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Speaker 1: Look may oh, I see my own and look over

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Speaker 1: there is that culture.

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Speaker 2: Yes, Gods loves culture.

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Speaker 1: Ding Dong lost Culturista's calling. And like Carrie Bradshaw, we

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Speaker 1: have returned from Paris. We have returned from Paris to

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Speaker 1: New York and in the streets again.

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Speaker 2: I mean, and we were in an expensive suite in

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Speaker 2: this lovely hotel and.

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Speaker 1: We did not find love there.

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Speaker 2: We did not find love there, thank you of Bianca

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Speaker 2: Mila of BC Travel Travel.

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Speaker 1: We didn't really try to find love though. We didn't

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Speaker 1: make earnest attempts. We made half fast attempts.

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Speaker 2: No, I think even first staying in the Marae, it

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Speaker 2: was still a pretty I would say, and I say

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Speaker 2: this with all love. During Pride Month, it was a

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Speaker 2: pretty pretty hetero sort of romance being sort of bandied

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Speaker 2: about and even sort of I don't know, like at

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Speaker 2: an allegedly gay club that we were supposed to go

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Speaker 2: to that we did end up going to.

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Speaker 1: Oh, that didn't feel gay at all.

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Speaker 2: The energy was kind of more black swan straight sort

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Speaker 2: of biomass. Then it was like an explicitly queer space

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Speaker 2: And that's okay, you just took.

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Speaker 1: Me back to We were in ny U and I

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Speaker 1: walked on. It was Fourth Avenue and they were filming

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Speaker 1: a movie and I said, what are you guys filming?

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Speaker 1: And they said, we're filming a movie called Black Swan.

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Speaker 1: And years later I'd not years later, a year later,

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Speaker 1: I'd find out it was the iconic scene with Mila

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Speaker 1: Kunas and Natalie Portman where Mila goes, you've never rolled,

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Speaker 1: and then they do Molly and have a lesbian encounter,

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Speaker 1: much more successful homosexually than we were in Paris. But

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Speaker 1: you guys rock Natalie and Mila and come in the

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Speaker 1: pod together together that they're still connected. I'm sure they are.

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Speaker 1: Oh well, anyway, we're sort of doing that thing where

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Speaker 1: it's like it's a big gas we really can't believe it. Yeah,

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Speaker 1: And so no more of our bullshit, because this is

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Speaker 1: a no bullshit moment in lost cult history. It's one

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Speaker 1: of those days we were passing back and forth a

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Speaker 1: little phone, sort of going shot for shot on iconic moments,

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Speaker 1: moments and certain television sit is history and really just

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Speaker 1: like sitting in not just the impact but the talent

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Speaker 1: of our guests. Just an incredible actor as well as

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Speaker 1: being a true pop culture icon. One of the top

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Speaker 1: pop culture icons on our iconic four hundred, I believe number.

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Speaker 2: Five, number five, and she was my first sort of

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Speaker 2: pop cultural Winifred I was like such a show Carrolbernet,

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Speaker 2: we love Oh. She would then play Agravain in her version.

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Speaker 2: Once un of a Mattress is like the big first

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Speaker 2: freshman year musical for me, huge window into the entire

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Speaker 2: This is could be an answer for me for the

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Speaker 2: culture that made me say culturess me one of them.

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Speaker 2: The Broadway revival of oneceon a Mattress that our guest

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Speaker 2: was the.

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Speaker 1: Star up for me outside of the big one. I

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Speaker 1: think I knew a little bit who I was when

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Speaker 1: I watched hocus Pocus and I said, well, I'm that one. Yeah,

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Speaker 1: that's the one I owned. In a dark lip, a

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Speaker 1: dark lip and a distracted, bedazzled energy, I said, I

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Speaker 1: want to be that unbothered. Of course I strive for that.

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Speaker 1: They won't expect anything of me. No, of course you're

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Speaker 1: dancing idiotically in the background. You never forget bet come

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Speaker 1: on the pod, come on the pot anyway of course, Well,

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Speaker 1: of course, Kat.

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Speaker 2: They keep in touch. But first, but first our guest. Well,

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Speaker 2: it's the mayoral primary in New York. I think she's

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Speaker 2: our mayor. Everyone, please welcome into your Jessica pardon.

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Speaker 3: Oh my gosh. I feel it'd be best if I

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Speaker 3: just left now, like happy to be all those things.

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Speaker 3: Like one day perhaps I will actually be one or

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Speaker 3: two of those or that person you described, but perhaps

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Speaker 3: we just leave best, best left alone.

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Speaker 4: That thank you so much for having me have a

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Speaker 4: great day.

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Speaker 1: And honestly, though it does have to be I was

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Speaker 1: thinking about this, like this idea of you as the

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Speaker 1: woman who represents New York women, like when you are

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Speaker 1: you and you're not Carrie Bradshaw, that's a little bit

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Speaker 1: of a burden. But also I guess.

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Speaker 4: Not, it's really not. None of it's a burden.

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Speaker 3: I mean relative to burdens, do you know what I mean,

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Speaker 3: Like relative to like.

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Speaker 4: Actual crosses to bear.

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Speaker 3: It's really one of the great privileges of a lifetime.

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Speaker 1: My question for you is, and I've always wondered this, so,

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Speaker 1: Carrie Bradshaw famous shoe game. Was your shoe game always

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Speaker 1: on point or did you have to kind of up

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Speaker 1: the shoe game as s JP because people see CB

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Speaker 1: oh interesting.

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Speaker 3: I think there was a tandem relationship and but one

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Speaker 3: one went mad and the other stayed as like a civilian. Yeah,

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Speaker 3: like I really actually have always loved shoes. And I

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Speaker 3: will try to tell this story quickly, but I'm one

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Speaker 3: of eight kids. There was a period of time in

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Speaker 3: which I was one of six kids. But nonetheless, that's

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Speaker 3: a lot of kids to shoe every year. And so

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Speaker 3: at the top of the school year, my mother would

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Speaker 3: take us. And this was not an unusual experience for

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Speaker 3: people in this country. At a speci time, you'd go

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Speaker 3: to a shoe store before school started, you would be sized.

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Speaker 3: And we didn't have a lot of money, so we

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Speaker 3: weren't like just shopping for shoes. It was like a

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Speaker 3: utilitarian act in a way. It's just necessary.

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Speaker 4: And we went.

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Speaker 3: And I'm the fourth of the six and now eight

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Speaker 3: or that, you know, soon after eight, and so I

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Speaker 3: would just like walk around the shoe store smelling shoes

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Speaker 3: and what I loved about a shoe store. And I'm

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Speaker 3: much older than you, so I don't know if you

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Speaker 3: had this experience, but when you walk into the shoe

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Speaker 3: store in August, it's air conditioned. First of all, Like

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Speaker 3: I don't know if you guys grew up with an

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Speaker 3: air conditioner in your house. But we did not, like

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Speaker 3: that is a privilege, like in the Ohio summer August.

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Speaker 3: So we walk, you know, drive a good distance to

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Speaker 3: our shoe store that is a distributor of like Buster Brown,

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Speaker 3: you know, walk in and as my siblings were getting fitted,

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Speaker 3: I would like pick up shoes and smell them and

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Speaker 3: then turn them over and like really look at the

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Speaker 3: stitching on the bottom of the soul of a Buster

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Speaker 3: Brown shoe. So I really came to this experience of

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Speaker 3: playing someone who has a far more fevered relationship with shoes.

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Speaker 4: With some like real affection.

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Speaker 3: I just don't I didn't have the access or the

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Speaker 3: money or the the constitution to like be buying sure

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Speaker 3: like it would not have I would not have considered

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Speaker 3: that kind of indulgence.

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Speaker 2: Yeah, seems like it seems like I'm relating this idea

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Speaker 2: to you talking in interviews about having access to books

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Speaker 2: in kind of a similar way. I mean, is that

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Speaker 2: I mean obviously different functions, But like I find it

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Speaker 2: interesting that you think that I think I mean planting.

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Speaker 2: I'm going to guess that you are the one who's

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Speaker 2: gone mad and carries the one who stayed a civilian

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Speaker 2: and yet it seems.

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Speaker 3: Like it's reverse crazy with shoes, and I stayed. Got

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Speaker 3: it more real now, granted, perhaps not real too if

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Speaker 3: if you might work in an office in Omaha, you

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Speaker 3: might not like our versions of being civilians are not.

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Speaker 1: Right.

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Speaker 3: Pair of ball, I don't have the closet that she has.

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Speaker 3: I don't have the shoes she has. I don't have

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Speaker 3: the amount. Nor would I ever like that kind of

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Speaker 3: that kind of indulgence and decadence to marm Yes, maximalist,

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Speaker 3: I wouldn't, But I love shoes. So but books were

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Speaker 3: different in my house because we had a public library,

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Speaker 3: so we've always had books. We could always have books,

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Speaker 3: but you can't always have shoes.

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Speaker 4: And so when you grow.

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Speaker 3: Up, I think having a pair for the fall and

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Speaker 3: a pair for the spring and then hand me downs,

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Speaker 3: you have a different like the the the thing you're

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Speaker 3: reaching for remains like a far away distance, you know,

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Speaker 3: And books were much more at our like we we

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Speaker 3: thought of them, went to the library like fulfilled, you know.

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Speaker 3: So they kind of are different. I love books, yes

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Speaker 3: you can talk about that, but I've had a different

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Speaker 3: It's been different because those have been more within my reach.

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Speaker 2: Sure, when I was younger. I mean, I am always

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Speaker 2: so curious about the sort of transitional time in your

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Speaker 2: life where you were in Ohio to sort of working

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Speaker 2: and probably being in New York for I guess many

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Speaker 2: months out of the year or was that like a

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Speaker 2: sudden quick like okay, we're picking like everyone.

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Speaker 4: We moved to New York.

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Speaker 3: I lived in Cincinnati until I was twelve. We my

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Speaker 3: brother and I the previous summer, in the summer of

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Speaker 3: seventy six, we'd worked in New York on a in

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Speaker 3: a play on Broadway. It had gone out of town

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Speaker 3: for out of town tryouts first, and that was my

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Speaker 3: only experience working in New York. My my real father

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Speaker 3: was born and raised in Brooklyn, but he wasn't living

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Speaker 3: in Brooklyn by the time he became a parent, so

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Speaker 3: we spent time in Brooklyn with his parents. But so

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Speaker 3: we had that experience, and on January first of nineteen

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Speaker 3: seventy seven, my parents put everything we owned into our

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Speaker 3: Volkswagen bus and we moved to New York City, the

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Speaker 3: entire family, and at that point there were six of us.

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Speaker 3: My mother was pregnant with my sister Legra.

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Speaker 4: She was born.

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Speaker 3: She came later because she couldn't. It wasn't a great

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Speaker 3: idea of for her to travel twelve miles in a car.

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Speaker 4: But there was like literally like.

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Speaker 3: I remember at one point my father kind of stopped

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Speaker 3: suddenly and there was a cast iron skill up behind

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Speaker 3: my head, and I just remember just like knowing that

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Speaker 3: it was there, like putting my hand back to hold

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Speaker 3: it so.

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Speaker 4: That it wouldn't hit us all on the head.

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Speaker 3: So then we moved to New York City, and we

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Speaker 3: didn't have a home yet. We were going to be

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Speaker 3: the first families that moved to Roosevelt Island.

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Speaker 1: Oh wow.

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Speaker 4: We came to New York to move to.

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Speaker 3: Roosevelt Island because they had subsidized housings so we could

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Speaker 3: afford to live New York City. But they were ready yet.

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Speaker 3: So we moved to the Holiday Inn in Yonkers and

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Speaker 3: we lived there, and then my mom came and so

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Speaker 3: my sister was born in Yonkers, and then Roosevelt Island

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Speaker 3: was finally ready, I think in the spring of seventy

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Speaker 3: seven maybe, So then we moved to Roosevelt Island and we.

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Speaker 4: Lived there was the train this is such a tram?

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Speaker 4: Was there?

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Speaker 2: Yeah?

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Speaker 3: I was there, So there was no there was a Park.

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Speaker 3: There was no subway service yet, it hadn't been built.

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Speaker 4: It may have.

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Speaker 3: Even just been like a dream. I don't think they

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Speaker 3: had started digging that subway line yet. And we only

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Speaker 3: knew about Roosevelt Island because there was an article in

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Speaker 3: New York magazine about it. My mom read the article,

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Speaker 3: and we applied through the Housing Urban Development Corporation and

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Speaker 3: got one of the apartments.

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Speaker 1: Wo.

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Speaker 4: So we lived there for a year. So we all.

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Speaker 3: Moved, the entire family. My father started a trucking business.

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Speaker 3: He was a truck driver, and some of my other

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Speaker 3: siblings were acts and auditioning and and thus began, and.

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Speaker 4: Thus began our time in the city.

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Speaker 3: And I don't think I ever imagined at that point

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Speaker 3: that anyone would ever say, yeah, no, you're a New Yorker.

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Speaker 3: I was like keeping track the entire time, Like at

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Speaker 3: what point, Yeah, I get I belong, Yeah, yeah, I'm.

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Speaker 4: A New Yorker.

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Speaker 1: Yeah, I mean I have.

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Speaker 3: I love Cincinnati so much, and it's an incredible city,

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Speaker 3: Like it's a really special city, and it's cultured and

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Speaker 3: interesting and such smart people and it's beautiful.

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Speaker 4: But I love that.

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Speaker 1: Yeah. Yeah, what year was? And he's been so on

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Speaker 1: the brain for me recently because they just did that

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Speaker 1: beautiful rendition of Tomorrow at the Tony Awards. Yeah, Sarah

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Speaker 1: Burrellis and Cynthia Rivo and Limorium, and I was just

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Speaker 1: I've now fallen into this wormhole of those songs as

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Speaker 1: the greatest Maybe and Tomorrow and just really everything even

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Speaker 1: not even just any songs, I mean across the board.

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Speaker 1: What age was that?

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Speaker 3: So that was I joined the the cast. I was like,

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Speaker 3: I guess one of the first replacements. So what happened

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Speaker 3: is Kathy jo Kelly was July. She left to do

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Speaker 3: the first national tour and play Annie, so I was

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Speaker 3: her replacement. So I came in in January of nineteen

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Speaker 3: seventy eight having seen the show.

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Speaker 4: Yeah, like I was like, you were obsessed. I don't

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Speaker 4: even know if.

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Speaker 3: Like there's a word to describe the way I felt.

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Speaker 4: About seeing that show.

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Speaker 3: We saw it, but I think before it opened on Broadway,

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Speaker 3: and I've been working in an industrial with a bunch

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Speaker 3: of the kids that were in that cast, and one

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Speaker 3: of the original orphans was my understudy in the Innocence

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Speaker 3: on Broadway that I had done the year before.

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Speaker 4: So all of us were very like.

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Speaker 3: We were like devotees of Annie and that cast album

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Speaker 3: is so I came in as an orphan as July

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Speaker 3: as well. I was cast as the understudy to Annie,

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Speaker 3: which is mystifying because I didn't I never really sang professionally, really.

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Speaker 1: Know was that? Is it? Just like loving it at

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Speaker 1: that age? And so you're pretending or like what do

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Speaker 1: you think made little you able to do that? Because

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Speaker 1: it's not easy?

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Speaker 2: No?

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Speaker 4: Yeah? And I still left thinking, well, I'm not really

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Speaker 4: a singer. I don't know. I think, you know, we

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Speaker 4: grew up listening to records.

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Speaker 3: We didn't have a television, and we listened to cast

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Speaker 3: albums all the time. And you know, I think like

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Speaker 3: a lot of people in my family, and we don't

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Speaker 3: know why we have a musical ear, like we have

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Speaker 3: good you know, we have musicality, or we have good pitch,

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Speaker 3: like and I'm I'm an interpreter, like I'm an interpreter,

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Speaker 3: and I you know, I had a really good audition

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Speaker 3: song I will say was it? And it was kind

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Speaker 3: of controversial and no one else was doing it.

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Speaker 4: So we're gonna is the path like it's not fine?

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Speaker 2: Are yeah?

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Speaker 4: Because it's gonna might hit.

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Speaker 1: I love I think we can.

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Speaker 2: I think we can dovetail into the question.

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Speaker 1: Okay, but I don't want to know your auditions.

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Speaker 2: I think it's a crack to crack. Which Okay, this

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Speaker 2: is the question, Sarah Parker, what was the culture that

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Speaker 2: made you say culture is for you?

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Speaker 3: So my answer to that question, and I was delighted

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Speaker 3: to have one versus you know, heming and hind and

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Speaker 3: trying to come up with something. I have a very

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Speaker 3: clear and specific and the easiest. It took like twenty seconds.

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Speaker 2: That's great.

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Speaker 4: Okay.

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Speaker 3: So in nineteen seventy six, when we came to New

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Speaker 3: York or nineteen seventy five, I can't remember, we came

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Speaker 3: to New York to audition for The Innocence on Broadway.

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Speaker 3: And that's another kind of amazing, crazy long story. But

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Speaker 3: as Bridget Everett, who I called gender says, short story long,

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Speaker 3: we came to New York and while we were in

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Speaker 3: New York City, one night we were spending time with

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Speaker 3: my paternal grandparents in Brooklyn, and my mother and father

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Speaker 3: went to see a show that was in previews called

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Speaker 3: a chorus Line at the Schubert Theater.

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Speaker 4: And they actually summoned the dollars.

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Speaker 3: Together in order to stay an extra day, because they

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Speaker 3: thought our children have to see the show, like they

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Speaker 3: have to see the show. So they stood back in

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Speaker 3: line and we got standing room, and we got two seats,

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Speaker 3: and we flipped like some of us for a while,

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Speaker 3: and some of us sat.

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Speaker 4: And so I saw in.

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Speaker 3: Previews at the Schubert Theater. I can't say that I

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Speaker 3: saw it down at the public theater. I saw a

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Speaker 3: course Line on Broadway before it opened, and I can

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Speaker 3: say without hesitation that it completely changed my life.

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Speaker 4: And I think what's interesting.

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Speaker 3: About good theater, or a good book, a musical, or

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Speaker 3: a straight play or a movie is that it is

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Speaker 3: not necessary. I don't have to have been a twenty

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Speaker 3: four year old. Course Line is famous for calling all

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Speaker 3: of them boys and girls. Yeah, but I was like

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Speaker 3: nine or ten years old, and I was from Ohio,

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Speaker 3: and I felt like the plates of the earth had

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Speaker 3: just shifted.

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Speaker 4: And they shouldn't have it, really, except that.

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Speaker 3: They were so good that cast, and that show was

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Speaker 3: so clearly about love. That show was so clearly about

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Speaker 3: a dream. And I think, you know, obviously what I

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Speaker 3: did for.

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Speaker 1: Love is it's so.

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Speaker 3: Because it just says everything and it applies to people

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Speaker 3: in a broad range of industries it applies to, But

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Speaker 3: there is something uniquely special about this desire to be

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Speaker 3: on stage. And it's hard to articulate because it's not necessary, it's.

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Speaker 4: Not even rational if you don't have.

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Speaker 3: Yet the language, like why, Sarah, Jessica, why do you

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Speaker 3: want to be on stage?

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Speaker 4: You're eight or nine or ten. And I wasn't like

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Speaker 4: a show biz kid.

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Speaker 3: It wasn't like I was tap dancing for my parents

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Speaker 3: and like putting on shows, put on shows, but that

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Speaker 3: show Priscilla Lopez singing nothing and music in the Mirror.

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Speaker 1: I was going to say, I saw the Jimmy Awards

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Speaker 1: last night and one of the girls did Music in

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Speaker 1: the Mirror and she, of course went to the finals.

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Speaker 1: Because it's so winning, it is so sweeping, it is

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Speaker 1: such a journey, and you're just you're taking away. I remember,

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Speaker 1: I've told you Jane Krakowski did it on a monster.

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Speaker 1: She is so talented.

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Speaker 4: It's just crazy, fantastic.

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Speaker 1: I remember even back in the remember I was a

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Speaker 1: little watching over my aunt's shoulder.

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Speaker 3: You ever watch have you ever pulled up on YouTube?

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Speaker 3: Do you have any clips in the original production?

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Speaker 2: Oh, of course, it's it's some there's some shaky bootlegs, right, and.

