Speaker 2: have fun and to feel relaxed. I mean, because I

565
00:28:17,160 --> 00:28:19,119
Speaker 2: don't think people. I mean, I'm sure there are directors

566
00:28:19,119 --> 00:28:22,400
Speaker 2: will get great results by creating massive tension on the set,

567
00:28:22,440 --> 00:28:23,720
Speaker 2: but I'm not one of them. I mean, I know

568
00:28:23,800 --> 00:28:24,119
Speaker 2: you're not.

569
00:28:24,200 --> 00:28:26,800
Speaker 1: Thank God. We didn't need that. We didn't need that.

570
00:28:26,880 --> 00:28:28,600
Speaker 1: We had to walk in those shoes, we had to

571
00:28:28,600 --> 00:28:30,960
Speaker 1: do all kind of craziness. We didn't need any extra

572
00:28:31,000 --> 00:28:33,120
Speaker 1: added element from a director. Do you know what I mean?

573
00:28:44,680 --> 00:28:47,480
Speaker 1: Sometimes I am my guest is more interesting to me

574
00:28:47,560 --> 00:28:50,120
Speaker 1: than my paper, and you are one of that that times.

575
00:28:50,360 --> 00:28:53,720
Speaker 1: So my listeners, please bear with me. I'm going to

576
00:28:53,760 --> 00:28:56,400
Speaker 1: try to hit the main parts. I mean, I feel

577
00:28:56,440 --> 00:28:58,640
Speaker 1: there's so many important things that happened in this episode,

578
00:28:58,680 --> 00:29:01,000
Speaker 1: but I feel one of them is the Miranda, which

579
00:29:01,000 --> 00:29:02,600
Speaker 1: we have kind of hit on, and I feel like

580
00:29:02,640 --> 00:29:07,160
Speaker 1: it's so great because it really sets up so much

581
00:29:07,200 --> 00:29:09,640
Speaker 1: of her future development. Right that she's afraid she's going

582
00:29:09,720 --> 00:29:11,200
Speaker 1: to die alone and that her cat's going to eat

583
00:29:11,200 --> 00:29:15,320
Speaker 1: her face is like so but she's so good at

584
00:29:15,360 --> 00:29:17,280
Speaker 1: it and also funny at the same time, like when

585
00:29:17,280 --> 00:29:19,000
Speaker 1: she's almost choky, she's really funny.

586
00:29:19,520 --> 00:29:22,800
Speaker 2: She is I mean you yeah, she does. She finds

587
00:29:22,840 --> 00:29:24,960
Speaker 2: a way to do that that's amusing and it's not

588
00:29:25,080 --> 00:29:25,760
Speaker 2: alarming but.

589
00:29:25,960 --> 00:29:27,920
Speaker 1: Right because it could be very scary because I knew

590
00:29:27,960 --> 00:29:29,440
Speaker 1: what was coming. I was like, oh my god, this

591
00:29:29,480 --> 00:29:31,680
Speaker 1: one she al must jokes. But she's really really funny.

592
00:29:32,000 --> 00:29:35,160
Speaker 1: And then the other thing that is so good. I mean,

593
00:29:35,240 --> 00:29:37,440
Speaker 1: so many things are so good, but I love because

594
00:29:37,480 --> 00:29:41,120
Speaker 1: I have previously been struggling with the big relationship in

595
00:29:41,320 --> 00:29:43,600
Speaker 1: first season and a lot of This has to do

596
00:29:43,680 --> 00:29:46,320
Speaker 1: with the fact that, you know, we filmed the pilot

597
00:29:46,400 --> 00:29:49,880
Speaker 1: nineteen ninety seven, and back then you didn't really talk

598
00:29:49,920 --> 00:29:52,600
Speaker 1: about withholding men so much. It was just like kind

599
00:29:52,640 --> 00:29:54,360
Speaker 1: of how it was, you know what I'm saying, Like

600
00:29:54,960 --> 00:29:58,760
Speaker 1: we didn't have the social media vocabulary of like blah