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Speaker 4: I thank God for all the bitch money.

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Speaker 3: You're like, but you camera down, there's someone up in

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Speaker 3: the balcony, and you're like, why did all of us

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Speaker 3: make such a fuss?

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Speaker 5: I remember that song in the Mirror is such a

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Speaker 5: winning song because and I think that probably what I

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Speaker 5: can relate to and what you're saying, and I'm sure

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Speaker 5: bowen Ken as well is it's like, You're right, what

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Speaker 5: is the question that I'm trying to answer within myself

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Speaker 5: that because I feel a certain emotion doing this, I

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Speaker 5: think what I experience was I want to express myself

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Speaker 5: like that, Yeah, do.

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Speaker 1: You think that that's maybe what it is.

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Speaker 3: I don't know if I understood that I wanted to

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Speaker 3: express myself. I guess I wanted to care. What I understood,

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Speaker 3: in the simplest terms, was this kind of unmatched necessity

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Speaker 3: to care, to be completely devoted, to flay yourself and

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Speaker 3: without any with total understanding of the very possible disappointment

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Speaker 3: and heartbreak. But that without the attempt, without the like

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Speaker 3: the exercise, like the real endeavor, then you would be

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Speaker 3: at a deficit, like you would be worse off for

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Speaker 3: not having been heartbroken than you would have been for

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Speaker 3: a path more comment.

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Speaker 1: What I did for love? I mean, it's all about

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Speaker 1: putting yourself out there one hundred percent and saying this

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Speaker 1: is what I'm offering.

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Speaker 2: What I did for love is this is and the

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00:19:29,840 --> 00:19:34,360
Speaker 2: show are about. Not to get sort of collogy meta about.

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Speaker 4: That's okay, I get it.

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Speaker 2: It's about having a passion for a passion. It's about

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Speaker 2: being passionate about passion. Were you watching a chorus Lane

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Speaker 2: thinking in the context of how you had watched musicals

385
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Speaker 2: before that moment, or was that just like completely like

386
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Speaker 2: a first impression of what the form could be would

387
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Speaker 2: be because it felt pretty It was very groundbreaking at

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Speaker 2: the time.

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Speaker 3: It was groundbreaking because it was so modern, and it

390
00:20:04,440 --> 00:20:08,159
Speaker 3: was without a fourth wall, and it was a person

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Speaker 3: in the house talking to the cast, and they were

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Speaker 3: dressed like nobody had ever dressed, No one ever been

393
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Speaker 3: costumed like that on Broadway. No one was wearing rehearsal

394
00:20:17,920 --> 00:20:23,080
Speaker 3: yet where and and it was such a kind of

395
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Speaker 3: candor about the language and the way they were talking,

396
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Speaker 3: and it was like ribald and dirty. Sometimes there were

397
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Speaker 3: inferences that were meant to be funny and sexual and

398
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Speaker 3: there was homosexuality, and you know, Paul, I think, is

399
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Speaker 3: you know, god, it would be amazing to play that part.

400
00:20:44,040 --> 00:20:48,520
Speaker 3: Oh that's a beautiful you know that part, that story

401
00:20:48,600 --> 00:20:52,040
Speaker 3: of his parents coming and seeing him still dressed as

402
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Speaker 3: a young woman. He's like in a you know, a

403
00:20:56,000 --> 00:20:59,800
Speaker 3: what do you call it? The shows Burlesque and Times Square.

404
00:21:00,359 --> 00:21:03,680
Speaker 3: You know, every single story was a so well thought out.

405
00:21:03,800 --> 00:21:09,000
Speaker 3: The book was the cleanest, most perfect, and like everything

406
00:21:09,119 --> 00:21:10,560
Speaker 3: not necessary.

407
00:21:10,080 --> 00:21:13,680
Speaker 2: Was gone, and so.

408
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Speaker 4: I think it was just like perfect. And the singing

409
00:21:20,040 --> 00:21:27,400
Speaker 4: and you know, uh, what's Maggie's song the greatest of all?

410
00:21:27,920 --> 00:21:30,760
Speaker 4: You know, every day was beautiful.

411
00:21:30,320 --> 00:21:41,080
Speaker 3: At the ballet, I mean that her singing she did no, no,

412
00:21:41,359 --> 00:21:44,600
Speaker 3: we talked about her because her was I mean, but.

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Speaker 1: You know that was actually my first experience actually when

414
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Speaker 1: I was watching and you're doing it, really I loved

415
00:21:49,680 --> 00:21:56,399
Speaker 1: that was whatever. I mean, give yourself credit. It affected me.

416
00:21:56,520 --> 00:21:58,119
Speaker 1: I was going to ask you this do you find

417
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Speaker 1: because I'm finding a link here between and you pointing

418
00:22:01,880 --> 00:22:04,000
Speaker 1: out in the book for the chorus line that there's

419
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Speaker 1: candor and that there's honesty, and that there's and then famously,

420
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Speaker 1: you know, you become synonymous with candor on television for

421
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Speaker 1: the first time. Is that something you're attracted to? Is

422
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Speaker 1: that something that you feel like you're seeking.

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Speaker 4: I mean not, I don't think so.

424
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Speaker 3: I don't think it's like a criteria. I think I

425
00:22:24,680 --> 00:22:26,879
Speaker 3: think I like that as a child because all the

426
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Speaker 3: musical all the musicals that I had heard before that

427
00:22:31,280 --> 00:22:34,960
Speaker 3: were really traditional, like big musicals like Hammers, you know,

428
00:22:35,040 --> 00:22:38,200
Speaker 3: like Partis and Hammerston and Learning Low and like Oklahoma

429
00:22:38,280 --> 00:22:41,879
Speaker 3: and Show Vowed, and so I think what struck me

430
00:22:42,400 --> 00:22:44,959
Speaker 3: so much and the rest of the world was that

431
00:22:45,400 --> 00:22:50,960
Speaker 3: a chorus line was so intimate and people were talking

432
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Speaker 3: about their lives on stage that were very different than

433
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Speaker 3: Shogun even.

434
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Speaker 4: And I'm which I loved.

435
00:22:59,440 --> 00:23:02,720
Speaker 3: So when I received the script, the pilot script for

436
00:23:02,960 --> 00:23:06,560
Speaker 3: Sex and City, I wasn't looking to play like, you know,

437
00:23:06,680 --> 00:23:07,240
Speaker 3: a sort of.

438
00:23:08,040 --> 00:23:11,960
Speaker 4: A New Yorker, yes, who was curious.

439
00:23:11,600 --> 00:23:14,280
Speaker 3: About sexual politics and wanted to have intimate convert Like

440
00:23:14,280 --> 00:23:18,200
Speaker 3: I didn't even realize that was a thing that could

441
00:23:18,480 --> 00:23:21,560
Speaker 3: be told or said. But I certainly was, like, found

442
00:23:21,560 --> 00:23:25,399
Speaker 3: it really compelling. I was I thought I never read

443
00:23:26,080 --> 00:23:28,960
Speaker 3: even in pilot form, because it's just so minimal. Really,

444
00:23:29,000 --> 00:23:30,640
Speaker 3: when you look back, you're like it was just this,

445
00:23:31,280 --> 00:23:36,639
Speaker 3: but it was really in plenty to convince me very easily,

446
00:23:36,680 --> 00:23:39,600
Speaker 3: without like any persuasion, that it was like, this is different,

447
00:23:39,760 --> 00:23:43,080
Speaker 3: this is I haven't heard anyone. I haven't heard people

448
00:23:43,119 --> 00:23:45,639
Speaker 3: have these kinds of conversations. And there were plenty of

449
00:23:45,680 --> 00:23:51,359
Speaker 3: women on television before Mary Richards and others, and Marla

450
00:23:51,440 --> 00:23:54,000
Speaker 3: Thomas and many others, who forgive me, I'm not remembering.

451
00:23:54,040 --> 00:23:57,359
Speaker 4: It's not like women hadn't We weren't like the first women.

452
00:23:57,440 --> 00:24:01,360
Speaker 3: But because I think of the because of our studio,

453
00:24:01,760 --> 00:24:04,760
Speaker 3: it was HBO, like the rules were very or didn't

454
00:24:04,760 --> 00:24:05,280
Speaker 3: apply at all.

455
00:24:05,440 --> 00:24:07,200
Speaker 1: Yeah, I used to do. I used to wait till

456
00:24:07,240 --> 00:24:09,360
Speaker 1: my parents would leave the house and then I would

457
00:24:09,359 --> 00:24:11,760
Speaker 1: go to my We had HBO on demand, and I

458
00:24:11,760 --> 00:24:13,800
Speaker 1: would just mainline.

459
00:24:13,480 --> 00:24:16,119
Speaker 4: Where are you from? Where you are? You're from?

460
00:24:16,160 --> 00:24:20,240
Speaker 3: Long Island Dream wasn't even that far away, but it

461
00:24:20,280 --> 00:24:21,120
Speaker 3: could have felt far away.

462
00:24:21,119 --> 00:24:23,080
Speaker 1: I guess one of my answers to one of my

463
00:24:23,119 --> 00:24:25,560
Speaker 1: answers to our own question is we went to go

464
00:24:25,600 --> 00:24:28,720
Speaker 1: see Hairspray and I just remember the three part harmony

465
00:24:28,760 --> 00:24:32,760
Speaker 1: on the the trio and they hit this insane three

466
00:24:32,880 --> 00:24:34,280
Speaker 1: three part harmony belt.

467
00:24:34,280 --> 00:24:36,280
Speaker 4: When the girls the ladies were singing.

468
00:24:38,320 --> 00:24:43,360
Speaker 1: Yeah, and I believe it was the Mama song. Yeah.

469
00:24:44,440 --> 00:24:47,160
Speaker 1: I just remember hearing those harmonies belted and how joyfully

470
00:24:47,160 --> 00:24:48,879
Speaker 1: it was and the response from the audience, and I

471
00:24:48,920 --> 00:24:51,080
Speaker 1: burst into tears and my mom was like, what is wrong?

472
00:24:51,119 --> 00:24:53,600
Speaker 1: And I was like, nothing. I don't know exactly, but

473
00:24:53,680 --> 00:24:55,159
Speaker 1: it was. It's nothing.

474
00:24:55,280 --> 00:24:56,880
Speaker 4: I don't know. That would be a really good name

475
00:24:56,920 --> 00:24:57,520
Speaker 4: for your memoir.

476
00:24:58,520 --> 00:25:00,280
Speaker 1: You know what, I'm going to call it for thing

477
00:25:00,600 --> 00:25:03,160
Speaker 1: because no, I'm serious.

478
00:25:04,000 --> 00:25:06,720
Speaker 3: Interesting second book is called so the first one's called

479
00:25:06,720 --> 00:25:08,960
Speaker 3: not for nothing, and the second one is called nothing.

480
00:25:09,000 --> 00:25:12,320
Speaker 4: I don't know because also nothing. I don't know. It

481
00:25:12,320 --> 00:25:14,480
Speaker 4: could be yeah, nothing, I don't know.

482
00:25:14,720 --> 00:25:18,600
Speaker 1: Right, you know, it's it was very nothing. I don't know,

483
00:25:18,720 --> 00:25:19,440
Speaker 1: because it was.

484
00:25:19,400 --> 00:25:21,600
Speaker 4: It was you couldn't, you didn't, there was no.

485
00:25:22,480 --> 00:25:26,000
Speaker 1: That's why I asked you was it about expression? Because

486
00:25:26,560 --> 00:25:28,919
Speaker 1: the tables are turning? I asked you was it about expression?

487
00:25:28,920 --> 00:25:30,879
Speaker 1: Because certainly for me it was. I think I was like,

488
00:25:30,960 --> 00:25:34,119
Speaker 1: I I remember I saw those women and everyone up

489
00:25:34,119 --> 00:25:37,480
Speaker 1: there dancing and singing and giving it everything, and I

490
00:25:37,480 --> 00:25:40,240
Speaker 1: think they knew they were a part of something special. Yeah,

491
00:25:40,520 --> 00:25:44,400
Speaker 1: and I all I wanted to do was I think honestly,

492
00:25:44,520 --> 00:25:47,280
Speaker 1: I want when I talk about that belted harmony, it's

493
00:25:47,320 --> 00:25:50,520
Speaker 1: because of the volume. I wanted to express myself loudly.

494
00:25:50,960 --> 00:25:53,720
Speaker 1: And I think there's something about looking at people on

495
00:25:53,760 --> 00:25:56,280
Speaker 1: a stage and expressing, especially in the show that you

496
00:25:56,400 --> 00:25:59,439
Speaker 1: that you point out, it makes me emotional, like like

497
00:26:00,560 --> 00:26:04,560
Speaker 1: the freedom to express and that is that is what

498
00:26:04,600 --> 00:26:06,879
Speaker 1: you get on stage. And that's the Jimmy Awards last night.

499
00:26:06,880 --> 00:26:08,159
Speaker 1: It's just so emotional.

500
00:26:07,840 --> 00:26:09,680
Speaker 4: Because about the Jimmy Awards, the.

501
00:26:09,680 --> 00:26:14,560
Speaker 1: High School Musical Theater Awards, j y G y n

502
00:26:14,760 --> 00:26:21,600
Speaker 1: after James Neederland Jimmy, Yeah, wow, it's at the mince Goff.

503
00:26:21,760 --> 00:26:24,400
Speaker 1: But I saw you at the Nelander in Plaza.

504
00:26:24,160 --> 00:26:27,119
Speaker 4: Suite and weird the Hudson.

505
00:26:28,320 --> 00:26:31,040
Speaker 1: That's okay, That's okay, But I that was the last

506
00:26:31,040 --> 00:26:32,880
Speaker 1: time I guess that. Well, I guess we ran into

507
00:26:32,920 --> 00:26:34,560
Speaker 1: you at s n L fifty, but the last time

508
00:26:34,560 --> 00:26:35,639
Speaker 1: I had physically seen you.

509
00:26:35,800 --> 00:26:38,560
Speaker 4: But another did I see it? Smash? Where did I

510
00:26:38,720 --> 00:26:45,719
Speaker 4: cost you? Guys? Was it?

511
00:26:45,760 --> 00:26:46,800
Speaker 1: I just watched election.

512
00:26:47,040 --> 00:26:50,960
Speaker 3: That's a perfectly fine thing to say to him.

513
00:26:50,960 --> 00:26:51,800
Speaker 4: That's really nice.

514
00:26:52,000 --> 00:26:54,639
Speaker 1: That's I said it twice in the night. So the

515
00:26:54,800 --> 00:26:56,359
Speaker 1: second time, by the way, put a great movie.

516
00:26:56,920 --> 00:26:58,399
Speaker 3: I want to ask you a question a second, but

517
00:26:58,440 --> 00:27:04,000
Speaker 3: I do want to talk about SNL fifty because actually

518
00:27:04,160 --> 00:27:08,520
Speaker 3: I I I was moving past Lauren more recently, and

519
00:27:08,600 --> 00:27:11,160
Speaker 3: I tried to tell him we were at a party

520
00:27:11,680 --> 00:27:14,800
Speaker 3: and another party, a different party, and I tried to say,

521
00:27:16,240 --> 00:27:19,080
Speaker 3: you know, that was like a perfect night.

522
00:27:19,200 --> 00:27:22,640
Speaker 4: That was that was like a perfect night.

523
00:27:22,720 --> 00:27:25,240
Speaker 3: And I've been trying to fight figure out a way

524
00:27:25,320 --> 00:27:27,560
Speaker 3: of writing him a note to say thank you for

525
00:27:27,680 --> 00:27:29,919
Speaker 3: including us and that night and it started the weekend

526
00:27:29,960 --> 00:27:34,359
Speaker 3: with the shows and it was so much fun, and

527
00:27:34,400 --> 00:27:36,600
Speaker 3: I like, we don't even go out anywhere, like no, no,

528
00:27:36,640 --> 00:27:37,400
Speaker 3: it's okaya.

529
00:27:38,200 --> 00:27:43,240
Speaker 4: But I try to tell Laurene how perfect it was.

530
00:27:43,320 --> 00:27:47,280
Speaker 4: And I can't imagine the feat of production, my god,

531
00:27:47,440 --> 00:27:47,800
Speaker 4: and what.

532
00:27:48,160 --> 00:27:53,160
Speaker 3: Went into deciding which ones you were gonna do. How

533
00:27:53,240 --> 00:27:57,760
Speaker 3: hard it would be to be clear eyed enough to focus,

534
00:27:57,840 --> 00:28:02,800
Speaker 3: and everybody kind of already who rise all the time

535
00:28:02,840 --> 00:28:07,040
Speaker 3: anyway at eleven o'clock, like eleven thirty, like already that

536
00:28:07,040 --> 00:28:09,199
Speaker 3: that's so something you guys are all accustomed to. So

537
00:28:09,240 --> 00:28:12,560
Speaker 3: you were like taking like the most well oiled machine

538
00:28:12,600 --> 00:28:16,879
Speaker 3: and somehow making it like like a speed train in Kyoto,

539
00:28:17,000 --> 00:28:18,520
Speaker 3: or you know what, I mean like a bullet train,

540
00:28:18,640 --> 00:28:21,360
Speaker 3: a bullet train. So did you guys know that this

541
00:28:21,560 --> 00:28:25,560
Speaker 3: was like, oh, this is solid, Like were you like.

542
00:28:25,880 --> 00:28:31,679
Speaker 2: It was all for sure in in Lorne's mind up

543
00:28:31,760 --> 00:28:34,840
Speaker 2: until like the two weeks before. So Lourene, I think,

544
00:28:35,040 --> 00:28:38,880
Speaker 2: was doing his kind of amazing beautiful mind esque like

545
00:28:38,920 --> 00:28:41,080
Speaker 2: the numbers are sort of like floating around his head.

546
00:28:41,560 --> 00:28:44,240
Speaker 2: But like for the better part of the of the fall,

547
00:28:44,280 --> 00:28:45,960
Speaker 2: I think for all of the first half of the

548
00:28:46,000 --> 00:28:48,800
Speaker 2: season of fifty, it was like, okay, like, what's the

549
00:28:48,800 --> 00:28:51,080
Speaker 2: show going to be? Like be out to like can

550
00:28:51,120 --> 00:28:54,680
Speaker 2: we we need to do like a veil checks as.

551
00:28:54,520 --> 00:28:59,040
Speaker 3: If somebody would not cross like anywhere to get there,

552
00:28:59,080 --> 00:28:59,760
Speaker 3: and people.

553
00:29:00,120 --> 00:29:02,560
Speaker 1: Hosted it that you think, right, it was the amazing

554
00:29:02,600 --> 00:29:05,120
Speaker 1: but there it is. It's also very nerve racking.

555
00:29:04,960 --> 00:29:08,480
Speaker 3: But it's also like a night for legends, like it's

556
00:29:08,480 --> 00:29:10,720
Speaker 3: the night where you want to repeat, you want to

557
00:29:10,800 --> 00:29:11,560
Speaker 3: dip back.

558
00:29:11,360 --> 00:29:13,480
Speaker 4: In like it's such a deep well.

559
00:29:14,240 --> 00:29:19,160
Speaker 3: So I thought, however, you came to these decisions whatever

560
00:29:19,200 --> 00:29:24,960
Speaker 3: the collective is. First of all, the opening with Paul Simon,

561
00:29:25,000 --> 00:29:30,760
Speaker 3: it's a carpenter, which is like perfect and so sentimental,

562
00:29:30,800 --> 00:29:36,040
Speaker 3: like already they already hit like a triple to know

563
00:29:37,160 --> 00:29:40,600
Speaker 3: she was perfect and she like held back just the

564
00:29:40,720 --> 00:29:43,880
Speaker 3: right like it was so elegant, and he was so

565
00:29:44,040 --> 00:29:48,600
Speaker 3: touching and it's so sentimental and it's so nostalgic, and

566
00:29:48,960 --> 00:29:51,000
Speaker 3: you know, my brothers grew up watching that show the

567
00:29:51,160 --> 00:29:56,640
Speaker 3: very first episode, like your show, like that show, but anyway,

568
00:29:56,880 --> 00:29:59,280
Speaker 3: so already you could tell like it was you know,

569
00:29:59,400 --> 00:30:01,760
Speaker 3: when you get off to start like that, you're like, sure,

570
00:30:01,920 --> 00:30:02,640
Speaker 3: you're so right.

571
00:30:02,680 --> 00:30:05,080
Speaker 2: It's like, I think probably that that was the thought

572
00:30:05,080 --> 00:30:06,760
Speaker 2: that went into it from louren Zen. It was just like,

573
00:30:06,880 --> 00:30:10,440
Speaker 2: let's just make sure this is cozy and comfortable for

574
00:30:10,680 --> 00:30:13,720
Speaker 2: everyone in the room. Everyone at home were in good

575
00:30:13,760 --> 00:30:15,600
Speaker 2: hands all the way through. And then you come out

576
00:30:15,640 --> 00:30:22,160
Speaker 2: with you know, Steve Martin coming out, Mulaney Martin short,

577
00:30:22,160 --> 00:30:24,840
Speaker 2: it's like all these heavy hitters and then it's just

578
00:30:24,960 --> 00:30:30,760
Speaker 2: it was to me this like four dimensional photo mosaic

579
00:30:31,000 --> 00:30:34,880
Speaker 2: of like everyone who's who's had the same shared experience

580
00:30:34,880 --> 00:30:37,000
Speaker 2: of being on that show, and it meant everything that

581
00:30:37,120 --> 00:30:41,320
Speaker 2: like my closest friends were there, Matt was there, Sudi

582
00:30:41,480 --> 00:30:44,440
Speaker 2: was there, our best friend Suiti Celestar co writer who

583
00:30:44,440 --> 00:30:47,000
Speaker 2: we're working with now. I mean, it was just this

584
00:30:47,080 --> 00:30:50,800
Speaker 2: like complete tapestry of like the human experience and how

585
00:30:50,880 --> 00:30:54,840
Speaker 2: all of it has this optimistic sort of like encasing

586
00:30:54,840 --> 00:30:56,920
Speaker 2: around it, which is like it's gonna be okay, like

587
00:30:57,480 --> 00:30:59,720
Speaker 2: for all of like the like slings and arras that

588
00:30:59,760 --> 00:31:01,959
Speaker 2: people will suffer in the system and outside of it,

589
00:31:01,960 --> 00:31:05,040
Speaker 2: it's like, yeah, everyone's here, and they're telling you about

590
00:31:05,080 --> 00:31:07,320
Speaker 2: the kids that are that they have, the families that

591
00:31:07,360 --> 00:31:10,320
Speaker 2: they've grown, like the lives that they've had since they've

592
00:31:10,360 --> 00:31:12,600
Speaker 2: been at the show. And it was really hard and

593
00:31:12,640 --> 00:31:14,800
Speaker 2: the seventies, the eighties, the nineties of the Yats whatever,

594
00:31:15,000 --> 00:31:17,000
Speaker 2: like every air of the show is like not totally

595
00:31:17,080 --> 00:31:19,240
Speaker 2: unique because it's like, oh, it's all been set against

596
00:31:19,360 --> 00:31:22,480
Speaker 2: the backdrop of whatever political chaos was happening at the time,

597
00:31:22,520 --> 00:31:25,760
Speaker 2: and like it's our job to like bring some levity

598
00:31:25,800 --> 00:31:30,200
Speaker 2: in whatever way we can and whatever media environment that

599
00:31:30,360 --> 00:31:33,600
Speaker 2: is like out there. I mean, like I was like,

600
00:31:33,640 --> 00:31:36,760
Speaker 2: no one's gonna watch this, Like it's like no, everyone's

601
00:31:36,760 --> 00:31:39,680
Speaker 2: attentions are pulled in a million different directions.

602
00:31:39,680 --> 00:31:43,480
Speaker 4: But every every so often there's a cultural event that.

603
00:31:45,640 --> 00:31:49,880
Speaker 3: Is able to sit everybody down, yep, and you want

604
00:31:49,880 --> 00:31:52,480
Speaker 3: it to be in real time, like all of the

605
00:31:53,680 --> 00:31:58,040
Speaker 3: New and the ways in which I like have like

606
00:31:58,080 --> 00:32:01,280
Speaker 3: an allergy to watching television, Like that too was the thing.

607
00:32:01,280 --> 00:32:04,040
Speaker 4: It's like, no, it's going you don't want to watch it.

608
00:32:04,000 --> 00:32:09,640
Speaker 1: Tomorrow moment that is that is literally not.

609
00:32:09,640 --> 00:32:11,360
Speaker 4: A sports event. Not a sports event.

610
00:32:11,440 --> 00:32:14,080
Speaker 1: No, yeah right, but I remember, like this is odd,

611
00:32:14,120 --> 00:32:16,880
Speaker 1: but like I remember when we were little. I remember

612
00:32:16,920 --> 00:32:19,120
Speaker 1: watching Who Wants to Be Millionaire? When the first person

613
00:32:19,200 --> 00:32:22,440
Speaker 1: one a million dollars and it was like the world exploded,

614
00:32:22,480 --> 00:32:25,360
Speaker 1: Like I remember when Richard Hatch one Survivor right talking

615
00:32:25,360 --> 00:32:29,720
Speaker 1: about only reality. But like, you know, all these things

616
00:32:29,760 --> 00:32:33,080
Speaker 1: are That's what sn L fifty was recreating. And I

617
00:32:33,080 --> 00:32:36,400
Speaker 1: think it makes you proud to be a New Yorker too,

618
00:32:36,480 --> 00:32:39,720
Speaker 1: because obviously it's synonymous, and I think that must have

619
00:32:39,880 --> 00:32:41,080
Speaker 1: that must also give you.

620
00:32:40,960 --> 00:32:45,880
Speaker 3: A synonymous There are great musicals that are about New

621
00:32:45,960 --> 00:32:49,920
Speaker 3: York and important choreography. But I think because this, this

622
00:32:50,040 --> 00:32:56,520
Speaker 3: is this contemporary thing keeps giving us this experience every

623
00:32:56,720 --> 00:33:02,040
Speaker 3: weekend and it is only could be home. And you know,

624
00:33:02,120 --> 00:33:04,480
Speaker 3: a show can go on the road and touch people

625
00:33:04,560 --> 00:33:07,600
Speaker 3: all over the country and the globe frankly, but New

626
00:33:07,680 --> 00:33:11,000
Speaker 3: York continues to be like this export, like we don't

627
00:33:11,040 --> 00:33:13,760
Speaker 3: get to send art as far in the ways we

628
00:33:13,840 --> 00:33:16,080
Speaker 3: used to like it was such a crisscrossing of the

629
00:33:16,080 --> 00:33:19,920
Speaker 3: ocean with such an effort, and now we were tossing stuff.

630
00:33:19,920 --> 00:33:23,240
Speaker 4: But this is a New York show.

631
00:33:23,760 --> 00:33:27,480
Speaker 3: It employs thousands and thousands and thousands of thousands of

632
00:33:27,480 --> 00:33:30,480
Speaker 3: New Yorkers. I'm sure generations have gone through that studio

633
00:33:30,640 --> 00:33:35,680
Speaker 3: of people on the crew side. You know, there's endless

634
00:33:35,720 --> 00:33:38,800
Speaker 3: stories of the way in which it is a New

635
00:33:38,880 --> 00:33:39,400
Speaker 3: York show.

636
00:33:40,280 --> 00:33:41,720
Speaker 4: So you guys of the Deli.

637
00:33:41,840 --> 00:33:45,080
Speaker 1: Show, are you like you.

638
00:33:45,040 --> 00:33:47,360
Speaker 3: Know, there's a period when I started having children that

639
00:33:47,440 --> 00:33:50,200
Speaker 3: I didn't that I like tapped out of baseball and

640
00:33:50,240 --> 00:33:53,560
Speaker 3: I tapped out of anything that was late, because like,

641
00:33:53,680 --> 00:33:56,400
Speaker 3: I just didn't especially if I was shooting and being

642
00:33:56,440 --> 00:33:58,920
Speaker 3: a parent. It just all of a sudden it didn't

643
00:33:59,160 --> 00:34:01,360
Speaker 3: factor like I could didn't carve the time out.

644
00:34:01,720 --> 00:34:01,800
Speaker 1: Ye.

645
00:34:02,360 --> 00:34:05,000
Speaker 3: But it's really interesting when you have children after a while,

646
00:34:05,520 --> 00:34:08,560
Speaker 3: what their interests are and what they're talking about can

647
00:34:08,600 --> 00:34:14,560
Speaker 3: bring you back home. My son is a massive baseball fan,

648
00:34:14,800 --> 00:34:18,320
Speaker 3: and so it it came back into our life because

649
00:34:18,320 --> 00:34:22,279
Speaker 3: he became much more you know, he was dictating conversation

650
00:34:22,400 --> 00:34:24,400
Speaker 3: at the table and then of course they're all watching

651
00:34:24,520 --> 00:34:26,719
Speaker 3: SNL and they're talking about and then telling us and

652
00:34:26,760 --> 00:34:29,520
Speaker 3: re you know, and pulling stuff up on their phones

653
00:34:29,760 --> 00:34:34,960
Speaker 3: of scenes and instances and whatever. So the way in

654
00:34:35,040 --> 00:34:37,600
Speaker 3: which it kind of disappeared not entirely, but I wasn't

655
00:34:38,120 --> 00:34:41,760
Speaker 3: able to stay up. Of course, you know that that's

656
00:34:41,840 --> 00:34:43,880
Speaker 3: not so much the case anymore.

657
00:34:43,960 --> 00:34:46,440
Speaker 2: Yeah, but for you to give the impromoter of New

658
00:34:46,520 --> 00:34:49,799
Speaker 2: York nois onto that show is meaningful. Just coming from

659
00:34:49,800 --> 00:34:53,200
Speaker 2: another New York show, I'm just so happy to hear

660
00:34:53,239 --> 00:34:55,200
Speaker 2: that you guys had a great time because it because

661
00:34:55,280 --> 00:34:58,760
Speaker 2: because you're right, fantastic. The people in the room were you, Matthew,

662
00:34:59,480 --> 00:35:04,279
Speaker 2: Lady God God Share for god, it was like and like,

663
00:35:04,440 --> 00:35:05,759
Speaker 2: you know, we couldn't believe.

664
00:35:05,800 --> 00:35:09,399
Speaker 3: We were like, oh my god, like everyone was game.

665
00:35:09,840 --> 00:35:10,840
Speaker 4: It was so crazy.

666
00:35:10,880 --> 00:35:14,480
Speaker 3: And then like even the entrance and you know, getting

667
00:35:14,520 --> 00:35:17,919
Speaker 3: your ticket, and you know, Matthew was convinced we weren't

668
00:35:17,920 --> 00:35:21,399
Speaker 3: going to watch it in the room because to this

669
00:35:21,880 --> 00:35:23,960
Speaker 3: really lovely like cocktail.

670
00:35:23,440 --> 00:35:25,120
Speaker 4: Areau the lounge.

671
00:35:25,600 --> 00:35:30,279
Speaker 3: And then I felt Matthew's spirits slightly. He's like, I

672
00:35:30,320 --> 00:35:32,239
Speaker 3: think we're in the lounge to watch it, And I said,

673
00:35:32,280 --> 00:35:35,399
Speaker 3: that's okay. We're all it's we're on this floor. We're

674
00:35:35,440 --> 00:35:39,240
Speaker 3: on the eighth floor, right, the eighth floor floor. And

675
00:35:39,239 --> 00:35:45,600
Speaker 3: and then the woman was like, no, you're you.

676
00:35:50,280 --> 00:35:52,040
Speaker 1: By the way, you know where I just saw Matthew

677
00:35:52,120 --> 00:35:54,600
Speaker 1: at the Mets game. He was there, he was was he?

678
00:35:54,760 --> 00:35:58,080
Speaker 1: Is he there all the time? The Yankees? And is

679
00:35:58,080 --> 00:35:59,080
Speaker 1: it a torn up household?

680
00:35:59,120 --> 00:36:01,840
Speaker 3: That's such a complicated say, because we like our whole

681
00:36:01,840 --> 00:36:05,880
Speaker 3: courtship was like the late nineties Yankees because but everybody,

682
00:36:05,960 --> 00:36:09,240
Speaker 3: everybody was, everybody was a fan.

683
00:36:08,600 --> 00:36:11,120
Speaker 1: Then you guys would not shut up.

684
00:36:11,280 --> 00:36:13,759
Speaker 3: But we weren't that kind of Yankees fan, because that's

685
00:36:13,800 --> 00:36:15,400
Speaker 3: always been objectionable to me.

686
00:36:15,760 --> 00:36:18,960
Speaker 4: But we did. We weren't a couple of ticker tape

687
00:36:18,960 --> 00:36:21,640
Speaker 4: parades though. Yeah.

688
00:36:21,760 --> 00:36:23,440
Speaker 3: And we didn't have kids, and so like, you know,

689
00:36:23,520 --> 00:36:25,960
Speaker 3: we could. Our dream was we were going to travel.

690
00:36:26,680 --> 00:36:28,160
Speaker 3: We didn't get to go on a honeymoon because we

691
00:36:28,160 --> 00:36:31,400
Speaker 3: were both working, but our travel dream was we were

692
00:36:31,400 --> 00:36:34,040
Speaker 3: either going to go to Vietnam or we were going

693
00:36:34,120 --> 00:36:36,320
Speaker 3: to go to all the baseball stadiums across the country

694
00:36:36,320 --> 00:36:38,600
Speaker 3: before they were torn down, so many of them been

695
00:36:38,719 --> 00:36:45,560
Speaker 3: torn down, you know, yeah.

696
00:36:44,040 --> 00:36:46,880
Speaker 1: Right, My dad used to ride his bike from Long

697
00:36:46,920 --> 00:36:49,160
Speaker 1: Island and hop Defense and he would just watch games

698
00:36:49,160 --> 00:36:52,479
Speaker 1: at Shade riding from Linden Matthew Mouth.

699
00:36:52,480 --> 00:36:57,360
Speaker 3: He was sort of taught that, you like, he was

700
00:36:57,440 --> 00:36:59,320
Speaker 3: raised as a Met fan. His father took him to

701
00:36:59,360 --> 00:37:02,799
Speaker 3: Mets games, so it was always hard. And then when

702
00:37:02,840 --> 00:37:05,279
Speaker 3: they would have Subway series, it was it was really hard.

703
00:37:05,320 --> 00:37:09,040
Speaker 3: It's just that this this late nineties Yankee was just

704
00:37:09,120 --> 00:37:14,279
Speaker 3: heavenly and we you know, we love them, but I but.

705
00:37:14,280 --> 00:37:17,200
Speaker 4: We love the Mets too. And there's been many times

706
00:37:17,200 --> 00:37:18,760
Speaker 4: when it's been really hard.

707
00:37:19,200 --> 00:37:24,160
Speaker 1: Sure because the Mets is they're either really good or

708
00:37:24,320 --> 00:37:25,160
Speaker 1: really bad.

709
00:37:25,320 --> 00:37:27,799
Speaker 3: I know, but man, being watching watching the Mets fan

710
00:37:27,960 --> 00:37:30,799
Speaker 3: like our house, like I'm like, we believe, oh my god,

711
00:37:31,200 --> 00:37:33,919
Speaker 3: believe what is the temperature going to be? Like when

712
00:37:33,960 --> 00:37:35,560
Speaker 3: Matthew I walked in them and the other day and

713
00:37:36,160 --> 00:37:36,840
Speaker 3: I was like.

714
00:37:36,880 --> 00:37:40,359
Speaker 4: What what what? Like I was scared of like.

715
00:37:40,280 --> 00:37:43,160
Speaker 3: Some horrible news that had just arrived over the wire,

716
00:37:43,640 --> 00:37:46,319
Speaker 3: and He's like, they just blew a you know, they

717
00:37:46,440 --> 00:37:49,520
Speaker 3: just they just blew a seven run And I.

718
00:37:49,520 --> 00:37:50,759
Speaker 1: Was part of being a Mets fan.

719
00:37:50,920 --> 00:37:51,480
Speaker 4: I know.

720
00:37:51,760 --> 00:37:55,360
Speaker 3: It's just really no I know, I know, but you

721
00:37:55,480 --> 00:37:56,399
Speaker 3: got to be true blue.

722
00:37:56,400 --> 00:37:57,480
Speaker 4: I go gentlemen, come.

723
00:37:57,360 --> 00:38:00,799
Speaker 2: On, boys, device the how us along what line?

724
00:38:00,880 --> 00:38:04,200
Speaker 3: Well, meaning, it doesn't really divide the house, except that

725
00:38:04,239 --> 00:38:07,319
Speaker 3: there are times when there were times when both were

726
00:38:07,360 --> 00:38:12,279
Speaker 3: playing that we I was like, I felt kind of

727
00:38:12,320 --> 00:38:14,840
Speaker 3: course bad about I didn't know where to put my

728
00:38:15,960 --> 00:38:18,080
Speaker 3: I didn't know where to ligne because I love both teams.

729
00:38:18,120 --> 00:38:19,799
Speaker 3: It's very hard you have to choose to have two

730
00:38:19,800 --> 00:38:24,720
Speaker 3: great hometown teams. Now, Matt Matthew wouldn't be quite as equivocating.

731
00:38:24,239 --> 00:38:27,719
Speaker 1: Right, So is it because you think of like the Yankees,

732
00:38:27,760 --> 00:38:31,320
Speaker 1: you think of the New York grandeur, and then there's

733
00:38:31,120 --> 00:38:33,640
Speaker 1: that underdog like union spirit almost.

734
00:38:34,200 --> 00:38:37,879
Speaker 4: I think whole attitude is like the Mets.

735
00:38:37,920 --> 00:38:39,839
Speaker 3: Well, in the old days, the Yankees had all the

736
00:38:39,840 --> 00:38:42,600
Speaker 3: money to you know, hire players, and the Mets were

737
00:38:42,600 --> 00:38:45,960
Speaker 3: a scrappy like that was the feeling. That was kind

738
00:38:45,960 --> 00:38:49,400
Speaker 3: of like the color of the tone of the sentiment

739
00:38:49,520 --> 00:38:53,719
Speaker 3: around and you know, Yankee fans were wealthy. This was

740
00:38:54,480 --> 00:38:56,920
Speaker 3: not necessarily true. This was kind of you know, I mean,

741
00:38:57,040 --> 00:39:00,520
Speaker 3: my nails white for you guys, just white nails in

742
00:39:00,520 --> 00:39:02,160
Speaker 3: my whole life, and they're gonna come off the second again.

743
00:39:04,760 --> 00:39:08,560
Speaker 4: But anyway, I was like, I better.

744
00:39:08,320 --> 00:39:10,320
Speaker 3: Explain why these nails are white, but I feel like

745
00:39:10,360 --> 00:39:12,200
Speaker 3: that was always the feeling. I don't know if that's

746
00:39:12,239 --> 00:39:16,239
Speaker 3: true or if that's based with reality. And I know

747
00:39:16,320 --> 00:39:18,479
Speaker 3: a lot of his regional I know that Queens tends

748
00:39:18,560 --> 00:39:21,920
Speaker 3: to obviously are Mets fans and Upper New York or

749
00:39:22,120 --> 00:39:25,200
Speaker 3: you know, Yankees fans. Like all the geography makes sense,

750
00:39:25,640 --> 00:39:28,600
Speaker 3: but I don't know how you pick a team.

751
00:39:29,040 --> 00:39:31,440
Speaker 1: Well. I think it's like it really is, like your

752
00:39:31,440 --> 00:39:33,719
Speaker 1: spirit can be very broken when you are when you

753
00:39:33,800 --> 00:39:36,279
Speaker 1: are the underdog team again and again and again. But

754
00:39:36,280 --> 00:39:37,799
Speaker 1: I also think it's more fun.

755
00:39:39,520 --> 00:39:39,800
Speaker 4: Wins.

756
00:39:40,320 --> 00:39:43,240
Speaker 1: Mean, you know, it's fun to win all the time,

757
00:39:43,680 --> 00:39:47,239
Speaker 1: but not but you can. It can do something to

758
00:39:47,360 --> 00:39:52,520
Speaker 1: you come to expect glory and victory in this way

759
00:39:52,800 --> 00:39:55,719
Speaker 1: and almost given entitlement. And I think that's what I

760
00:39:55,840 --> 00:39:58,360
Speaker 1: resented about Yankee fans that were around me, is that.