601
00:29:58,800 --> 00:30:01,680
Speaker 1: blah blah, you're better than that girl whatever. I don't know,

602
00:30:01,840 --> 00:30:05,120
Speaker 1: you know what I'm saying. It's different times, and my

603
00:30:05,200 --> 00:30:08,360
Speaker 1: own perspective is different being older, right, and back then,

604
00:30:08,520 --> 00:30:12,280
Speaker 1: I just I think I also feel that, you know,

605
00:30:12,400 --> 00:30:14,880
Speaker 1: Charlotte was very pro big, and so I don't think

606
00:30:14,920 --> 00:30:17,720
Speaker 1: that I questioned it because I play Charlotte and I

607
00:30:17,800 --> 00:30:19,840
Speaker 1: just was like, yes, of course I'm pro big. Why

608
00:30:19,840 --> 00:30:22,120
Speaker 1: wouldn't I be. You know what I'm saying, Like, you

609
00:30:22,160 --> 00:30:24,320
Speaker 1: got to play the character, you got to commit, so

610
00:30:24,440 --> 00:30:26,240
Speaker 1: I think I did. And now I'm looking back on

611
00:30:26,280 --> 00:30:29,320
Speaker 1: it going like Carrie deserves better. That's how I felt

612
00:30:29,320 --> 00:30:32,200
Speaker 1: the whole first season. But this episode what I see

613
00:30:32,240 --> 00:30:34,400
Speaker 1: when I look at them and I think this is

614
00:30:34,640 --> 00:30:38,160
Speaker 1: because of this this vibe that you're able to create,

615
00:30:38,960 --> 00:30:46,880
Speaker 1: he is a completely different, much more likable, relatable, charming character.

616
00:30:47,040 --> 00:30:52,680
Speaker 1: Like when they go bowling, it is like an epiphany. Yeah,

617
00:30:52,760 --> 00:30:54,240
Speaker 1: it is an incredible scene.

618
00:30:54,720 --> 00:30:57,120
Speaker 2: I love that scene. I just watched it last night,

619
00:30:57,160 --> 00:31:00,480
Speaker 2: and I mean they're both so cute. Oh my god,

620
00:31:01,200 --> 00:31:02,720
Speaker 2: which after she both I mean.

621
00:31:03,120 --> 00:31:05,600
Speaker 1: It's real, it's real. You can tell that, Sir Jessica.

622
00:31:05,760 --> 00:31:08,680
Speaker 2: Oh yeah, that's I mean. And she's just adorable. I

623
00:31:08,680 --> 00:31:09,480
Speaker 2: mean she really is.

624
00:31:09,880 --> 00:31:10,479
Speaker 1: She really is.

625
00:31:11,160 --> 00:31:15,520
Speaker 2: And it's like I've forgotten how adorable she is on

626
00:31:15,640 --> 00:31:19,240
Speaker 2: and off screen. Of course, yes, my relationship with the

627
00:31:19,440 --> 00:31:23,000
Speaker 2: primarily was on screen. And and just watching that is like,

628
00:31:23,520 --> 00:31:26,400
Speaker 2: she's so cute and so frigging funny, and and then

629
00:31:26,880 --> 00:31:31,760
Speaker 2: and and so is Chris. I mean he yes, you go, oh,

630
00:31:32,480 --> 00:31:33,680
Speaker 2: that's why she likes it.

631
00:31:33,880 --> 00:31:40,600
Speaker 1: Yes, exactly why she likes it because yes, thank god, he's.

632
00:31:40,440 --> 00:31:43,480
Speaker 2: Funny, he's sexy, he's good looking. I mean, he's he's

633
00:31:43,520 --> 00:31:46,240
Speaker 2: all those things. And she is too, and so I mean,

634
00:31:46,280 --> 00:31:50,560
Speaker 2: and the chemistry between the two of them is so palpable,

635
00:31:50,880 --> 00:31:54,880
Speaker 2: you know. And of course there's the scene it's not

636
00:31:55,080 --> 00:31:58,480
Speaker 2: that episode, but when they fall in the lake. You know, yes,

637
00:31:59,240 --> 00:32:03,840
Speaker 2: you know, it's very nineteen thirty's movie moment, so great.