761
00:39:57,920 --> 00:39:58,880
Speaker 4: They were entitled.

762
00:39:58,880 --> 00:40:00,719
Speaker 1: They felt they were better than Yes, you know what

763
00:40:00,719 --> 00:40:04,520
Speaker 1: I mean, that's what it was. And I remember maybe

764
00:40:04,560 --> 00:40:06,839
Speaker 1: this happened in your family at some point. But one

765
00:40:06,920 --> 00:40:08,759
Speaker 1: day I think I was just like wanted to test

766
00:40:08,800 --> 00:40:10,840
Speaker 1: the waters. And I walked into my dad and I

767
00:40:11,440 --> 00:40:14,480
Speaker 1: was like, I'm a Yankees fan, and I bought all

768
00:40:14,520 --> 00:40:17,480
Speaker 1: this Jeter Merch. I think I thought maybe you.

769
00:40:17,520 --> 00:40:19,640
Speaker 3: Really were a Yankees fan, if you know what I'm saying.

770
00:40:19,680 --> 00:40:21,600
Speaker 1: No, I was a big fan of was Mariah Carey

771
00:40:21,600 --> 00:40:22,400
Speaker 1: and they were dadd.

772
00:40:22,239 --> 00:40:24,960
Speaker 4: Was as you like Tina Martinez too.

773
00:40:24,840 --> 00:40:26,839
Speaker 1: Oh my god, I love Tina Martinez first place. When

774
00:40:26,840 --> 00:40:28,759
Speaker 1: he would he so he would wear he would wear

775
00:40:28,760 --> 00:40:31,840
Speaker 1: a batter's helmet while he played in the field. He

776
00:40:31,880 --> 00:40:33,640
Speaker 1: was one of the only ones. So this is like

777
00:40:33,880 --> 00:40:35,879
Speaker 1: deep in remember what.

778
00:40:35,840 --> 00:40:36,920
Speaker 4: Did your father what was his?

779
00:40:37,719 --> 00:40:41,520
Speaker 1: Was he just like my dad? It? You know what's

780
00:40:41,520 --> 00:40:44,360
Speaker 1: funny is he reacts now to the TV when Trump

781
00:40:44,440 --> 00:40:46,680
Speaker 1: is on the way. He used to react when things

782
00:40:46,680 --> 00:40:49,200
Speaker 1: would go down with the team, and I thought over

783
00:40:49,239 --> 00:40:51,480
Speaker 1: the years he had calmed down, but then let but

784
00:40:51,600 --> 00:40:54,359
Speaker 1: you know it's now, it's politics. But last year when

785
00:40:54,400 --> 00:40:56,759
Speaker 1: the Mets were really in it again, he was yelling

786
00:40:56,760 --> 00:40:58,600
Speaker 1: at the TV again, and I was like, you know

787
00:40:58,640 --> 00:41:03,279
Speaker 1: what kind of you know, Oh, it's great, but I

788
00:41:03,280 --> 00:41:06,960
Speaker 1: I remember, like, yeah, that was before theater for me,

789
00:41:07,440 --> 00:41:08,440
Speaker 1: like sports.

790
00:41:08,000 --> 00:41:09,319
Speaker 4: And sports is theater.

791
00:41:09,400 --> 00:41:12,160
Speaker 3: I mean, my god, the drama in our house and

792
00:41:12,200 --> 00:41:14,640
Speaker 3: we can move on. Honestly, in our house, you'll hear

793
00:41:14,800 --> 00:41:15,840
Speaker 3: like through the house.

794
00:41:16,440 --> 00:41:17,680
Speaker 4: I don't know if you guys do this. There's a

795
00:41:17,719 --> 00:41:20,360
Speaker 4: thing about clapping when you get runs. It's not like

796
00:41:20,440 --> 00:41:21,120
Speaker 4: golf clapping.

797
00:41:21,160 --> 00:41:23,120
Speaker 1: It's like the spirited class.

798
00:41:23,160 --> 00:41:27,400
Speaker 3: Yeah, it's like this kind of clap that I'm like, ah, like, oh,

799
00:41:27,760 --> 00:41:28,960
Speaker 3: that's better for all of us.

800
00:41:29,160 --> 00:41:31,200
Speaker 1: It's whatever happens is good.

801
00:41:31,520 --> 00:41:35,520
Speaker 3: Yeah, we we did skip over. So you you talked

802
00:41:35,520 --> 00:41:40,520
Speaker 3: about hairspray, But what was your mom asked about to

803
00:41:40,600 --> 00:41:45,120
Speaker 3: talk about your your hairspray experience? I don't know, and

804
00:41:45,160 --> 00:41:46,200
Speaker 3: maybe I should sorry, but.

805
00:41:46,360 --> 00:41:49,080
Speaker 2: I mean, no, no, no, why should you know? I mean,

806
00:41:49,120 --> 00:41:50,840
Speaker 2: what was as it relates to theater.

807
00:41:50,920 --> 00:41:52,400
Speaker 4: You're no that cultural.

808
00:41:53,080 --> 00:41:55,040
Speaker 2: It's a lot of different answers every day.

809
00:41:55,239 --> 00:41:55,760
Speaker 4: That's okay.

810
00:41:56,040 --> 00:41:59,839
Speaker 2: I will say today probably a propos of you being here,

811
00:42:01,120 --> 00:42:03,360
Speaker 2: you are on the top of at the top of

812
00:42:03,360 --> 00:42:05,759
Speaker 2: the show, I was kind of unlocking all these Once

813
00:42:05,840 --> 00:42:07,680
Speaker 2: Upon a Mattress memories for myself, and I wasn't going

814
00:42:07,680 --> 00:42:10,759
Speaker 2: to the library and picking up your recording of Brought

815
00:42:10,760 --> 00:42:13,840
Speaker 2: Once Upon a Mattress as well as because this was

816
00:42:13,880 --> 00:42:17,960
Speaker 2: two thousand and three, as well as the Wicked Soundtrap,

817
00:42:18,160 --> 00:42:21,800
Speaker 2: the Wicked recording, and both of those figure very heavily

818
00:42:21,840 --> 00:42:25,240
Speaker 2: into my life. But but but just it was hearing

819
00:42:25,320 --> 00:42:27,680
Speaker 2: you sing shy, I was hearing you saying you know,

820
00:42:27,960 --> 00:42:31,719
Speaker 2: like Spanish Panic or doing like the you know, all

821
00:42:31,760 --> 00:42:34,480
Speaker 2: those things, all those songs. But I mean it's a

822
00:42:34,600 --> 00:42:36,880
Speaker 2: musical that I love funny.

823
00:42:36,880 --> 00:42:38,279
Speaker 4: Not everybody loves that music.

824
00:42:38,760 --> 00:42:42,880
Speaker 2: It's jazzy and fun funny, and it's actually way funny.

825
00:42:43,160 --> 00:42:44,799
Speaker 1: We went. I took my ants to go see that.

826
00:42:44,960 --> 00:42:47,800
Speaker 4: You get almost it's like a sketch company.

827
00:42:48,160 --> 00:42:50,640
Speaker 1: And the new one that Amy Sherman Palladino did, the

828
00:42:50,680 --> 00:42:52,800
Speaker 1: new book for talking about.

829
00:42:52,960 --> 00:42:55,959
Speaker 4: With a sudden Yeah, I didn't get to It was.

830
00:42:56,040 --> 00:42:58,880
Speaker 1: Really much funnier than I thought it was going to be,

831
00:42:59,000 --> 00:43:01,000
Speaker 1: and because you know, had been modernized and I had

832
00:43:01,040 --> 00:43:04,279
Speaker 1: been punched up for a modern audience. But I left

833
00:43:04,320 --> 00:43:06,680
Speaker 1: with a big smile. It really, it really was great,

834
00:43:06,719 --> 00:43:11,160
Speaker 1: and it actually made me excited about reviving stuff like

835
00:43:11,160 --> 00:43:14,280
Speaker 1: that because there's a little part of me that really

836
00:43:14,400 --> 00:43:17,239
Speaker 1: is excited about where theater is going. I'm sure you've

837
00:43:17,520 --> 00:43:21,680
Speaker 1: everything but Sunset Boulevard, and I mean, you know, whatever

838
00:43:21,800 --> 00:43:25,319
Speaker 1: is happening with Avida right now with Rachel and I

839
00:43:25,440 --> 00:43:25,960
Speaker 1: love the.

840
00:43:25,960 --> 00:43:28,880
Speaker 3: Choice, Jalloyd, that's what you like?

841
00:43:30,760 --> 00:43:33,600
Speaker 1: Well, you know where we're going tomorrow, We're going to

842
00:43:33,640 --> 00:43:43,239
Speaker 1: see a gypsy. Second try Audre is she's just giving everything,

843
00:43:43,360 --> 00:43:48,279
Speaker 1: and I don't think, well, yes, I don't think I

844
00:43:48,280 --> 00:43:53,320
Speaker 1: had really understood and appreciated the choice to take Rose's

845
00:43:53,360 --> 00:43:57,480
Speaker 1: turn up, which took it out of her comfort zone

846
00:43:57,560 --> 00:44:01,239
Speaker 1: purposefully to show the anguish, because I really feel like

847
00:44:01,280 --> 00:44:04,799
Speaker 1: this gypsy is exploring Rose as mentally ill, and I

848
00:44:04,840 --> 00:44:07,319
Speaker 1: think that's such an interesting and fascinating way to go

849
00:44:07,360 --> 00:44:09,200
Speaker 1: to go about it. And so I guess that's what

850
00:44:09,239 --> 00:44:12,080
Speaker 1: I mean about like this stuff coming back and you're

851
00:44:12,120 --> 00:44:14,439
Speaker 1: kind of like, you know, you hear about something's going

852
00:44:14,480 --> 00:44:16,960
Speaker 1: on stage or some person wrote being a part of

853
00:44:16,960 --> 00:44:19,719
Speaker 1: some revival, and you're like why and then you see it?

854
00:44:19,840 --> 00:44:22,600
Speaker 1: Do you give the opportunity? And you see why? Right?

855
00:44:22,719 --> 00:44:27,359
Speaker 1: And once upon a Mattress is just it's fun to last.

856
00:44:27,400 --> 00:44:30,359
Speaker 1: The jokes were hard, yeah, which is I find rare,

857
00:44:31,680 --> 00:44:33,240
Speaker 1: but you know it was. It was great.

858
00:44:33,320 --> 00:44:36,080
Speaker 2: I mean, it just opened my eyes too, because because

859
00:44:36,280 --> 00:44:39,479
Speaker 2: growing up Colorado and suburbs.

860
00:44:38,360 --> 00:44:40,719
Speaker 3: It's funny that you grew up in Colorado. It's like,

861
00:44:40,760 --> 00:44:42,719
Speaker 3: I don't why is that weird?

862
00:44:42,760 --> 00:44:43,359
Speaker 4: Why is that?

863
00:44:43,440 --> 00:44:43,520
Speaker 3: Like?

864
00:44:43,600 --> 00:44:43,960
Speaker 4: Why not?

865
00:44:44,239 --> 00:44:44,759
Speaker 1: But why not?

866
00:44:44,840 --> 00:44:48,520
Speaker 3: I think because I feel like you are such a

867
00:44:48,640 --> 00:44:54,680
Speaker 3: urban person, yeah and urbane and no.

868
00:44:54,719 --> 00:44:57,520
Speaker 4: Because I think you know, I didn't. I didn't get

869
00:44:57,560 --> 00:44:59,719
Speaker 4: to see you as you are, right of course.

870
00:45:01,440 --> 00:45:01,840
Speaker 1: Four.

871
00:45:03,239 --> 00:45:06,480
Speaker 3: Always like maybe I bet you were, but you know,

872
00:45:06,520 --> 00:45:08,880
Speaker 3: you take on a little bit of something else. I

873
00:45:09,000 --> 00:45:13,040
Speaker 3: just it's so funny because I that's just silly.

874
00:45:12,719 --> 00:45:13,520
Speaker 4: And small of me.

875
00:45:13,680 --> 00:45:16,840
Speaker 3: I'm not at all suggesting that that won't exist in

876
00:45:16,880 --> 00:45:17,560
Speaker 3: other parts of that.

877
00:45:17,719 --> 00:45:20,200
Speaker 4: I just think of you very sidified.

878
00:45:20,360 --> 00:45:23,480
Speaker 2: But between the three of us, it's like our essences

879
00:45:23,520 --> 00:45:26,360
Speaker 2: have kind of like merged with the city, you know

880
00:45:26,400 --> 00:45:26,799
Speaker 2: what I mean.

881
00:45:26,800 --> 00:45:29,800
Speaker 4: It's which probably happens wherever you go and stay.

882
00:45:30,280 --> 00:45:33,400
Speaker 2: Yeah, I mean absolutely, But I've hit a milestone recently

883
00:45:33,440 --> 00:45:36,760
Speaker 2: and that I'm still not totally sure how I feel about,

884
00:45:37,239 --> 00:45:40,759
Speaker 2: which is thirty four years old, officially hitting seventeen years

885
00:45:40,760 --> 00:45:44,440
Speaker 2: in the city. So wow, wow, I'm like, oh, yeah,

886
00:45:45,400 --> 00:45:46,560
Speaker 2: this is and you know what this is like a

887
00:45:46,600 --> 00:45:48,840
Speaker 2: conversation like Josh Sharp and I our friend Josh and

888
00:45:48,880 --> 00:45:50,680
Speaker 2: Coles Goal that I have had like a few years ago,

889
00:45:50,920 --> 00:45:53,640
Speaker 2: were just like gosh, are we just because our friends?

890
00:45:53,719 --> 00:45:56,200
Speaker 2: There's this big exodus to ask.

891
00:45:56,040 --> 00:45:58,160
Speaker 3: You guys next, like how is it that we've kept

892
00:45:58,160 --> 00:45:59,440
Speaker 3: you in New York is that.

893
00:46:00,360 --> 00:46:02,560
Speaker 2: It's been work for me. But then, but then, but then,

894
00:46:02,600 --> 00:46:04,480
Speaker 2: like our friends are just like are we just like

895
00:46:05,239 --> 00:46:07,360
Speaker 2: the lifers here? Are we just like the welcoming committee

896
00:46:07,400 --> 00:46:09,239
Speaker 2: for any like new people who come and like we're

897
00:46:09,320 --> 00:46:12,799
Speaker 2: we're there with like the greeting package or something. And

898
00:46:12,800 --> 00:46:15,759
Speaker 2: now Matt's fully a New Yorker again, which I'm very

899
00:46:15,840 --> 00:46:17,280
Speaker 2: very happy about.

900
00:46:17,600 --> 00:46:20,839
Speaker 4: What neighborhood you You are? Oh interesting.

901
00:46:21,680 --> 00:46:24,040
Speaker 3: You don't hear that as much lately, you know what

902
00:46:24,040 --> 00:46:26,759
Speaker 3: it's nice to hear. So you're on the receiving end

903
00:46:26,800 --> 00:46:28,480
Speaker 3: of the Elizabeth Gardens being saved.

904
00:46:29,239 --> 00:46:31,640
Speaker 1: I just found out about it today. To tell you,

905
00:46:31,719 --> 00:46:34,279
Speaker 1: I did get a little emotional because I thought, like

906
00:46:34,560 --> 00:46:40,080
Speaker 1: it's a little Carrie because I'm single and I'm feeling

907
00:46:40,200 --> 00:46:44,040
Speaker 1: good about that again. Yeah, and I'm good and I

908
00:46:44,120 --> 00:46:46,520
Speaker 1: feel like I'm do you have I.

909
00:46:46,400 --> 00:46:48,560
Speaker 4: Think I'm a property apartment? Is it pretty?

910
00:46:48,840 --> 00:46:53,320
Speaker 1: You know what it's like Carrie's wise? Is it really charming?

911
00:46:53,400 --> 00:46:54,360
Speaker 1: And it's comfortable?

912
00:46:54,640 --> 00:46:57,440
Speaker 3: And I am are you walking up? You know I'm

913
00:46:57,480 --> 00:46:59,560
Speaker 3: not walking up because you have an elevator. There is

914
00:46:59,600 --> 00:47:02,319
Speaker 3: one l that's amazing on those streets. Yeah, yeah, see

915
00:47:02,360 --> 00:47:04,520
Speaker 3: because those are smaller buildings.

916
00:47:04,360 --> 00:47:04,960
Speaker 4: It is.

917
00:47:05,960 --> 00:47:09,160
Speaker 1: It is my dream come true. So I'm still exploring. Okay,

918
00:47:09,160 --> 00:47:10,879
Speaker 1: so you might need to write some things down.

919
00:47:11,400 --> 00:47:15,319
Speaker 3: That would it is if I'm correct, because I know

920
00:47:15,360 --> 00:47:18,240
Speaker 3: it is on the the one that goes east West.

921
00:47:18,520 --> 00:47:20,560
Speaker 3: I know it's on that street, the cross street I

922
00:47:20,840 --> 00:47:24,960
Speaker 3: feel less confident about. But if I'm right, that is

923
00:47:25,000 --> 00:47:27,880
Speaker 3: a sandwich shop is not it's not.

924
00:47:27,920 --> 00:47:30,480
Speaker 4: It's just as well like it's not. It's a nothing.

925
00:47:30,719 --> 00:47:31,879
Speaker 4: Yeah that's not true.

926
00:47:31,920 --> 00:47:34,200
Speaker 3: Everything is, but not like I don't think people are

927
00:47:34,239 --> 00:47:36,640
Speaker 3: lining up with their cameras and shooting it.

928
00:47:36,680 --> 00:47:38,520
Speaker 4: I think it's just the real deal.

929
00:47:38,680 --> 00:47:39,920
Speaker 1: It's a breeze, you know what I mean.

930
00:47:39,920 --> 00:47:40,279
Speaker 2: Like it.

931
00:47:40,280 --> 00:47:44,000
Speaker 1: It feels exciting, and I think honestly, I got chased

932
00:47:44,000 --> 00:47:46,000
Speaker 1: out of New York for a lot of like you know,

933
00:47:46,520 --> 00:47:48,399
Speaker 1: reasons for in here, and then all of a sudden,

934
00:47:48,440 --> 00:47:50,399
Speaker 1: I felt like I was called home. And I will

935
00:47:50,440 --> 00:47:53,960
Speaker 1: say it is harder day to day, but it is

936
00:47:54,200 --> 00:47:57,920
Speaker 1: so worth it. Like I find that New York it

937
00:47:57,960 --> 00:48:00,960
Speaker 1: does toss those challenges your way, just like well I

938
00:48:01,000 --> 00:48:06,719
Speaker 1: asked for this. It's hot as hell. Yeah, there is

939
00:48:06,880 --> 00:48:09,880
Speaker 1: no easy way to get places. But I will say

940
00:48:09,920 --> 00:48:14,000
Speaker 1: you're compelled and like that's all I ever really, It's

941
00:48:14,040 --> 00:48:16,160
Speaker 1: like when I was little watching that show, I was compelled.

942
00:48:16,440 --> 00:48:18,200
Speaker 1: New York compels and.

943
00:48:19,760 --> 00:48:23,680
Speaker 4: A lot of sorry, I keep like being forced.

944
00:48:23,400 --> 00:48:25,600
Speaker 1: To be away. I remember I came back and like

945
00:48:25,960 --> 00:48:28,120
Speaker 1: I walked the streets even though it was raining, and

946
00:48:28,160 --> 00:48:31,040
Speaker 1: I literally was having like it as if we said

947
00:48:31,040 --> 00:48:33,400
Speaker 1: goodbye moment, and I was just like God, and I

948
00:48:33,400 --> 00:48:37,520
Speaker 1: was emotional because memories everywhere and you're only really ever

949
00:48:37,560 --> 00:48:38,920
Speaker 1: going to have one home like that.