638
00:32:04,480 --> 00:32:08,160
Speaker 2: It's like something Kaptaine Heppwerin would do and yes, and

639
00:32:08,200 --> 00:32:11,560
Speaker 2: they're charming in that. I mean, they're just yes, speak

640
00:32:11,720 --> 00:32:15,480
Speaker 2: to human beings, adore each other and have fun. And

641
00:32:15,480 --> 00:32:17,040
Speaker 2: that's why I like that scene I mentioned on the

642
00:32:17,040 --> 00:32:21,200
Speaker 2: bed when they just just think, you know, they can't

643
00:32:21,640 --> 00:32:24,280
Speaker 2: as she says, it's like that red wall. It's a

644
00:32:24,320 --> 00:32:27,680
Speaker 2: good idea, but it just doesn't work, and that's the

645
00:32:27,760 --> 00:32:29,520
Speaker 2: nature of that relationship. But you're right. I mean, I

646
00:32:29,520 --> 00:32:33,040
Speaker 2: think that scene is that bowling scene is really charming.

647
00:32:33,320 --> 00:32:35,760
Speaker 1: I mean it's incredible, and it's the first time that

648
00:32:35,840 --> 00:32:40,520
Speaker 1: I finally felt like because also it's so hard to

649
00:32:40,680 --> 00:32:43,640
Speaker 1: really separate the people from the characters, right because obviously

650
00:32:43,640 --> 00:32:45,920
Speaker 1: we were all together and I know them and whatnot.

651
00:32:46,040 --> 00:32:48,720
Speaker 1: But when I'm watching it, because there's been kind of

652
00:32:48,720 --> 00:32:52,680
Speaker 1: this fan you know, upset about Carrie and Carrie Big

653
00:32:52,720 --> 00:32:55,239
Speaker 1: together whatever, and I've always been like, what are they

654
00:32:55,280 --> 00:32:57,160
Speaker 1: talking about? But when I watch it back, I can

655
00:32:57,280 --> 00:32:59,600
Speaker 1: kind of see from the lens of twenty twenty five

656
00:33:00,680 --> 00:33:03,400
Speaker 1: why they're like why is she with him? Or why

657
00:33:03,440 --> 00:33:04,840
Speaker 1: does she want them? Or why does she put up

658
00:33:04,840 --> 00:33:06,320
Speaker 1: with that? But then by the time we get to

659
00:33:06,360 --> 00:33:09,440
Speaker 1: this bowling scene, because of the ease, there's like an

660
00:33:09,480 --> 00:33:12,600
Speaker 1: ease that I don't think. I mean, I think the

661
00:33:12,680 --> 00:33:16,240
Speaker 1: chemistry was there since the pilot, obviously right, and she's

662
00:33:16,360 --> 00:33:19,880
Speaker 1: her incredibly sparkly, charming self when you're on her, and

663
00:33:19,920 --> 00:33:24,840
Speaker 1: he's his incredibly charismatic, slightly covered self when you're on him,

664
00:33:24,920 --> 00:33:27,280
Speaker 1: and you can feel that there's something between them. But

665
00:33:27,440 --> 00:33:30,520
Speaker 1: in this scene, the bowling scene, and the sequeens leading

666
00:33:30,600 --> 00:33:32,520
Speaker 1: up to the bowling scene, like they have dinner and

667
00:33:32,560 --> 00:33:35,480
Speaker 1: it's super sexy and all that. But the bowling scene,

668
00:33:35,640 --> 00:33:39,400
Speaker 1: just if you just take that out and look at it,

669
00:33:39,400 --> 00:33:44,040
Speaker 1: it's like Gangbusters. I mean, I could put it against

670
00:33:44,120 --> 00:33:49,200
Speaker 1: any film scene of anyone in a romantic comedy or not.

671
00:33:49,800 --> 00:33:50,760
Speaker 1: It's amazing.

672
00:33:51,680 --> 00:33:55,320
Speaker 2: Oh that's yeah. Yeah. I adored the scene when I

673
00:33:55,320 --> 00:33:57,400
Speaker 2: saw it last night, and you know, I mean I'd

674
00:33:57,440 --> 00:33:59,120
Speaker 2: sort of looking at it like I had nothing to

675
00:33:59,120 --> 00:34:03,400
Speaker 2: do with it. You know. It's like, objectively, they're charming,

676
00:34:03,600 --> 00:34:07,160
Speaker 2: and they're they're swell together, and you know, and there

677
00:34:07,280 --> 00:34:09,239
Speaker 2: is some there's some moments I understand. I mean, we

678
00:34:09,280 --> 00:34:11,960
Speaker 2: live in a different world now, and the you know,

679
00:34:12,080 --> 00:34:14,880
Speaker 2: world in which it's very easy to judge the past

680
00:34:15,040 --> 00:34:18,279
Speaker 2: from the superior position of the present. Something I find

681
00:34:18,320 --> 00:34:24,920
Speaker 2: frankly annoying at the time. I get it just because

682
00:34:25,000 --> 00:34:28,400
Speaker 2: it's like, you know, people feel like they know so

683
00:34:28,480 --> 00:34:31,439
Speaker 2: much more than the ignorant amuses who lived twenty years ago,

684
00:34:31,719 --> 00:34:35,120
Speaker 2: who lived through it twenty thirty years ago. No, you're

685
00:34:35,480 --> 00:34:37,040
Speaker 2: We're all a part of the perer we live in.

686
00:34:37,360 --> 00:34:40,000
Speaker 2: I mean, people will look back at those people who

687
00:34:40,000 --> 00:34:44,160
Speaker 2: are standing in judgment earlier, you know, generations, and go

688
00:34:44,320 --> 00:34:46,560
Speaker 2: what's wrong with them? You know? I mean it's every

689
00:34:46,600 --> 00:34:51,280
Speaker 2: generation looks back on the previous generations and judges them. Unfortunately,

690
00:34:51,280 --> 00:34:55,399
Speaker 2: I think that judgment is not to hold pontificate here,

691
00:34:55,400 --> 00:34:59,360
Speaker 2: but go for it. Well, it's just people tend to

692
00:34:59,440 --> 00:35:03,239
Speaker 2: judge matter. I mean, everybody's a critic, everybody's everybody's got

693
00:35:03,520 --> 00:35:06,839
Speaker 2: knows more, everybody's smarter, everybody's you know, it would never

694
00:35:06,880 --> 00:35:11,880
Speaker 2: make those mistakes, which is just absurd. You live in

695
00:35:11,920 --> 00:35:13,719
Speaker 2: the time you live in, and just like we're living

696
00:35:13,760 --> 00:35:17,080
Speaker 2: in one now, right, and those who stand in judgment

697
00:35:17,120 --> 00:35:20,120
Speaker 2: in the past will look as absurd frankly in the

698
00:35:20,120 --> 00:35:25,040
Speaker 2: future as to another generation as they find that, you know,

699
00:35:25,120 --> 00:35:28,560
Speaker 2: people like the character a big looks to them.

700
00:35:28,640 --> 00:35:32,759
Speaker 1: You know, it's different, absolutely, absolutely, and I mean That's

701
00:35:32,800 --> 00:35:34,879
Speaker 1: another reason I wanted to do the podcast is because

702
00:35:34,880 --> 00:35:37,520
Speaker 1: I think it's super interesting, you know, to look at

703
00:35:37,600 --> 00:35:40,280
Speaker 1: what's different was the same, but I don't want to judge.