950
00:48:39,040 --> 00:48:43,080
Speaker 3: Yeah, No, it's pretty it's pretty special. I wish it

951
00:48:43,120 --> 00:48:48,200
Speaker 3: were more hospitable to those who feel that kind of

952
00:48:48,280 --> 00:48:50,920
Speaker 3: dream because it's just right now. It's just it's very

953
00:48:51,719 --> 00:48:56,360
Speaker 3: it's just prohibitive financially, and I would love for others

954
00:48:56,400 --> 00:48:59,160
Speaker 3: to be able to try to make it their home

955
00:48:59,200 --> 00:49:03,640
Speaker 3: and and have it be a real possibility. And maybe

956
00:49:03,640 --> 00:49:07,600
Speaker 3: we will, maybe we will find more voltable housing for

957
00:49:07,640 --> 00:49:11,280
Speaker 3: our you know, our communities, and you know, like maybe

958
00:49:11,320 --> 00:49:17,000
Speaker 3: that is not insane, because I think so. I guess

959
00:49:17,920 --> 00:49:20,200
Speaker 3: I feel like I want to go back for a

960
00:49:20,239 --> 00:49:23,640
Speaker 3: second and just say it's amazing that people are moving

961
00:49:23,680 --> 00:49:25,880
Speaker 3: back to New York. So somebody else I know, just

962
00:49:26,080 --> 00:49:28,279
Speaker 3: is moving back to back to New York. I feel

963
00:49:28,280 --> 00:49:31,560
Speaker 3: like it's such a that is such an that's it's

964
00:49:31,600 --> 00:49:34,880
Speaker 3: an usual thing to be hearing. So I feel as

965
00:49:34,960 --> 00:49:38,000
Speaker 3: if we're not losing people in the same way we

966
00:49:38,200 --> 00:49:41,120
Speaker 3: I think, well, I felt we were. That there is

967
00:49:41,280 --> 00:49:45,080
Speaker 3: a kind of buoyancy. Maybe again, if not, if we're

968
00:49:45,120 --> 00:49:47,960
Speaker 3: not one hundred percent, at least we don't seem like

969
00:49:48,040 --> 00:49:51,680
Speaker 3: this forbidding place. Sure, so some somewhere people are still

970
00:49:51,680 --> 00:49:54,799
Speaker 3: thinking you can maybe make it.

971
00:49:55,080 --> 00:49:56,240
Speaker 4: Absolutely happen there.

972
00:49:56,719 --> 00:49:58,399
Speaker 2: And I'm sure, just to go back to what we're

973
00:49:58,440 --> 00:50:00,560
Speaker 2: talking at the beginning of this episode, I'm sure what

974
00:50:00,680 --> 00:50:04,760
Speaker 2: a lot of the projection that people throw it. People

975
00:50:04,920 --> 00:50:07,759
Speaker 2: must when they see you, when they get excited, they

976
00:50:08,000 --> 00:50:11,759
Speaker 2: must dump a lot of that ambition and that like

977
00:50:11,920 --> 00:50:13,759
Speaker 2: just that the way that they wish the city was hot.

978
00:50:14,239 --> 00:50:15,759
Speaker 1: You you know what I mean.

979
00:50:16,040 --> 00:50:19,800
Speaker 3: I'm happy to be on like the repository for the dumping.

980
00:50:20,120 --> 00:50:21,560
Speaker 4: That's all right, Yes, that's all right.

981
00:50:21,600 --> 00:50:23,279
Speaker 2: That's a huge role. But speaking of New York, how

982
00:50:23,760 --> 00:50:26,799
Speaker 2: and you brought Bridget Everett earlier, how how did you

983
00:50:26,800 --> 00:50:29,560
Speaker 2: get to know those people like Bridget, like Amy Sedaris,

984
00:50:29,600 --> 00:50:32,400
Speaker 2: like all like Andy, like like that is such a

985
00:50:32,440 --> 00:50:36,359
Speaker 2: fun downtown crowd and like always been curious about like.

986
00:50:37,080 --> 00:50:38,279
Speaker 4: Okay, I'm trying to remember the order.

987
00:50:38,320 --> 00:50:42,520
Speaker 3: Amy and I met Matthew, and I worshiped Amy Syaris.

988
00:50:42,520 --> 00:50:45,960
Speaker 3: We saw her, you know, on Letterman basically, which is

989
00:50:46,000 --> 00:50:48,680
Speaker 3: she was like a regular you know, cancel.

990
00:50:48,760 --> 00:50:51,120
Speaker 4: She was like she was the greatest. So this was

991
00:50:51,960 --> 00:50:56,480
Speaker 4: in the late nineties and then so we really like together.

992
00:50:56,760 --> 00:50:59,480
Speaker 3: It was like the things we loved were the Yankees,

993
00:51:00,280 --> 00:51:04,640
Speaker 3: ab Fab and Amy Sidaris and of course David but

994
00:51:05,000 --> 00:51:08,839
Speaker 3: he wasn't making as many appearances on commercial television as

995
00:51:08,880 --> 00:51:09,960
Speaker 3: Amy was, but.

996
00:51:10,040 --> 00:51:11,120
Speaker 4: She was still nichey.

997
00:51:11,280 --> 00:51:13,279
Speaker 3: Like it wasn't like you could walk the streets and

998
00:51:13,760 --> 00:51:16,120
Speaker 3: talk about Amy Sedaris. It was a it was much

999
00:51:16,160 --> 00:51:25,240
Speaker 3: more value like things. So then yes, so then Amy

1000
00:51:25,239 --> 00:51:28,400
Speaker 3: and I came to know each other because I was

1001
00:51:28,400 --> 00:51:33,560
Speaker 3: going to do a play off Broadway at MTC main Stage.

1002
00:51:33,800 --> 00:51:37,320
Speaker 3: I was going to do a play that David Lindsay,

1003
00:51:37,320 --> 00:51:40,279
Speaker 3: a Bear play, and it was his follow up to

1004
00:51:40,280 --> 00:51:42,680
Speaker 3: Fuddy Mers, which is one of my most favorite shows ever,

1005
00:51:42,760 --> 00:51:45,680
Speaker 3: plays ever. And we were supposed to start rehearsals on

1006
00:51:45,719 --> 00:51:50,160
Speaker 3: September eleventh, two thousand and one, and we had made contact.

1007
00:51:50,400 --> 00:51:52,000
Speaker 4: You know, I basically did it because.

1008
00:51:52,400 --> 00:51:57,200
Speaker 3: Amy and and I love David Lindsay Bear, and so

1009
00:51:58,040 --> 00:52:00,440
Speaker 3: we that morning, I was up early to be on

1010
00:52:00,480 --> 00:52:03,440
Speaker 3: time for rehearsal and get to the subway, and I

1011
00:52:03,520 --> 00:52:08,239
Speaker 3: was downstairs. Matthew and I lived Low Low Manhattan, so

1012
00:52:08,320 --> 00:52:12,200
Speaker 3: we lived south of Houston, and I was watching the

1013
00:52:12,200 --> 00:52:14,880
Speaker 3: Today Show getting ready for my first day of school,

1014
00:52:15,320 --> 00:52:20,320
Speaker 3: and I was screaming at him and then I said,

1015
00:52:20,560 --> 00:52:22,120
Speaker 3: I have to go.

1016
00:52:22,200 --> 00:52:24,880
Speaker 4: I'm going to be late for rehearsal.

1017
00:52:25,160 --> 00:52:29,440
Speaker 3: And he said, I don't think there is going to

1018
00:52:29,520 --> 00:52:31,600
Speaker 3: be rehearsal today. So I called Amy, who I didn't

1019
00:52:31,640 --> 00:52:34,560
Speaker 3: really yet know, and I said, I'm worried about being late,

1020
00:52:34,600 --> 00:52:37,600
Speaker 3: and she said, I don't think there's going to be rehearsal.

1021
00:52:38,560 --> 00:52:41,040
Speaker 3: So anyway, we became friends and we took the subway

1022
00:52:41,040 --> 00:52:43,080
Speaker 3: home together every day, and we shared a dressing room

1023
00:52:43,120 --> 00:52:47,560
Speaker 3: and she very graciously just allowed us to infiltrate and

1024
00:52:47,920 --> 00:52:51,080
Speaker 3: she became a big part of our lives. And I

1025
00:52:51,120 --> 00:52:54,319
Speaker 3: always said, and I repeated, you know that, I always thought, like,

1026
00:52:55,120 --> 00:52:58,520
Speaker 3: she always says that she's a wedge in our marriage.

1027
00:52:59,440 --> 00:53:01,360
Speaker 3: But I was like, but they really have great chemistry

1028
00:53:01,360 --> 00:53:03,800
Speaker 3: and he really loves her so much, like he admires

1029
00:53:03,840 --> 00:53:06,640
Speaker 3: her so much. And then Scottie Whitman used to do

1030
00:53:06,719 --> 00:53:08,799
Speaker 3: a bunch of plays he directed at Le Mama, and

1031
00:53:08,920 --> 00:53:12,120
Speaker 3: Paul was always in them, and Bridget was or Ginger

1032
00:53:12,160 --> 00:53:15,160
Speaker 3: as I call her, And so then and then Ginger

1033
00:53:15,239 --> 00:53:17,960
Speaker 3: would come out east all the time and stay and

1034
00:53:18,000 --> 00:53:19,920
Speaker 3: then she ended up just staying at our house for

1035
00:53:20,840 --> 00:53:23,680
Speaker 3: I think she lived at our house for And you know,

1036
00:53:23,760 --> 00:53:28,279
Speaker 3: the world is the social circles are, and you just

1037
00:53:28,400 --> 00:53:31,320
Speaker 3: keep bumping into people. If you're lucky and if you

1038
00:53:31,920 --> 00:53:36,240
Speaker 3: are behaving basically as a decent person, you can stick around.

1039
00:53:37,120 --> 00:53:39,280
Speaker 1: So did you? Did you ever?

1040
00:53:39,440 --> 00:53:43,000
Speaker 3: Like it's pretty amazing cold, I mean, is there a

1041
00:53:43,040 --> 00:53:44,520
Speaker 3: better story in the world?

1042
00:53:44,600 --> 00:53:45,360
Speaker 4: Can you think of?

1043
00:53:45,480 --> 00:53:47,520
Speaker 1: Why you're not? I mean, like it's it's one of

1044
00:53:47,520 --> 00:53:50,120
Speaker 1: those things too where I got to say, it's always

1045
00:53:50,200 --> 00:53:52,919
Speaker 1: been like that. We've always said that they were our hero,

1046
00:53:53,560 --> 00:53:55,759
Speaker 1: Like I remember, that goes all the way back. I mean,

1047
00:53:55,960 --> 00:53:57,960
Speaker 1: that's why people don't really know. And I think they're

1048
00:53:57,960 --> 00:54:00,439
Speaker 1: knowing it now because there's a lot of press about call.

1049
00:54:00,640 --> 00:54:04,000
Speaker 1: But you know, truly always thinking like no one else Yes,

1050
00:54:04,040 --> 00:54:06,560
Speaker 1: And that was what was so inspiring, And it was funny,

1051
00:54:06,600 --> 00:54:10,400
Speaker 1: like we had to answer some interview questions earlier, and

1052
00:54:10,440 --> 00:54:12,719
Speaker 1: it was like, who is your mentor? And I was like,

1053
00:54:12,760 --> 00:54:15,040
Speaker 1: I just gotta say, I don't really have mentors, but

1054
00:54:15,040 --> 00:54:17,759
Speaker 1: I do have these like influences, and he was one

1055
00:54:17,800 --> 00:54:20,759
Speaker 1: of them. And I just wonder for you, like when

1056
00:54:20,760 --> 00:54:23,080
Speaker 1: you come to New York, were you seeing a lot

1057
00:54:23,120 --> 00:54:26,719
Speaker 1: of experimental stuff? Like were you seeing all of it?

1058
00:54:26,800 --> 00:54:29,319
Speaker 1: Like did you know Liz Suedos.

1059
00:54:28,960 --> 00:54:32,520
Speaker 4: My brother was in the My brother was in Runaways,

1060
00:54:32,560 --> 00:54:33,160
Speaker 4: the first.

1061
00:54:32,920 --> 00:54:35,480
Speaker 1: Original mentor no Way Adam Yu.

1062
00:54:35,600 --> 00:54:38,120
Speaker 4: Yeah, oh that's right because so she taught there.

1063
00:54:38,440 --> 00:54:40,680
Speaker 3: Okay, So when I was doing Annie on Broadway, my

1064
00:54:40,719 --> 00:54:44,640
Speaker 3: brother was in Runaways down about four blocks down south.

1065
00:54:44,719 --> 00:54:47,560
Speaker 4: Not even he was in the original company.

1066
00:54:47,600 --> 00:54:50,399
Speaker 3: He was a public and on Broadway, I auditioned from

1067
00:54:50,440 --> 00:54:51,080
Speaker 3: Runaways too.

1068
00:54:51,160 --> 00:54:53,799
Speaker 4: Did not get it, nor should I have gotten it.

1069
00:54:54,719 --> 00:54:56,440
Speaker 4: But so we met at.

1070
00:54:56,600 --> 00:54:58,520
Speaker 3: Forty ninth Street because we were had to take the

1071
00:54:58,640 --> 00:55:00,719
Speaker 3: end and R to the tram every night.

1072
00:55:01,560 --> 00:55:07,359
Speaker 4: So I loved Live Squados. That show. Make sure your listeners.

1073
00:55:07,400 --> 00:55:11,320
Speaker 3: Pull up that cast album. That cast album is incredible.

1074
00:55:12,040 --> 00:55:14,040
Speaker 1: There was an episode you know it. I don't know.

1075
00:55:15,040 --> 00:55:19,960
Speaker 1: He almost worked with many many times. I was very close.

1076
00:55:21,000 --> 00:55:25,520
Speaker 1: Oh no, it's fine, honestly, like, I love honoring her

1077
00:55:25,560 --> 00:55:27,880
Speaker 1: on this podcast, and she actually came up earlier today

1078
00:55:27,880 --> 00:55:30,439
Speaker 1: and is she really well just because we were answering

1079
00:55:30,480 --> 00:55:32,560
Speaker 1: those questions and I asked me that that mentor question

1080
00:55:32,640 --> 00:55:34,600
Speaker 1: and I was like, you know, trying to find it,

1081
00:55:34,640 --> 00:55:36,279
Speaker 1: and I was a little frustrated with myself, and then

1082
00:55:36,320 --> 00:55:38,520
Speaker 1: I realized that's who it was. It was Liz, because

1083
00:55:38,520 --> 00:55:41,080
Speaker 1: she just explored all these sides of me and like

1084
00:55:41,400 --> 00:55:44,120
Speaker 1: like the way she let me see myself, and I

1085
00:55:44,120 --> 00:55:48,480
Speaker 1: think that's what like great I think she was though

1086
00:55:48,800 --> 00:55:51,759
Speaker 1: she had a real energy and she I remember she

1087
00:55:51,960 --> 00:55:55,759
Speaker 1: just when I first auditioned for her, it was but

1088
00:55:55,840 --> 00:55:58,279
Speaker 1: I wasn't an acting student. I was, I don't want

1089
00:55:58,320 --> 00:56:01,400
Speaker 1: to make this about me, no, go, go go. I

1090
00:56:01,760 --> 00:56:06,480
Speaker 1: was very very closeted, but like I said, very passionate

1091
00:56:07,600 --> 00:56:10,000
Speaker 1: kid that wanted to do this. And I think that she,

1092
00:56:11,400 --> 00:56:14,520
Speaker 1: more than anyone else in my life, like allowed me

1093
00:56:14,560 --> 00:56:17,319
Speaker 1: to see myself as limitless. And I do think that

1094
00:56:17,320 --> 00:56:20,160
Speaker 1: that's such a gift to give someone who's a young performer,

1095
00:56:20,360 --> 00:56:23,680
Speaker 1: is to like the knowledge that you can be anything. Yeah,

1096
00:56:23,880 --> 00:56:26,920
Speaker 1: And she really took away my fear and emboldened creativity

1097
00:56:26,960 --> 00:56:29,480
Speaker 1: in me and like made me aware of my stage presence.

1098
00:56:30,320 --> 00:56:33,160
Speaker 1: And it was a way it was like she would

1099
00:56:33,160 --> 00:56:35,480
Speaker 1: look you in the eyes and gave you a gift

1100
00:56:35,520 --> 00:56:39,480
Speaker 1: even in just doing that, and gave you fearlessness. And

1101
00:56:40,480 --> 00:56:43,560
Speaker 1: that is like, that's why I ask is because we're

1102
00:56:43,600 --> 00:56:47,359
Speaker 1: talking about these people that energetically really.

1103
00:56:47,040 --> 00:56:47,800
Speaker 4: Have her spirit.

1104
00:56:48,000 --> 00:56:49,720
Speaker 1: Yeah, and so I felt compelled to ask.

1105
00:56:49,560 --> 00:56:52,560
Speaker 4: You, you know, because I probably wouldn't otherwise.

1106
00:56:53,760 --> 00:56:58,080
Speaker 3: She was really talented. She's really really talented and very

1107
00:57:00,040 --> 00:57:02,680
Speaker 3: you know, if anyone can find their way to run

1108
00:57:02,680 --> 00:57:06,239
Speaker 3: Aways and just really watch that show, it's it's a

1109
00:57:06,239 --> 00:57:09,960
Speaker 3: pretty freaking extraordinary show and it's brutal.

1110
00:57:09,960 --> 00:57:14,440
Speaker 4: And what Josie de Guzman Diane.

1111
00:57:15,440 --> 00:57:16,400
Speaker 1: Diane was young.

1112
00:57:16,360 --> 00:57:19,800
Speaker 3: Toby, my brother Toby who went on to do the original.

1113
00:57:19,840 --> 00:57:21,320
Speaker 4: He was in the original Rent as well.

1114
00:57:21,760 --> 00:57:24,760
Speaker 3: He did all of Jonathan shows from Naked Angels and

1115
00:57:24,760 --> 00:57:25,520
Speaker 3: Tiktic Boom.

1116
00:57:25,320 --> 00:57:27,640
Speaker 1: Like what I'm talking about. Like, and I loved the

1117
00:57:27,680 --> 00:57:30,120
Speaker 1: Tic Tak Boom movie that lin Manwel did so much too,

1118
00:57:30,160 --> 00:57:32,440
Speaker 1: because it got that spirit. I remember like when he

1119
00:57:32,520 --> 00:57:35,360
Speaker 1: showed those rehearsal rooms, I felt like I could smell them,

1120
00:57:35,400 --> 00:57:37,640
Speaker 1: like the light coming in the window on those third

1121
00:57:37,680 --> 00:57:40,680
Speaker 1: floor studios. You know what I'm saying. It just brought

1122
00:57:40,720 --> 00:57:44,160
Speaker 1: me so back in it. It's hard, and I wonder, like,

1123
00:57:44,680 --> 00:57:48,880
Speaker 1: how do you remind yourself to be fearless when when

1124
00:57:49,000 --> 00:57:51,880
Speaker 1: you when you're you need to be when you're when

1125
00:57:51,880 --> 00:57:55,160
Speaker 1: you're so established. I suppose, because I think that's something

1126
00:57:55,160 --> 00:57:57,120
Speaker 1: that we're running into, is it's like it's harder to

1127
00:57:57,160 --> 00:57:59,120
Speaker 1: be fearless as you've become more established.

1128
00:57:59,400 --> 00:58:00,280
Speaker 4: Yeah, I don't know.

1129
00:58:00,280 --> 00:58:03,840
Speaker 3: You just try to make interesting choices. And you know,

1130
00:58:04,000 --> 00:58:08,000
Speaker 3: doing Plaza Suite was really terrifying. It's just absolutely terrifying.

1131
00:58:08,080 --> 00:58:10,200
Speaker 3: And playing each of us, you know, we're playing three

1132
00:58:10,240 --> 00:58:12,760
Speaker 3: parts and they're not anything like us.

1133
00:58:12,760 --> 00:58:13,080
Speaker 4: They're not.

1134
00:58:13,400 --> 00:58:16,640
Speaker 3: It's a different generation and politics were different, and women

1135
00:58:16,680 --> 00:58:21,400
Speaker 3: were different, and sexual politics was different, and people sounded.

1136
00:58:21,200 --> 00:58:22,160
Speaker 4: Like where they were from.

1137
00:58:22,200 --> 00:58:25,840
Speaker 3: There were regional accents and manner and behavior, and it

1138
00:58:25,920 --> 00:58:27,120
Speaker 3: was absolutely terrifying.