704
00:35:40,280 --> 00:35:44,200
Speaker 1: And someone went on my on my podcast Instagram and said,

705
00:35:44,719 --> 00:35:48,560
Speaker 1: you know, what's your problem with Big and Carrie. You're you.

706
00:35:48,560 --> 00:35:51,080
Speaker 1: You keep talking about it, and I'm just trying to

707
00:35:51,160 --> 00:35:54,759
Speaker 1: understand it. I don't. I'm not. I don't. I mean,

708
00:35:55,040 --> 00:35:57,080
Speaker 1: we made the show we made. I love the show

709
00:35:57,120 --> 00:36:00,920
Speaker 1: we made, like obviously, I would never do a podcast

710
00:36:00,920 --> 00:36:03,560
Speaker 1: about it if I didn't love it. I'm still doing

711
00:36:03,600 --> 00:36:06,279
Speaker 1: the show, you know what I'm saying, Like, I love

712
00:36:06,320 --> 00:36:10,560
Speaker 1: it obviously. But this person said, you're being disrespectful. I'm like, no,

713
00:36:10,760 --> 00:36:13,319
Speaker 1: I don't actually think I'm being disrespectful. I'm just trying

714
00:36:13,320 --> 00:36:16,880
Speaker 1: to look at it right, and I see positives and negatives,

715
00:36:16,920 --> 00:36:20,360
Speaker 1: like there is a complex picture, you know what I mean, other.

716
00:36:20,320 --> 00:36:23,440
Speaker 2: Things that you would do different. Look, you know everybody

717
00:36:23,920 --> 00:36:27,520
Speaker 2: in the in our game would do something different, would

718
00:36:27,520 --> 00:36:30,000
Speaker 2: not be satisfied with their own work, would do something different.

719
00:36:30,760 --> 00:36:34,120
Speaker 2: But we don't, you know in hindsight. But you're not

720
00:36:34,200 --> 00:36:37,440
Speaker 2: allowed to shoot something and see it from the perspective

721
00:36:37,480 --> 00:36:40,520
Speaker 2: of someone twenty years later and judge it. You just

722
00:36:40,600 --> 00:36:42,000
Speaker 2: have to do it and do the best you.

723
00:36:41,960 --> 00:36:45,360
Speaker 1: Can and right, and the thing is, it's amazing, Like

724
00:36:45,480 --> 00:36:48,040
Speaker 1: that's what I love, Like, you know, thank god. Right,

725
00:36:48,040 --> 00:36:50,920
Speaker 1: since I hadn't really seen it since way back, I'm like, well,

726
00:36:51,040 --> 00:36:53,120
Speaker 1: thank god. Even the first season that I in my

727
00:36:53,280 --> 00:36:55,640
Speaker 1: mind had thought was like a hot mess, right, I

728
00:36:55,640 --> 00:36:58,879
Speaker 1: look back, and there's so much good in it. And yes,

729
00:36:58,920 --> 00:37:01,640
Speaker 1: we're not. It hasn't jelled, I would say, but the

730
00:37:01,680 --> 00:37:04,120
Speaker 1: pieces are there, right, and you're looking at it and

731
00:37:04,120 --> 00:37:06,560
Speaker 1: you're like, where are they? Where's the light?

732
00:37:06,719 --> 00:37:06,799
Speaker 2: What?

733
00:37:07,360 --> 00:37:09,880
Speaker 1: You know? But there's something so charming about that, and

734
00:37:09,960 --> 00:37:12,719
Speaker 1: charming about the fact that we were allowed to find ourselves,

735
00:37:12,800 --> 00:37:15,440
Speaker 1: you know, we were allowed to develop and keep going

736
00:37:15,680 --> 00:37:19,520
Speaker 1: and everyone involved wanted to be better, right, so we're

737
00:37:19,520 --> 00:37:21,560
Speaker 1: all in it together. And then we're adding elements like

738
00:37:21,600 --> 00:37:24,000
Speaker 1: you like, thank god for Michael Hill going, yeah, let's

739
00:37:24,000 --> 00:37:27,480
Speaker 1: get Alan Cultra over here, you know, oh, thank god.

740
00:37:28,200 --> 00:37:30,680
Speaker 2: Yeah, And thank god. I had a great relationship with

741
00:37:30,680 --> 00:37:31,239
Speaker 2: Michael too.

742
00:37:31,280 --> 00:37:34,520
Speaker 1: I mean yeah, because he held the purse strings.

743
00:37:34,239 --> 00:37:38,040
Speaker 2: He did, but he was great, I mean he was

744
00:37:38,080 --> 00:37:42,000
Speaker 2: really and and the other Michael Michael Patrick, you know,

745
00:37:43,160 --> 00:37:45,799
Speaker 2: with him was great, and so I felt, you know,

746
00:37:46,560 --> 00:37:49,399
Speaker 2: free to be free to be me, I mean.

747
00:37:49,320 --> 00:37:52,000
Speaker 1: Free to yeah, And you made us feel free. And

748
00:37:52,040 --> 00:37:55,719
Speaker 1: that's really like such a powerful, powerful thing as an

749
00:37:55,760 --> 00:37:59,719
Speaker 1: actor in any circumstance, but especially in the circumstance where

750
00:38:00,200 --> 00:38:03,000
Speaker 1: we were really at that point building something. We were

751
00:38:03,000 --> 00:38:05,520
Speaker 1: in like a growth phase, like a building phase, you know,

752
00:38:05,920 --> 00:38:07,960
Speaker 1: where I think we knew it on some level that

753
00:38:08,000 --> 00:38:11,840
Speaker 1: we had so much great stuff available to us, but

754
00:38:11,920 --> 00:38:15,279
Speaker 1: it hadn't really you know, found like uh, you know,

755
00:38:15,400 --> 00:38:18,640
Speaker 1: like gelled in like one hundred percent. But we're right

756
00:38:18,719 --> 00:38:20,120
Speaker 1: on the edge of it. And then you come and

757
00:38:20,239 --> 00:38:24,960
Speaker 1: I see it all bump up like so much, you know, visually, emotionally,

758
00:38:25,040 --> 00:38:28,760
Speaker 1: like our bodies are more calm, you know, just because

759
00:38:28,760 --> 00:38:30,600
Speaker 1: of what you've created on the set, which is the

760
00:38:30,600 --> 00:38:34,120
Speaker 1: power of a director. You know, you can create tension,

761
00:38:34,440 --> 00:38:37,040
Speaker 1: you can create fear, you know, some people do that,

762
00:38:37,040 --> 00:38:39,359
Speaker 1: that's their way. This is what I love so much

763
00:38:39,400 --> 00:38:42,240
Speaker 1: about you, so many things, but number one, your vision

764
00:38:42,880 --> 00:38:47,359
Speaker 1: was you know, so elevated for us, Like you took

765
00:38:47,400 --> 00:38:50,600
Speaker 1: our show to the next level visually and in terms

766
00:38:50,680 --> 00:38:53,520
Speaker 1: of the storytelling and the way that you included these

767
00:38:53,560 --> 00:38:55,319
Speaker 1: elements and just talking to you, You're telling me so

768
00:38:55,400 --> 00:38:57,839
Speaker 1: many other details that I hadn't even realized that now

769
00:38:57,840 --> 00:38:59,719
Speaker 1: I have to go back and look again, which is

770
00:39:00,080 --> 00:39:01,880
Speaker 1: that's what you want, right? But then also just what

771
00:39:02,120 --> 00:39:05,759
Speaker 1: for as an actor? I can say you created a

772
00:39:06,520 --> 00:39:09,560
Speaker 1: confidence in me, like a trust that I could do it,

773
00:39:09,840 --> 00:39:11,520
Speaker 1: you know, so like I was challenged, but at the

774
00:39:11,560 --> 00:39:13,840
Speaker 1: same time I felt like, oh, yes, I can, I

775
00:39:13,840 --> 00:39:15,840
Speaker 1: can do this. I can play Charlotte. And when I

776
00:39:15,880 --> 00:39:18,399
Speaker 1: look at myself on screen, like my shoulders are down,

777
00:39:18,480 --> 00:39:21,799
Speaker 1: like I'm my voice is calmer. I mean, I'm still her, right,

778
00:39:21,920 --> 00:39:24,960
Speaker 1: but I'm there's a level of ease that I didn't

779
00:39:24,960 --> 00:39:26,680
Speaker 1: have till you came. So thank you.