1139
00:58:27,160 --> 00:58:29,320
Speaker 4: But I couldn't not do it.

1140
00:58:29,440 --> 00:58:31,200
Speaker 3: So there are lots of ways in which you can

1141
00:58:31,280 --> 00:58:34,960
Speaker 3: stay well, feel like you've always felt like, what is

1142
00:58:35,000 --> 00:58:35,440
Speaker 3: the job?

1143
00:58:36,600 --> 00:58:37,720
Speaker 4: How well? What I mean?

1144
00:58:37,760 --> 00:58:41,840
Speaker 3: The only difference now is you know, how long is

1145
00:58:41,880 --> 00:58:44,040
Speaker 3: it taking me away from my family at this point?

1146
00:58:44,080 --> 00:58:49,000
Speaker 3: That's the that's the only new part of the math

1147
00:58:49,640 --> 00:58:51,919
Speaker 3: of making decisions. It's pretty much all the same.

1148
00:58:52,040 --> 00:58:56,800
Speaker 1: It's just now you were just glowing together. I remember

1149
00:58:57,000 --> 00:58:59,640
Speaker 1: I thought her she went with James cullyh and like

1150
00:58:59,840 --> 00:59:01,800
Speaker 1: we we're watching it and just there's a moment I

1151
00:59:01,800 --> 00:59:04,200
Speaker 1: believe it's the top of that two when you come

1152
00:59:04,240 --> 00:59:06,760
Speaker 1: out in the blue dress. Oh yeah, and the audience

1153
00:59:06,880 --> 00:59:10,120
Speaker 1: is just you for it in this outfit. And we

1154
00:59:10,160 --> 00:59:12,440
Speaker 1: looked at each other like, oh, come on, And I mean,

1155
00:59:12,560 --> 00:59:16,320
Speaker 1: like but and then just like the kinetic energy that

1156
00:59:16,360 --> 00:59:20,560
Speaker 1: you guys have together. You really are incredible scene partners.

1157
00:59:20,560 --> 00:59:23,120
Speaker 3: And I wonder we never really worked together that I

1158
00:59:24,160 --> 00:59:25,840
Speaker 3: like so nervous making but.

1159
00:59:26,120 --> 00:59:28,280
Speaker 1: That opportunity is brave in and of itself. I would

1160
00:59:28,280 --> 00:59:30,240
Speaker 1: imagine there's something courageous, and I'm like, okay, I'm in

1161
00:59:30,280 --> 00:59:30,560
Speaker 1: a way.

1162
00:59:30,720 --> 00:59:32,880
Speaker 3: It was kind of scary, just was I mean, it

1163
00:59:32,920 --> 00:59:34,960
Speaker 3: was scary for all the reasons that I'm always nervous.

1164
00:59:35,000 --> 00:59:36,560
Speaker 3: Every time I get a job or do a job

1165
00:59:36,640 --> 00:59:40,200
Speaker 3: or start a job, I'm always like basically not really

1166
00:59:40,800 --> 00:59:43,840
Speaker 3: functioning as a calm person. Like the first two or

1167
00:59:43,840 --> 00:59:45,960
Speaker 3: three weeks of every job are just awful. They're really

1168
00:59:46,000 --> 00:59:50,600
Speaker 3: incredibly unpleasant. Well, is it like really, yeah, just nervous

1169
00:59:50,640 --> 00:59:53,720
Speaker 3: and sick and like not not sick, but like, yeah, you're.

1170
00:59:53,640 --> 00:59:56,040
Speaker 1: You're in your Yeah, there's something in your body that's

1171
00:59:56,520 --> 00:59:58,360
Speaker 1: Is it like that even when you revisit.

1172
00:59:58,040 --> 00:59:59,840
Speaker 4: Carry every single season?

1173
01:00:00,240 --> 01:00:00,479
Speaker 1: Really?

1174
01:00:00,480 --> 01:00:03,439
Speaker 2: Because I was gonna ask, I'm always sort of struck

1175
01:00:03,480 --> 01:00:04,560
Speaker 2: by the idea do you feel that?

1176
01:00:05,360 --> 01:00:05,520
Speaker 4: Not?

1177
01:00:07,160 --> 01:00:10,400
Speaker 2: No, not at all. I mean I'm just like perpetually

1178
01:00:10,440 --> 01:00:12,000
Speaker 2: nervous and that just hasn't changed.

1179
01:00:12,800 --> 01:00:13,000
Speaker 4: No, no, no.

1180
01:00:13,280 --> 01:00:15,880
Speaker 2: But I asked Cynthia this. I was like, was it

1181
01:00:16,320 --> 01:00:20,080
Speaker 2: what was the reacclamation to Miranda and she was like, no,

1182
01:00:20,200 --> 01:00:21,880
Speaker 2: she's kind of in me. I was like, that's incredible,

1183
01:00:21,880 --> 01:00:23,920
Speaker 2: But I was I'm always struck by the idea that

1184
01:00:23,960 --> 01:00:27,240
Speaker 2: you never watched dailies most of Sex and the City

1185
01:00:27,240 --> 01:00:31,720
Speaker 2: you haven't seen back is part of the answer the

1186
01:00:31,800 --> 01:00:35,600
Speaker 2: question that Matt's asking. Is it to eliminate the things

1187
01:00:35,600 --> 01:00:40,120
Speaker 2: that would like engender fear, because yeah, to watch to

1188
01:00:40,160 --> 01:00:40,959
Speaker 2: watch yourself back.

1189
01:00:41,080 --> 01:00:43,720
Speaker 3: It's not productive for me, it makes it and it

1190
01:00:43,800 --> 01:00:46,000
Speaker 3: is for Cynthia. Like Cynthia is a perfect example of

1191
01:00:46,040 --> 01:00:51,520
Speaker 3: someone who can watch dailies and have it be helpful, useful,

1192
01:00:52,520 --> 01:00:55,840
Speaker 3: and for me it's paying attention.

1193
01:00:55,920 --> 01:00:57,600
Speaker 4: I just want to be I just want the work

1194
01:00:57,600 --> 01:00:58,040
Speaker 4: to be good.

1195
01:00:58,080 --> 01:01:00,400
Speaker 3: Like I don't need to see a play back on

1196
01:01:00,440 --> 01:01:03,080
Speaker 3: the set ever, I don't need to see dailies. If

1197
01:01:03,080 --> 01:01:05,720
Speaker 3: there is something radically wrong, I'm gonna have known about

1198
01:01:05,760 --> 01:01:09,080
Speaker 3: it long before that war comes back from the studio

1199
01:01:09,280 --> 01:01:11,440
Speaker 3: the next day. I will have felt it on the

1200
01:01:11,480 --> 01:01:16,440
Speaker 3: set there I have, so I have like I'm like.

1201
01:01:16,400 --> 01:01:19,600
Speaker 4: A whippet, you know, I'm like so like this.

1202
01:01:19,920 --> 01:01:22,400
Speaker 3: I want so much for the work to be good

1203
01:01:22,600 --> 01:01:27,600
Speaker 3: that anything that feels peripheral isn't helpful to me.

1204
01:01:27,960 --> 01:01:31,000
Speaker 1: It's not I think it's honest. I think you are

1205
01:01:31,280 --> 01:01:33,520
Speaker 1: I think you really do seek honesty.

1206
01:01:33,680 --> 01:01:36,520
Speaker 3: I really because you would say that she can seek

1207
01:01:36,560 --> 01:01:37,840
Speaker 3: honesty from those dailies.

1208
01:01:37,840 --> 01:01:41,360
Speaker 4: But I just were just made different process, right, right,

1209
01:01:41,640 --> 01:01:42,720
Speaker 4: But is.

1210
01:01:42,760 --> 01:01:46,280
Speaker 2: In the absence of that sort of reflection, like what

1211
01:01:46,440 --> 01:01:51,320
Speaker 2: is your way of tracking Carrie through all the years, talking.

1212
01:01:51,000 --> 01:01:56,680
Speaker 3: To Michael all the time, asking a lot of not

1213
01:01:56,760 --> 01:01:59,000
Speaker 3: asking questions because I'm not a trained actress. I'm not

1214
01:01:59,080 --> 01:02:03,880
Speaker 3: asking questions. I'm not asking subtext questions which I keep

1215
01:02:03,880 --> 01:02:08,840
Speaker 3: to myself. I'm asking questions a sort of like a

1216
01:02:08,880 --> 01:02:14,400
Speaker 3: for instance of But if she's saying that, or she's

1217
01:02:14,760 --> 01:02:17,320
Speaker 3: behaving this way, or she makes this gesture or she

1218
01:02:17,440 --> 01:02:22,960
Speaker 3: wears that, then don't we want to be thoughtful about that?

1219
01:02:23,240 --> 01:02:27,760
Speaker 3: Or if you're asking if it's written this way, is

1220
01:02:27,800 --> 01:02:29,960
Speaker 3: there like is there a landmine on the way.

1221
01:02:29,840 --> 01:02:31,200
Speaker 4: To the next thing?

1222
01:02:31,280 --> 01:02:34,640
Speaker 3: Because and and sometimes Michael Patrick will say to me,

1223
01:02:35,400 --> 01:02:37,880
Speaker 3: you don't know what I know, and I'll say I

1224
01:02:37,920 --> 01:02:39,560
Speaker 3: don't and I don't want to, like I don't like

1225
01:02:39,600 --> 01:02:42,000
Speaker 3: to read the script until the night before the table read,

1226
01:02:42,040 --> 01:02:44,439
Speaker 3: because I have so much work to do in this

1227
01:02:44,760 --> 01:02:48,560
Speaker 3: present moment that if I start sorry knowing what Carrie's

1228
01:02:48,600 --> 01:02:52,160
Speaker 3: going to do next, then I'm like, they're not here.

1229
01:02:52,840 --> 01:02:55,600
Speaker 3: Or he'll say to me, wow, that's a I didn't

1230
01:02:55,600 --> 01:02:58,440
Speaker 3: see that. You're right, that's a good point. Wait a minute,

1231
01:02:59,040 --> 01:03:01,760
Speaker 3: let me think about that. Maybe we should back off that,

1232
01:03:02,080 --> 01:03:04,120
Speaker 3: or maybe you're right to pay attention to the kind

1233
01:03:04,120 --> 01:03:06,200
Speaker 3: of language here, because maybe we don't.

1234
01:03:06,280 --> 01:03:08,640
Speaker 4: Like I'm very I'm always on them about language.

1235
01:03:08,640 --> 01:03:10,240
Speaker 3: I'm like, she's right, or she's right, or she's writer,

1236
01:03:10,400 --> 01:03:13,760
Speaker 3: so she's thoughtful about the way she's expressing things like

1237
01:03:14,080 --> 01:03:16,600
Speaker 3: does she use the effort a lot? Maybe not, because

1238
01:03:17,160 --> 01:03:24,080
Speaker 3: she's always gain and considering and her observation life has

1239
01:03:24,120 --> 01:03:28,520
Speaker 3: been like her meal ticket. So I want to be

1240
01:03:28,520 --> 01:03:31,800
Speaker 3: thoughtful about language because it's the only way she's in

1241
01:03:31,840 --> 01:03:32,280
Speaker 3: the world.

1242
01:03:32,560 --> 01:03:36,080
Speaker 1: Thoughtful, literally, full of thoughts, right, Yes, And it's that's

1243
01:03:36,160 --> 01:03:39,080
Speaker 1: really interesting, especially because you're talking about how like.

1244
01:03:39,000 --> 01:03:39,760
Speaker 4: So that's our tracket.

1245
01:03:39,760 --> 01:03:43,000
Speaker 1: Sorry, I love that, But you're the in speaking about

1246
01:03:43,040 --> 01:03:45,240
Speaker 1: like literally the character of Carry Brawshaw. One of the

1247
01:03:45,280 --> 01:03:49,400
Speaker 1: things that I think is so incredible about Carrie is

1248
01:03:49,440 --> 01:03:52,760
Speaker 1: that she is far from perfect. She'd be very easy

1249
01:03:52,800 --> 01:03:56,480
Speaker 1: to judge, and I wonder how people do. I wonder

1250
01:03:56,520 --> 01:03:57,280
Speaker 1: how many.

1251
01:03:57,120 --> 01:04:01,880
Speaker 2: Times I'm saying that's the point I mean, but literally,

1252
01:04:01,920 --> 01:04:05,200
Speaker 2: she made I think one of the most famous mistakes

1253
01:04:05,240 --> 01:04:06,360
Speaker 2: in television history.

1254
01:04:06,360 --> 01:04:09,160
Speaker 1: Are you talking about, well, when she cheated? You know

1255
01:04:09,240 --> 01:04:10,840
Speaker 1: what I mean, like like men have.

1256
01:04:10,880 --> 01:04:11,520
Speaker 4: Been doing forever.

1257
01:04:11,800 --> 01:04:13,920
Speaker 3: Well, yes, but I have leads on shows and in

1258
01:04:14,000 --> 01:04:15,760
Speaker 3: movies and people were like, I love him.

1259
01:04:16,280 --> 01:04:18,680
Speaker 1: This is the This is the actual question I'm asking

1260
01:04:18,840 --> 01:04:20,960
Speaker 1: is how much do you judge her? And how much

1261
01:04:21,000 --> 01:04:22,960
Speaker 1: are you like Carrie when she does something that you

1262
01:04:23,000 --> 01:04:23,560
Speaker 1: don't mean.

1263
01:04:23,440 --> 01:04:24,440
Speaker 4: She's a fictional character.

1264
01:04:24,640 --> 01:04:27,720
Speaker 3: Well, yes, I think people make mistakes, and smart people

1265
01:04:27,760 --> 01:04:30,200
Speaker 3: do silly, stupid things, and they use poor judgment and

1266
01:04:30,240 --> 01:04:33,720
Speaker 3: they fall really short. Often the best of us are

1267
01:04:34,480 --> 01:04:38,200
Speaker 3: fall short, and you know we forgive us, or forgive

1268
01:04:38,280 --> 01:04:41,320
Speaker 3: us our chrust facets of we forgot. That's like, I mean,

1269
01:04:41,360 --> 01:04:44,760
Speaker 3: I kind of think if Carrie Bradshaw were somebody who

1270
01:04:44,880 --> 01:04:52,440
Speaker 3: was absolutely reliable to resist in that instance, the temptation

1271
01:04:52,600 --> 01:04:56,640
Speaker 3: of Big and Big who followed her around orbited in

1272
01:04:56,680 --> 01:04:58,840
Speaker 3: a solar system that seemed to only include the two

1273
01:04:58,880 --> 01:05:04,360
Speaker 3: of Themistic You know, those are new words for me.

1274
01:05:04,400 --> 01:05:09,280
Speaker 4: But but I and then I'm not entirely sure what

1275
01:05:09,440 --> 01:05:12,000
Speaker 4: is the show? Like who is this person?

1276
01:05:12,080 --> 01:05:18,640
Speaker 3: If she is only making really solid, predictable choices and

1277
01:05:18,720 --> 01:05:21,000
Speaker 3: choosing and it's not it's not a recipe for all

1278
01:05:21,040 --> 01:05:24,520
Speaker 3: of us to live by. That's what makes it. It's

1279
01:05:24,560 --> 01:05:26,880
Speaker 3: like there's an altered state to sex and the city.

1280
01:05:27,000 --> 01:05:31,920
Speaker 3: There's like it's not entirely the emotional life is rooted

1281
01:05:31,920 --> 01:05:35,040
Speaker 3: in truth, but its existence has always felt to me

1282
01:05:35,240 --> 01:05:42,080
Speaker 3: like slightly technicolor on a higher vibration altered. Yeah, Like

1283
01:05:42,120 --> 01:05:45,640
Speaker 3: the city looks like this and the clothes look like this,

1284
01:05:45,800 --> 01:05:50,560
Speaker 3: and there's like a time warp of like time suspends

1285
01:05:50,560 --> 01:05:53,439
Speaker 3: and you can be with people you love for long

1286
01:05:53,480 --> 01:05:55,680
Speaker 3: periods of time, which does not exist for all of us,

1287
01:05:55,720 --> 01:05:57,360
Speaker 3: no matter how much we love our friends.

1288
01:05:57,120 --> 01:05:59,360
Speaker 4: And love has this sort of like.

1289
01:06:01,120 --> 01:06:12,280
Speaker 3: Extra dose of some kind of adrenaline fueled, ridiculous consuming

1290
01:06:12,840 --> 01:06:13,280
Speaker 3: What does.

1291
01:06:13,200 --> 01:06:14,800
Speaker 4: She say to him? I want love.

1292
01:06:14,840 --> 01:06:17,280
Speaker 1: I want I am someone who is looking for love

1293
01:06:17,600 --> 01:06:19,880
Speaker 1: and that ridiculous love.

1294
01:06:20,000 --> 01:06:26,320
Speaker 3: And if you want I can't have. I mean, you

1295
01:06:26,360 --> 01:06:30,080
Speaker 3: don't spend time on HBO being perfect. And one of

1296
01:06:30,120 --> 01:06:32,600
Speaker 3: my favorite characters in the world is Tony Sopano Forever,

1297
01:06:32,640 --> 01:06:34,919
Speaker 3: and but that is not a man who makes great

1298
01:06:35,720 --> 01:06:39,800
Speaker 3: Curious how many people did not interrogate those same things

1299
01:06:39,840 --> 01:06:42,280
Speaker 3: about him, nor should they have, because it was just

1300
01:06:42,480 --> 01:06:45,520
Speaker 3: beautiful writing and brought us into the life of somebody

1301
01:06:45,560 --> 01:06:47,960
Speaker 3: who we wouldn't normally feel such.

1302
01:06:48,200 --> 01:06:50,560
Speaker 4: Compassion for it. I'm not comparing.

1303
01:06:50,600 --> 01:06:54,600
Speaker 3: I'm just saying it's curious how little tolerance we have

1304
01:06:54,680 --> 01:06:55,200
Speaker 3: for a woman.

1305
01:06:57,760 --> 01:07:01,560
Speaker 1: Of course it's that, but also it's like we project

1306
01:07:01,760 --> 01:07:04,600
Speaker 1: on to Carrie because we want to be her, whereas

1307
01:07:04,640 --> 01:07:07,320
Speaker 1: like we really don't want to be Tony Soprano. So

1308
01:07:07,360 --> 01:07:08,400
Speaker 1: there's maybe we.

1309
01:07:08,320 --> 01:07:10,840
Speaker 4: Want to give me, like there was something really well.

1310
01:07:10,800 --> 01:07:13,360
Speaker 1: Yeah, you need to want to bagger and you want like.

1311
01:07:13,360 --> 01:07:15,080
Speaker 4: The the intensity and.

1312
01:07:16,560 --> 01:07:19,200
Speaker 1: Yes, but it's almost like I feel like when people

1313
01:07:19,200 --> 01:07:22,800
Speaker 1: can expect something of you, like you can fail them.

1314
01:07:23,040 --> 01:07:26,680
Speaker 1: And I think that Carrie Bradshaw is an aspirational This

1315
01:07:26,760 --> 01:07:29,280
Speaker 1: is why it's my I asked the initial question of

1316
01:07:29,320 --> 01:07:32,280
Speaker 1: like that must feel sometimes a little intense because she

1317
01:07:32,560 --> 01:07:34,960
Speaker 1: is the woman who took over New York and and

1318
01:07:35,200 --> 01:07:38,400
Speaker 1: and started, you know, smoking her cigarettes, kicking off her

1319
01:07:38,440 --> 01:07:40,120
Speaker 1: shoes on the street. And now you know, we've seen

1320
01:07:40,120 --> 01:07:42,680
Speaker 1: her all these years and we've been with her, yet

1321
01:07:43,040 --> 01:07:45,200
Speaker 1: we didn't need to see all her growth too from

1322
01:07:45,240 --> 01:07:48,240
Speaker 1: the beginning, know that we wanted to be her, be

1323
01:07:48,320 --> 01:07:50,200
Speaker 1: one of her friends. Are you a carrier?

1324
01:07:51,880 --> 01:07:52,440
Speaker 4: You know what I mean?