780
00:39:27,840 --> 00:39:30,520
Speaker 2: I'm thrilled to hear that. Really, it was really it

781
00:39:30,560 --> 00:39:33,000
Speaker 2: was such a pleasure to work with you and and

782
00:39:33,280 --> 00:39:34,839
Speaker 2: and the other women. I mean, it was just I

783
00:39:34,880 --> 00:39:38,160
Speaker 2: was so happy to be there and it was just

784
00:39:38,200 --> 00:39:40,120
Speaker 2: a pleasure. I mean, I was coming from a very

785
00:39:40,239 --> 00:39:45,400
Speaker 2: dark world, you know, next door, you know, where the

786
00:39:45,400 --> 00:39:48,120
Speaker 2: food was protected and the old was and it was

787
00:39:48,120 --> 00:39:51,640
Speaker 2: a dark vision, and you know, it was it was

788
00:39:51,719 --> 00:39:54,560
Speaker 2: like a big I mean I loved everybody, and of

789
00:39:54,600 --> 00:40:00,000
Speaker 2: course it was a big dysfunctional Italian family with all

790
00:40:00,080 --> 00:40:02,359
Speaker 2: the things that came with that, and then I would

791
00:40:02,400 --> 00:40:04,359
Speaker 2: come over to Sexton City and it was like, oh,

792
00:40:04,719 --> 00:40:06,960
Speaker 2: this is such a relief, and.

793
00:40:08,840 --> 00:40:11,040
Speaker 1: That's so nice to hear. That's so nice to hear.

794
00:40:11,320 --> 00:40:14,480
Speaker 1: I just remember also just like the funny, like like

795
00:40:14,560 --> 00:40:17,400
Speaker 1: you brought so much charm just in your person do

796
00:40:17,600 --> 00:40:21,840
Speaker 1: I mean? It was good. It was good, and I remember.

797
00:40:21,640 --> 00:40:24,319
Speaker 2: I mean, I just forgot and then I just saw it.

798
00:40:24,320 --> 00:40:26,640
Speaker 2: In one of the early maybe the first episode I directed,

799
00:40:26,680 --> 00:40:29,040
Speaker 2: I can't remember. There was something I was trying to

800
00:40:29,040 --> 00:40:32,400
Speaker 2: get the background to a guy to do something and

801
00:40:32,400 --> 00:40:34,800
Speaker 2: I couldn't get in to do it. I just explained

802
00:40:34,800 --> 00:40:36,239
Speaker 2: it to him a bunch of times, and I was

803
00:40:36,320 --> 00:40:39,480
Speaker 2: just kind of losing my patience, and Sarah Disker said, oh,

804
00:40:39,520 --> 00:40:40,080
Speaker 2: you just do it.

805
00:40:40,600 --> 00:40:43,040
Speaker 1: So there is You're standing on the street and she

806
00:40:43,080 --> 00:40:43,839
Speaker 1: bumps into you.

807
00:40:44,200 --> 00:40:47,240
Speaker 2: Yeah. Yeah, it was so good.

808
00:40:47,400 --> 00:40:49,680
Speaker 1: I remember that too, and I remember thinking, how did

809
00:40:49,680 --> 00:40:51,759
Speaker 1: that happen? Because I don't think of you as being

810
00:40:51,760 --> 00:40:53,919
Speaker 1: a director who's like trying trying to be in the show.

811
00:40:54,000 --> 00:40:56,200
Speaker 1: You know what I'm saying, not at all believe me.

812
00:40:56,239 --> 00:40:59,520
Speaker 1: I was right, But it's so good. It's so perfect

813
00:40:59,800 --> 00:41:01,680
Speaker 1: and there's one time too, and I don't think this

814
00:41:01,800 --> 00:41:04,040
Speaker 1: was one you directed, but Spiller one time is a

815
00:41:04,080 --> 00:41:06,279
Speaker 1: guy on the street talking to the camera like it's

816
00:41:06,280 --> 00:41:09,600
Speaker 1: so funny. And then one time Camille, who was in casting,

817
00:41:09,719 --> 00:41:11,680
Speaker 1: is one of the people. Like there's so many people

818
00:41:11,719 --> 00:41:14,200
Speaker 1: that I think back then we were just like rolland

819
00:41:14,239 --> 00:41:16,040
Speaker 1: as quick as we could right, so if like something

820
00:41:16,080 --> 00:41:17,839
Speaker 1: happened with the night, we were like, just get in there.

821
00:41:21,400 --> 00:41:23,839
Speaker 1: But it is really fun. Alan, You're a joy. I'm

822
00:41:23,840 --> 00:41:25,880
Speaker 1: not even going to try to rewatch anymore because we

823
00:41:25,960 --> 00:41:28,600
Speaker 1: covered our bases. We covered all the important things.

824
00:41:28,960 --> 00:41:31,760
Speaker 2: That's great. I'm so glad. Thank you. I'm very honored

825
00:41:31,800 --> 00:41:32,799
Speaker 2: that you asked me to do this.

826
00:41:33,960 --> 00:41:36,240
Speaker 1: Thank you. You're my first director. That's not Michael Patrick

827
00:41:36,320 --> 00:41:38,560
Speaker 1: King who's been on. So thank you very much.

828
00:41:39,040 --> 00:41:42,040
Speaker 2: I'm honored. I'm honored and I flattered that you asked me.

829
00:41:42,120 --> 00:41:45,000
Speaker 2: And it was fun to do and you look fantastic

830
00:41:45,080 --> 00:41:47,239
Speaker 2: by the way. I don't think so much. Whatever you're

831
00:41:47,280 --> 00:41:48,279
Speaker 2: doing and keep doing it.

832
00:41:48,440 --> 00:41:52,040
Speaker 1: I have some big lights on me, as you can

833
00:41:52,040 --> 00:41:54,200
Speaker 1: see in my glasses when I move around. But thank

834
00:41:54,239 --> 00:41:56,919
Speaker 1: you so much. I also would like to love live

835
00:41:56,920 --> 00:41:59,319
Speaker 1: in your house. It's very beautiful and you look great

836
00:41:59,400 --> 00:42:01,120
Speaker 1: and I'm so happy that you're living up there, and

837
00:42:01,160 --> 00:42:02,120
Speaker 1: I hope you're happy.

838
00:42:02,400 --> 00:42:03,560
Speaker 2: I am. Thank you so much.

839
00:42:04,040 --> 00:42:06,319
Speaker 1: Good. Well, just know that we love you and we

840
00:42:06,400 --> 00:42:09,319
Speaker 1: think about you, and sometimes we quote you on the

841
00:42:09,360 --> 00:42:10,360
Speaker 1: set of Ben just like that.

842
00:42:10,880 --> 00:42:12,799
Speaker 2: I'm so happy to hear that. And please give my

843
00:42:12,840 --> 00:42:13,719
Speaker 2: love to the whole game.

844
00:42:13,920 --> 00:42:15,960
Speaker 1: I will, I will. You should come back and be

845
00:42:16,040 --> 00:42:19,279
Speaker 1: with us. I'm so glad. I'm so glad we endow

846
00:42:19,320 --> 00:42:22,760
Speaker 1: you back. Okay, nice to see you, Thank you for coming.

847
00:42:23,239 --> 00:42:23,960
Speaker 2: Okay, see it