1325
01:07:52,520 --> 01:07:56,240
Speaker 1: That's a question for a reason. And so when that

1326
01:07:56,480 --> 01:08:01,360
Speaker 1: is true, my opinion is that is why we're often

1327
01:08:01,440 --> 01:08:04,160
Speaker 1: hard on people because but I wouldn't do that and

1328
01:08:04,200 --> 01:08:06,400
Speaker 1: I'm carring, you know what I mean.

1329
01:08:06,680 --> 01:08:10,840
Speaker 3: But that's so interesting carry Yeah, I've never heard that.

1330
01:08:10,840 --> 01:08:13,760
Speaker 3: That's really great. And I'm not privy to all of

1331
01:08:13,760 --> 01:08:17,639
Speaker 3: the chatters, so I'm just Kristin Davis always like keeps

1332
01:08:17,640 --> 01:08:20,920
Speaker 3: you posting in ways it sometimes I'm like, you don't

1333
01:08:20,920 --> 01:08:23,040
Speaker 3: have to tell me they I don't want to hear

1334
01:08:23,040 --> 01:08:25,240
Speaker 3: what anyone has to say, plus which is not it

1335
01:08:25,280 --> 01:08:28,439
Speaker 3: doesn't help me, but I'm thrilled the people have feelings

1336
01:08:28,479 --> 01:08:29,600
Speaker 3: like how great.

1337
01:08:30,040 --> 01:08:30,800
Speaker 1: Of course, right.

1338
01:08:31,240 --> 01:08:33,840
Speaker 2: The treat, the treat of watching Carrie now is just

1339
01:08:33,880 --> 01:08:35,800
Speaker 2: that you're like and this is just a testament to

1340
01:08:35,840 --> 01:08:38,920
Speaker 2: your acting, which I can't really quite still can't square

1341
01:08:38,960 --> 01:08:40,639
Speaker 2: with the fact that you don't want anything back. It's

1342
01:08:40,680 --> 01:08:43,880
Speaker 2: just like, this is this is Carrie. This is Carrie,

1343
01:08:44,000 --> 01:08:47,960
Speaker 2: like decades in in this beautiful way, you know. It's

1344
01:08:47,960 --> 01:08:49,920
Speaker 2: like it's still like I mean this last episode with

1345
01:08:50,000 --> 01:08:52,800
Speaker 2: Carrie and Ada, and it was it was the perfect

1346
01:08:53,400 --> 01:08:57,840
Speaker 2: extrapolation of like what like I watched as a non

1347
01:08:57,960 --> 01:09:02,720
Speaker 2: New Yorker thinking, oh, but that's that's Sarah Jessica. That's

1348
01:09:02,720 --> 01:09:08,120
Speaker 2: Sarah Jessica, like like shepherding this this person into like

1349
01:09:08,800 --> 01:09:10,720
Speaker 2: across time, and it went away that I think, I

1350
01:09:10,720 --> 01:09:12,320
Speaker 2: don't know that we love and.

1351
01:09:12,280 --> 01:09:14,400
Speaker 1: We should say. When we were talking about the scene

1352
01:09:14,439 --> 01:09:16,080
Speaker 1: with Aiden, we are this will come out in a

1353
01:09:16,080 --> 01:09:18,080
Speaker 1: few weeks. Yeah, so like we are a little bit behind.

1354
01:09:18,120 --> 01:09:20,479
Speaker 1: Something may have happened with Aidan since we're talking about

1355
01:09:20,920 --> 01:09:24,479
Speaker 1: Carrie again. I didn't love that she did this, but

1356
01:09:24,600 --> 01:09:27,320
Speaker 1: gave him the goddamn key. I was like, you really

1357
01:09:27,320 --> 01:09:30,639
Speaker 1: are given these men the access? And then why.

1358
01:09:32,520 --> 01:09:34,080
Speaker 2: I know she has to believe, but she has to

1359
01:09:34,120 --> 01:09:35,960
Speaker 2: want more for herself to But then and then we

1360
01:09:36,000 --> 01:09:38,639
Speaker 2: did watch on the way here, I knew you would

1361
01:09:38,640 --> 01:09:43,479
Speaker 2: do this. I'm humiliated. I'm humiliated. What an amazing sequence.

1362
01:09:49,280 --> 01:09:51,800
Speaker 1: Can we just talk about filming that like this, the

1363
01:09:51,880 --> 01:09:55,600
Speaker 1: wedding sequence, which obviously had to have a meeting for

1364
01:09:55,680 --> 01:09:57,960
Speaker 1: you as well because you're so close to it, and

1365
01:09:58,000 --> 01:10:01,920
Speaker 1: then you are creating this iconic thing. But like, you

1366
01:10:01,960 --> 01:10:04,400
Speaker 1: don't watch that back that sequence because you really killed it.

1367
01:10:05,640 --> 01:10:09,519
Speaker 4: I really remember. I remember, you know, we had to.

1368
01:10:09,840 --> 01:10:10,360
Speaker 4: We had to.

1369
01:10:10,600 --> 01:10:13,760
Speaker 3: Michael really wanted us to go to the premiere and

1370
01:10:13,760 --> 01:10:14,919
Speaker 3: sit through it and done.

1371
01:10:14,920 --> 01:10:17,120
Speaker 2: So so you did see.

1372
01:10:16,920 --> 01:10:20,200
Speaker 4: That I did. I wasn't like pleasant, but meaning like

1373
01:10:20,280 --> 01:10:22,080
Speaker 4: I don't want to watch myself for that long.

1374
01:10:22,560 --> 01:10:26,920
Speaker 3: And also that scene I remember really shooting because we

1375
01:10:26,920 --> 01:10:29,200
Speaker 3: were trying to I'll have this piece of tape off

1376
01:10:29,240 --> 01:10:34,240
Speaker 3: by the time we finished. We were trying to protect

1377
01:10:34,240 --> 01:10:35,080
Speaker 3: the plot.

1378
01:10:34,920 --> 01:10:37,080
Speaker 4: Like which was crazy thought that we could.

1379
01:10:36,840 --> 01:10:40,160
Speaker 3: Do it on forty third Street between sixth and fifth

1380
01:10:40,600 --> 01:10:43,840
Speaker 3: and we were all they had us in a hotel room,

1381
01:10:43,880 --> 01:10:45,719
Speaker 3: as you know they do. They got to put you

1382
01:10:45,800 --> 01:10:47,640
Speaker 3: somewhere while they're sitting up the shot. And so we

1383
01:10:47,640 --> 01:10:50,439
Speaker 3: were all in a hotel room together waiting to shoot

1384
01:10:50,439 --> 01:10:52,320
Speaker 3: that scene, and.

1385
01:10:54,360 --> 01:10:55,639
Speaker 4: I didn't know how.

1386
01:10:57,160 --> 01:10:59,960
Speaker 3: You know, there's so much and you both on your actress.

1387
01:11:00,120 --> 01:11:03,439
Speaker 3: You know, there's like a huge amount of thinking you

1388
01:11:03,439 --> 01:11:06,960
Speaker 3: can do about something, and some people prepare, really prepare,

1389
01:11:07,200 --> 01:11:10,800
Speaker 3: And I think about things a lot, and I learned

1390
01:11:10,800 --> 01:11:17,160
Speaker 3: my lines, but I don't really have a set plan because.

1391
01:11:18,280 --> 01:11:21,080
Speaker 4: It's so much about the other party.

1392
01:11:21,240 --> 01:11:23,080
Speaker 3: Like I can have all the plans in the world,

1393
01:11:23,120 --> 01:11:26,920
Speaker 3: but that means that it's potentially it's likely I'm not

1394
01:11:26,960 --> 01:11:30,320
Speaker 3: hearing a god darn thing you're saying or doing totally.

1395
01:11:30,520 --> 01:11:33,280
Speaker 3: So I had no idea how we were going to

1396
01:11:33,360 --> 01:11:35,439
Speaker 3: do this scene. I had no idea how I was

1397
01:11:35,560 --> 01:11:42,400
Speaker 3: going to be no, And it's just I think that's

1398
01:11:42,439 --> 01:11:46,400
Speaker 3: a really great example of Michael Patrick, like really setting

1399
01:11:46,400 --> 01:11:47,920
Speaker 3: the table and teeing.

1400
01:11:47,600 --> 01:11:49,920
Speaker 4: It all up really really well.

1401
01:11:49,720 --> 01:11:54,160
Speaker 3: And just calling action and not getting in anybody's way.

1402
01:11:54,200 --> 01:11:56,920
Speaker 3: There was no right or wrong way. I didn't hear

1403
01:11:57,000 --> 01:11:59,799
Speaker 3: him in my head saying I knew it. I whatever

1404
01:11:59,800 --> 01:12:01,120
Speaker 3: those lines where I knew you were going to do this,

1405
01:12:02,280 --> 01:12:04,439
Speaker 3: but there was so much truth. I think the entire

1406
01:12:04,560 --> 01:12:07,200
Speaker 3: time in my head now that I'm calling this was

1407
01:12:07,280 --> 01:12:12,960
Speaker 3: this probably this, this fear that he actually.

1408
01:12:12,680 --> 01:12:14,519
Speaker 1: Was capable of that not going.

1409
01:12:14,520 --> 01:12:16,080
Speaker 3: To show like there was going to be a part

1410
01:12:16,120 --> 01:12:18,240
Speaker 3: of him, even a psychic part of him that didn't

1411
01:12:18,280 --> 01:12:21,360
Speaker 3: show up. So anyway, that scene and just people around

1412
01:12:21,400 --> 01:12:23,639
Speaker 3: and us trying not to have anyone take pictures of

1413
01:12:23,680 --> 01:12:26,599
Speaker 3: the flowers and the petals, and those were real, real

1414
01:12:26,640 --> 01:12:28,880
Speaker 3: flowers and thorns and everything on the steps. I mean,

1415
01:12:28,920 --> 01:12:31,760
Speaker 3: those were real roses, for all their beauty and all

1416
01:12:31,800 --> 01:12:32,360
Speaker 3: their danger.

1417
01:12:32,720 --> 01:12:35,479
Speaker 1: It's so brilliantly directed. We were just watching it and

1418
01:12:35,520 --> 01:12:40,479
Speaker 1: I was like, Cynthia here, Oh my god, Kim, just that.

1419
01:12:41,080 --> 01:12:44,439
Speaker 3: How about when Christian just says no, no, and wait

1420
01:12:45,600 --> 01:12:45,920
Speaker 3: was it?

1421
01:12:45,960 --> 01:12:49,519
Speaker 1: I was like, no, it was primal, And I wanted

1422
01:12:49,560 --> 01:12:51,759
Speaker 1: to know, do you remember this is an insane question.

1423
01:12:51,840 --> 01:12:56,000
Speaker 1: Were there two no's in the script? Or was I

1424
01:12:56,000 --> 01:13:01,320
Speaker 1: think there was one? It's it's it's reaction.

1425
01:13:02,320 --> 01:13:04,919
Speaker 3: I'll call you guys later and ask christ I'll remember exactly.

1426
01:13:05,320 --> 01:13:07,680
Speaker 1: It's just iconic and that dress that she.

1427
01:13:07,680 --> 01:13:11,280
Speaker 3: Can barely walk in, it's on what's his name Zach zachs.

1428
01:13:11,880 --> 01:13:15,880
Speaker 1: Yeah, and the little comedic beat at the end of her.

1429
01:13:17,960 --> 01:13:19,160
Speaker 4: She doesn't have any movement.

1430
01:13:19,320 --> 01:13:22,599
Speaker 1: I love it. And that's that's also that's so that's.

1431
01:13:22,520 --> 01:13:25,040
Speaker 3: Chris, I have to say, like, that's how Kristen is

1432
01:13:25,080 --> 01:13:29,120
Speaker 3: about us, like, don't mess with us. I mean, she

1433
01:13:29,200 --> 01:13:33,080
Speaker 3: will not let anyone hurt us. She will jump in

1434
01:13:33,160 --> 01:13:35,759
Speaker 3: front of a bear, a train, a bullet.

1435
01:13:36,000 --> 01:13:37,120
Speaker 4: She is, that is her.

1436
01:13:37,760 --> 01:13:41,360
Speaker 1: It was. It was a mission statement that character, like

1437
01:13:41,520 --> 01:13:44,800
Speaker 1: that protection and also just like you know, the way

1438
01:13:44,840 --> 01:13:48,599
Speaker 1: that every character was like immediately filling into a utility

1439
01:13:48,680 --> 01:13:49,720
Speaker 1: to protect.

1440
01:13:49,920 --> 01:13:52,720
Speaker 3: Like everybody had their job. It was just yeah, I

1441
01:13:52,760 --> 01:13:53,880
Speaker 3: remember that about it.

1442
01:13:54,000 --> 01:13:56,880
Speaker 1: Yeah, just the way that Cynthia looks at him afterwards,

1443
01:13:56,920 --> 01:14:00,480
Speaker 1: like so deeply. Because I always thought that the reallyationship

1444
01:14:00,520 --> 01:14:04,439
Speaker 1: between Miranda and Big was always fascinating, Yes, because they're

1445
01:14:05,400 --> 01:14:11,840
Speaker 1: like I feel like Miranda always saw Big always do

1446
01:14:12,000 --> 01:14:15,040
Speaker 1: something that everyone didn't. And of course it was informed

1447
01:14:15,080 --> 01:14:16,959
Speaker 1: by like you know, sort.

1448
01:14:16,720 --> 01:14:19,640
Speaker 2: Of like the version that Carrie would tell either of

1449
01:14:19,640 --> 01:14:22,679
Speaker 2: them about, Oh, Miranda said this to her, Big said

1450
01:14:22,720 --> 01:14:23,200
Speaker 2: this today.

1451
01:14:23,280 --> 01:14:23,719
Speaker 1: Yeah.

1452
01:14:23,720 --> 01:14:25,639
Speaker 4: I think that's why, And maybe I have this wrong.

1453
01:14:26,000 --> 01:14:27,360
Speaker 3: We don't have to spend more time on this, but

1454
01:14:27,400 --> 01:14:30,479
Speaker 3: I think that's why it's so I'm not I don't

1455
01:14:30,479 --> 01:14:31,760
Speaker 3: expect you guys to know the answer to this, But

1456
01:14:31,760 --> 01:14:35,439
Speaker 3: it's possible that Miranda says, go get our girl when

1457
01:14:35,520 --> 01:14:38,600
Speaker 3: when Carrie's in Paris with Petrowsky. I think she's the

1458
01:14:38,600 --> 01:14:41,800
Speaker 3: one that says to Big, go get our girl, which

1459
01:14:41,840 --> 01:14:46,200
Speaker 3: is interesting that she is basically endorsing Carrie and Big.

1460
01:14:46,080 --> 01:14:50,120
Speaker 2: Totally so including herself in that arrangement.

1461
01:14:49,720 --> 01:14:52,280
Speaker 4: Of our Yeah, yeah, yeah, yeah.

1462
01:14:52,479 --> 01:14:54,280
Speaker 1: It's one of the best.

1463
01:14:55,000 --> 01:14:57,559
Speaker 2: And what you're describing on the day is even you're

1464
01:14:57,560 --> 01:15:00,599
Speaker 2: saying there's no process. The process is led by candor,

1465
01:15:00,840 --> 01:15:03,720
Speaker 2: you know, by this honesty that you just don't you

1466
01:15:03,840 --> 01:15:06,120
Speaker 2: need to know what Chris is going to do, or

1467
01:15:06,200 --> 01:15:07,560
Speaker 2: not to know what he's gonna do, but you just

1468
01:15:07,920 --> 01:15:10,280
Speaker 2: play off of what he's going to do or what

1469
01:15:10,640 --> 01:15:10,960
Speaker 2: you know.

1470
01:15:11,160 --> 01:15:13,679
Speaker 3: The best thing you can do as an actor, it's

1471
01:15:13,720 --> 01:15:16,800
Speaker 3: the best thing is to not be too prepared. Be

1472
01:15:16,880 --> 01:15:19,760
Speaker 3: prepared that way, to be on time, be on time,

1473
01:15:20,560 --> 01:15:23,880
Speaker 3: on time, time, learn your lines, you know your lines.

1474
01:15:23,920 --> 01:15:28,479
Speaker 3: I don't care what genre of filmmaking you're at unless

1475
01:15:28,560 --> 01:15:33,400
Speaker 3: you're doing unless it's entirely improvised. Sure, other than that, well,

1476
01:15:33,439 --> 01:15:36,599
Speaker 3: you know, and then just listen see what happens.

1477
01:15:36,600 --> 01:15:37,200
Speaker 4: It's the best.

1478
01:15:37,560 --> 01:15:40,240
Speaker 1: Another show I loved, I loved to Divorce, but I

1479
01:15:40,280 --> 01:15:42,120
Speaker 1: worked with I worked with Molly Shannon on a show

1480
01:15:42,120 --> 01:15:44,640
Speaker 1: called I Love That for You, And I remember we

1481
01:15:44,640 --> 01:15:46,880
Speaker 1: were in the makeup trailer one day and she looked

1482
01:15:46,880 --> 01:15:48,680
Speaker 1: at me and she goes, how much do you look

1483
01:15:48,720 --> 01:15:52,720
Speaker 1: at the line? And I go, don't throw the bat?

1484
01:15:56,080 --> 01:15:59,679
Speaker 4: She notes in her script.

1485
01:16:00,040 --> 01:16:02,400
Speaker 3: She's walking around with the script and she's got all

1486
01:16:03,080 --> 01:16:03,320
Speaker 3: the way.

1487
01:16:03,360 --> 01:16:08,519
Speaker 1: She loves to learned so much from her, right, isn't

1488
01:16:08,560 --> 01:16:11,280
Speaker 1: she great? Well? Obviously bones worked with her now several

1489
01:16:11,280 --> 01:16:12,479
Speaker 1: times because she's gone back.

1490
01:16:12,560 --> 01:16:15,920
Speaker 3: But you know, when she said, what what was your

1491
01:16:15,960 --> 01:16:17,400
Speaker 3: answer when she asked that, ques, I was.

1492
01:16:17,360 --> 01:16:20,679
Speaker 1: Like, you know what, I'm good because I I tend

1493
01:16:20,680 --> 01:16:23,759
Speaker 1: to drive my I'm very hard on myself and ID

1494
01:16:23,840 --> 01:16:27,200
Speaker 1: I would leave. It was my first series, regular job,

1495
01:16:27,320 --> 01:16:29,160
Speaker 1: and I wanted to do it. I wanted to do

1496
01:16:29,200 --> 01:16:32,520
Speaker 1: a good job, and I think that, you know again.

1497
01:16:33,800 --> 01:16:37,200
Speaker 3: Wanted to do better than a good job. Of course,

1498
01:16:37,280 --> 01:16:40,400
Speaker 3: of course, so basically like Jennifer Lewis.

1499
01:16:40,120 --> 01:16:41,680
Speaker 1: There was a day when Jenniva Lewis.

1500
01:16:41,680 --> 01:16:45,599
Speaker 3: We say, Lewis, that's the only way we say her name.

1501
01:16:45,800 --> 01:16:48,920
Speaker 1: One of my biggest bummers is that the episode that

1502
01:16:49,000 --> 01:16:50,960
Speaker 1: she came on this podcast and we were there, you

1503
01:16:51,040 --> 01:16:53,280
Speaker 1: were out and so but I want them to meet

1504
01:16:53,320 --> 01:16:55,400
Speaker 1: so bad because I just want to see that interaction.

1505
01:16:55,680 --> 01:16:56,439
Speaker 4: Jennifer Lewis.

1506
01:16:56,520 --> 01:16:58,040
Speaker 1: But she said to me one day, she was like,

1507
01:16:58,080 --> 01:17:03,240
Speaker 1: you're too hard on you hard on yourself and she

1508
01:17:03,439 --> 01:17:05,519
Speaker 1: just like was like she was like, and people like

1509
01:17:05,600 --> 01:17:07,960
Speaker 1: you know, just you have to know you have it.

1510
01:17:08,040 --> 01:17:09,800
Speaker 1: And so Molly asked me that question, and I was like,

1511
01:17:09,840 --> 01:17:11,880
Speaker 1: you know what, I'm learning to drive myself less crazy

1512
01:17:11,920 --> 01:17:15,000
Speaker 1: about it because I find you do know it. Yeah,

1513
01:17:15,040 --> 01:17:16,439
Speaker 1: you know what I mean. If you're the kind of

1514
01:17:16,439 --> 01:17:18,320
Speaker 1: person who wants to show up and do a good

1515
01:17:18,400 --> 01:17:19,360
Speaker 1: job to begin with.

1516
01:17:19,360 --> 01:17:20,960
Speaker 4: You're going to do a job you do know.

1517
01:17:21,479 --> 01:17:26,759
Speaker 1: So sometimes I think it's important to preserve that freshness.

1518
01:17:26,120 --> 01:17:34,160
Speaker 3: A little bit of tingle, like the characters.

1519
01:17:33,240 --> 01:17:36,840
Speaker 1: Fresh from the But no, but it does feel like

1520
01:17:36,840 --> 01:17:38,679
Speaker 1: like the character doesn't know what they're about.

1521
01:17:38,439 --> 01:17:39,240
Speaker 4: To say, right, I know.

1522
01:17:39,520 --> 01:17:42,839
Speaker 3: So it's that fine line of being prepared and being complete.

1523
01:17:43,920 --> 01:17:45,080
Speaker 4: Yeah, like a raw nerve.

1524
01:17:45,200 --> 01:17:48,600
Speaker 1: But Molly was it was just interesting. I made that

1525
01:17:48,600 --> 01:17:50,800
Speaker 1: connection that you guys had worked together in the show

1526
01:17:50,840 --> 01:17:51,240
Speaker 1: I loved.

1527
01:17:52,000 --> 01:17:55,200
Speaker 4: Yeah, she's really great, I tell actors.

1528
01:17:55,840 --> 01:17:58,679
Speaker 3: And this was before I listened to Barbaris Streisen's book

1529
01:17:58,720 --> 01:18:00,360
Speaker 3: on tape, the only book I've ever listened to, not

1530
01:18:00,400 --> 01:18:09,479
Speaker 3: on tape but audio version. But I think Mollie's memoir is.

1531
01:18:11,280 --> 01:18:11,920
Speaker 4: The greatest.

1532
01:18:12,000 --> 01:18:14,120
Speaker 3: Like, if you can't get to an acting class, and

1533
01:18:14,200 --> 01:18:16,040
Speaker 3: you can't get to act.

1534
01:18:15,840 --> 01:18:18,320
Speaker 4: To an acting school, that is not a possibility for you.

1535
01:18:19,840 --> 01:18:20,599
Speaker 4: Read her book.

1536
01:18:20,760 --> 01:18:21,040
Speaker 1: It is.

1537
01:18:21,479 --> 01:18:25,519
Speaker 4: It is a handbook for young actors.

1538
01:18:25,560 --> 01:18:28,400
Speaker 3: I think it's first of all, I mean, not surprisingly,

1539
01:18:28,479 --> 01:18:29,599
Speaker 3: it's brilliantly written.

1540
01:18:29,640 --> 01:18:30,960
Speaker 4: It's so funny and.

1541
01:18:31,000 --> 01:18:40,440
Speaker 3: So clearly her voice, but her scrappiness and her persistence

1542
01:18:40,640 --> 01:18:43,040
Speaker 3: not actually unlike Barbara Streisence, who is like, I'm just

1543
01:18:43,080 --> 01:18:44,160
Speaker 3: I'm gonna get in that class.

1544
01:18:44,200 --> 01:18:44,720
Speaker 4: I don't care.

1545
01:18:44,920 --> 01:18:46,720
Speaker 3: I will get in that class if I have to

1546
01:18:46,760 --> 01:18:48,720
Speaker 3: lie about my age, if I don't lie about my age,

1547
01:18:48,720 --> 01:18:50,800
Speaker 3: if I do this, if I babysit for the acting teacher,

1548
01:18:50,840 --> 01:18:54,000
Speaker 3: if I all the ways in which she worked toward

1549
01:18:54,560 --> 01:18:57,840
Speaker 3: Molly had the same kind of grit and the same

1550
01:18:57,920 --> 01:18:59,200
Speaker 3: kind of endless.

1551
01:19:00,479 --> 01:19:01,160
Speaker 4: It's amazing.

1552
01:19:01,520 --> 01:19:07,000
Speaker 1: Yeah, literally throwing herself into it. Yeah, Okay, we're gonna

1553
01:19:07,000 --> 01:19:11,840
Speaker 1: throw ourselves into I don't think so, honey, I've seen this.

1554
01:19:11,920 --> 01:19:17,360
Speaker 3: The studios seems so big. I didn't realize the studio

1555
01:19:17,439 --> 01:19:19,000
Speaker 3: is so small. And I guess the way you guys

1556
01:19:19,080 --> 01:19:21,360
Speaker 3: shoot it, which is so funny to say for a podcast,

1557
01:19:21,400 --> 01:19:26,040
Speaker 3: But like the separation is often, are you more separated

1558
01:19:26,080 --> 01:19:26,599
Speaker 3: from each other?

1559
01:19:26,680 --> 01:19:27,559
Speaker 4: Sometimes? Are you ever?

1560
01:19:27,960 --> 01:19:28,320
Speaker 2: Sometimes?

1561
01:19:29,439 --> 01:19:29,639
Speaker 4: Yeah?

1562
01:19:29,680 --> 01:19:34,400
Speaker 3: Because sometimes they're shooting. I guess you're right. It's pretty

1563
01:19:34,640 --> 01:19:36,600
Speaker 3: funny together.

1564
01:19:36,760 --> 01:19:38,400
Speaker 1: Sometimes I do like being there.

1565
01:19:38,439 --> 01:19:40,360
Speaker 2: I do like being over there sometimes, but this feels.

1566
01:19:40,120 --> 01:19:41,599
Speaker 1: Right for that today.

1567
01:19:43,680 --> 01:19:45,719
Speaker 4: Okay, you can start over again.

1568
01:19:47,320 --> 01:19:47,639
Speaker 1: The top.

1569
01:19:48,479 --> 01:19:49,600
Speaker 4: All right, so what do you want me to do?

1570
01:19:49,600 --> 01:19:54,160
Speaker 1: You want me to and then yes, we all.

1571
01:19:54,040 --> 01:19:55,400
Speaker 4: Do it so because I almoso.

1572
01:19:55,520 --> 01:19:58,200
Speaker 3: That makes me really scared because yours are no doubt

1573
01:19:58,280 --> 01:20:01,280
Speaker 3: not likely going to be very funny snarky.

1574
01:20:01,800 --> 01:20:12,040
Speaker 1: Come on, well, now we're trying to meet exactly. So

1575
01:20:12,280 --> 01:20:14,559
Speaker 1: this is our sixty second second for those just joining us,

1576
01:20:14,800 --> 01:20:16,880
Speaker 1: last JP fans that are that are just coming by

1577
01:20:17,000 --> 01:20:20,880
Speaker 1: lost coach because I call yourself is here, but sixty

1578
01:20:20,920 --> 01:20:23,479
Speaker 1: seconds to ran and rail against something in pop culture

1579
01:20:23,479 --> 01:20:27,559
Speaker 1: that's getting in the kay.

1580
01:20:28,000 --> 01:20:30,800
Speaker 4: Please don't tell me if I can't wait to hear your.

1581
01:20:31,120 --> 01:20:33,000
Speaker 1: Yes, I have takes because I'm a fan.

1582
01:20:33,160 --> 01:20:35,120
Speaker 2: Here we go, Oh, this is Matt Rogers. I don't

1583
01:20:35,120 --> 01:20:36,120
Speaker 2: think so many time starts.

1584
01:20:36,160 --> 01:20:39,000
Speaker 1: Now, I don't think so, honey, Carry Bradshaw. I think

1585
01:20:39,040 --> 01:20:41,559
Speaker 1: you needed to give Paris a few more weeks back

1586
01:20:41,600 --> 01:20:43,479
Speaker 1: in the day. I have to say, because I don't

1587
01:20:43,520 --> 01:20:46,799
Speaker 1: think so, honey, big I never did. I like Miranda

1588
01:20:46,960 --> 01:20:48,920
Speaker 1: saw you from the beginning, sir, and I do have

1589
01:20:49,000 --> 01:20:51,000
Speaker 1: the words for it now. It was narcissistic of you.

1590
01:20:51,240 --> 01:20:54,280
Speaker 1: Rest in peace. But still I also don't think so, honey,

1591
01:20:54,320 --> 01:20:59,040
Speaker 1: Aiden wait for me five years, sir, Carrie s JP.

1592
01:20:59,240 --> 01:21:00,599
Speaker 1: I know you're not her, but you have a direct

1593
01:21:00,640 --> 01:21:03,679
Speaker 1: line to her. Carry. You are a target for narcissists. No,

1594
01:21:04,160 --> 01:21:06,680
Speaker 1: let me tell you something about who Carrie Bradshaw is.

1595
01:21:07,520 --> 01:21:12,400
Speaker 1: Carrie Bradshaw is someone who is looking for love, and

1596
01:21:12,479 --> 01:21:18,200
Speaker 1: I don't think that it's here in this beautiful city,

1597
01:21:19,640 --> 01:21:25,040
Speaker 1: in that townhouse infested with rats fifteen in Manhattan. I

1598
01:21:25,080 --> 01:21:27,240
Speaker 1: think you gotta go back to Paris. And I gotta

1599
01:21:27,280 --> 01:21:29,800
Speaker 1: say now, like you're gonna give me some New York

1600
01:21:29,880 --> 01:21:33,120
Speaker 1: recommendations in my new area, I think I want. I

1601
01:21:33,240 --> 01:21:37,080
Speaker 1: think I could give you some some Parisian recommendations Clencio.

1602
01:21:37,560 --> 01:21:39,679
Speaker 1: It says it's a gay club. It's not. You're gonna

1603
01:21:39,680 --> 01:21:42,240
Speaker 1: do great lots of wonderful straight guys. They're carry and

1604
01:21:42,240 --> 01:21:44,160
Speaker 1: they're not big and aiden, which is perfect for me.

1605
01:21:44,240 --> 01:21:46,320
Speaker 1: I don't think so, honey. And that's one.

1606
01:21:50,240 --> 01:21:52,600
Speaker 4: I don't want to go.

1607
01:21:53,280 --> 01:21:55,040
Speaker 2: I'll go and I'm gonna bring us down.

1608
01:21:56,160 --> 01:21:59,000
Speaker 1: But can I tell you some funny who cares and

1609
01:21:59,200 --> 01:22:01,639
Speaker 1: want us to be a spirited cut.

1610
01:22:01,479 --> 01:22:05,920
Speaker 3: It out up, make it better.

1611
01:22:06,080 --> 01:22:08,920
Speaker 2: They're gonna they're gonna see the time stamps. They're gonna

1612
01:22:08,960 --> 01:22:10,240
Speaker 2: know that we that we fucked with that.

1613
01:22:10,439 --> 01:22:14,479
Speaker 3: First of all, you're your turn.

1614
01:22:16,040 --> 01:22:20,040
Speaker 2: You go, this is this is, this is gonna, this

1615
01:22:20,160 --> 01:22:20,479
Speaker 2: is going.

1616
01:22:21,200 --> 01:22:23,640
Speaker 1: I know he's doesn't have the cutest pop socket. It's

1617
01:22:23,720 --> 01:22:26,800
Speaker 1: very little. He was dragged pop socket. So but this

1618
01:22:26,880 --> 01:22:30,120
Speaker 1: is also a figure up spin. That's it's a fidget

1619
01:22:30,120 --> 01:22:32,240
Speaker 1: spinner on a pop socket. Let's show the girls, show

1620
01:22:32,240 --> 01:22:33,719
Speaker 1: the girls. Look at that, y'all.

1621
01:22:33,800 --> 01:22:35,040
Speaker 4: Isn't that just pretty?

1622
01:22:35,280 --> 01:22:36,680
Speaker 1: He has a Pokemon finat.

1623
01:22:36,479 --> 01:22:37,599
Speaker 4: That's really really pretty.

1624
01:22:37,680 --> 01:22:38,120
Speaker 2: It's fun.

1625
01:22:38,280 --> 01:22:38,719
Speaker 1: All right.

1626
01:22:39,120 --> 01:22:41,120
Speaker 2: Oh, it's my BA, it's my baseball, it's my it's

1627
01:22:41,120 --> 01:22:42,320
Speaker 2: my Yankees.

1628
01:22:42,360 --> 01:22:44,160
Speaker 1: I'm looking down at the text and there's a lot.

1629
01:22:44,560 --> 01:22:47,360
Speaker 4: Are you serious? It's okay, I mean from the world.

1630
01:22:47,320 --> 01:22:50,280
Speaker 1: Just seeing then breaking some news anyway, it won't be

1631
01:22:50,320 --> 01:22:57,640
Speaker 1: topical now, but just know there's just more bullshit breaking. Okay,

1632
01:22:57,840 --> 01:23:01,120
Speaker 1: this is bowing yangs. I don't think and as time

1633
01:23:01,200 --> 01:23:02,479
Speaker 1: starts now, I don't think so, honey.

1634
01:23:02,520 --> 01:23:05,040
Speaker 2: When someone asks if you're free on a certain night

1635
01:23:05,320 --> 01:23:08,960
Speaker 2: without telling you what they are inviting you to, are

1636
01:23:08,960 --> 01:23:14,679
Speaker 2: pressuring you to do, that is a form of entrapment. Legally,

1637
01:23:14,800 --> 01:23:17,599
Speaker 2: that is a form of entrapment. You are not allowed

1638
01:23:17,600 --> 01:23:20,040
Speaker 2: to do that. I need to know what you were

1639
01:23:20,160 --> 01:23:22,519
Speaker 2: asking me to commit to before I tell you whether

1640
01:23:22,600 --> 01:23:25,200
Speaker 2: or not I'm free, because I might need the night

1641
01:23:25,280 --> 01:23:28,760
Speaker 2: to myself to stay in I need it. But I

1642
01:23:28,800 --> 01:23:33,000
Speaker 2: think we, I in the royal eye sense, need it

1643
01:23:33,400 --> 01:23:36,120
Speaker 2: and we just have to morator him on that for

1644
01:23:36,120 --> 01:23:39,280
Speaker 2: a little bit before we before we know a way forward.

1645
01:23:39,360 --> 01:23:42,000
Speaker 2: I think there should be legislation behind this. I mean,

1646
01:23:42,200 --> 01:23:43,840
Speaker 2: you're allowed to cancel.

1647
01:23:46,360 --> 01:23:50,000
Speaker 3: You get three, you get your free time back, and

1648
01:23:50,040 --> 01:23:50,519
Speaker 3: it's like.

1649
01:23:50,520 --> 01:23:53,200
Speaker 2: But then, but then the person feels like they are

1650
01:23:53,320 --> 01:23:55,680
Speaker 2: giving you your time back, which is also kind of

1651
01:23:55,680 --> 01:23:58,240
Speaker 2: a weird directional sort of way of framing it, and

1652
01:23:58,640 --> 01:24:01,240
Speaker 2: I just think we need to be more transparent about

1653
01:24:01,320 --> 01:24:04,360
Speaker 2: what the proposal is when we're inviting our friends.

1654
01:24:04,400 --> 01:24:05,120
Speaker 1: And that's one minute.

1655
01:24:05,120 --> 01:24:07,479
Speaker 4: And also that was really good, guys. That was both

1656
01:24:07,520 --> 01:24:09,920
Speaker 4: Both of those were great. Thank you a great It.

1657
01:24:09,920 --> 01:24:12,559
Speaker 1: Can be anything, but but listen what I'm saying about

1658
01:24:12,560 --> 01:24:15,160
Speaker 1: this is and when I say to you in response

1659
01:24:15,600 --> 01:24:17,679
Speaker 1: to what are you doing this night, and you don't

1660
01:24:17,760 --> 01:24:20,800
Speaker 1: qualify it with any information, and my response is, well,

1661
01:24:20,840 --> 01:24:24,679
Speaker 1: what's going on? Why? I'm not rude, No, no, I think.

1662
01:24:24,560 --> 01:24:27,840
Speaker 3: It's perfectly fair question. Yes, but I think it's a

1663
01:24:27,880 --> 01:24:31,639
Speaker 3: perfectly fair response. Hey, why I'm not sure yet?

1664
01:24:31,760 --> 01:24:32,040
Speaker 4: Why?

1665
01:24:32,439 --> 01:24:38,559
Speaker 1: Yeah, they are not sure? They won't they.

1666
01:24:37,160 --> 01:24:38,160
Speaker 4: Want the government.

1667
01:24:38,560 --> 01:24:41,160
Speaker 2: I don't think we're going to use that, do it.

1668
01:24:41,240 --> 01:24:43,439
Speaker 2: Why don't you sound you can't really use that anymore?

1669
01:24:43,479 --> 01:24:45,519
Speaker 4: But I just kind of it.

1670
01:24:45,640 --> 01:24:49,120
Speaker 3: I was like working on some other stuff, you know,

1671
01:24:49,320 --> 01:24:51,439
Speaker 3: I was some shine out, some other stuff.

1672
01:24:51,439 --> 01:24:54,080
Speaker 4: I went to Carolyn's comedy over there, I went to sell.

1673
01:24:54,680 --> 01:24:55,320
Speaker 4: I was just working.

1674
01:24:55,360 --> 01:24:57,240
Speaker 3: I try to work on some other Sometimes I just

1675
01:24:57,280 --> 01:25:00,480
Speaker 3: say the government so equally as.

1676
01:25:00,160 --> 01:25:04,080
Speaker 4: Like des orienting for the person that iked government, especially now,

1677
01:25:04,120 --> 01:25:05,559
Speaker 4: and it's like maybe it's true.

1678
01:25:05,880 --> 01:25:07,160
Speaker 2: It might be, it might be.

1679
01:25:07,240 --> 01:25:09,759
Speaker 1: You know, we were at the Beyonce concert in in

1680
01:25:09,760 --> 01:25:11,720
Speaker 1: in Paris and wow.

1681
01:25:11,560 --> 01:25:12,559
Speaker 4: That's why you guys know.

1682
01:25:12,880 --> 01:25:15,639
Speaker 1: Well we were there to do the can Lyon and okay,

1683
01:25:15,640 --> 01:25:17,479
Speaker 1: so for our Culture Awards, and we had a wonderful

1684
01:25:17,520 --> 01:25:19,960
Speaker 1: experience there. It was very exhausting and a lot we

1685
01:25:20,000 --> 01:25:21,560
Speaker 1: had never been. Well he had been to can a

1686
01:25:21,600 --> 01:25:23,160
Speaker 1: couple of years ago, but I had never been. It

1687
01:25:23,200 --> 01:25:27,040
Speaker 1: was it was intense and well, and then we had

1688
01:25:27,080 --> 01:25:29,280
Speaker 1: we took a little I guess it's sojourn.

1689
01:25:29,280 --> 01:25:32,240
Speaker 4: To How did you how did you not to choose them? Marae?

1690
01:25:33,240 --> 01:25:38,800
Speaker 1: We had a one travel travel, Yeah travel c B

1691
01:25:39,040 --> 01:25:43,120
Speaker 1: s E Travel and let us in a lovely area

1692
01:25:43,360 --> 01:25:46,320
Speaker 1: and we were like, well, if we're going to be

1693
01:25:46,320 --> 01:25:48,080
Speaker 1: there the same time as Beyonce, we're going to go

1694
01:25:48,120 --> 01:25:48,719
Speaker 1: see Beyonce.

1695
01:25:49,000 --> 01:25:49,439
Speaker 4: Yeah.

1696
01:25:49,520 --> 01:25:51,800
Speaker 1: And you know, we didn't get the Miley cyrus Knight,

1697
01:25:51,840 --> 01:25:53,360
Speaker 1: but we did get the jay Z Knight, which is

1698
01:25:53,360 --> 01:25:56,200
Speaker 1: special and it's in its own right to be certain.

1699
01:25:56,920 --> 01:25:59,519
Speaker 1: But some people were coming up and Bohm was trying

1700
01:25:59,520 --> 01:26:02,120
Speaker 1: out can we do it? At the end, I said,

1701
01:26:02,160 --> 01:26:02,800
Speaker 1: let's do it the way.

1702
01:26:04,280 --> 01:26:04,800
Speaker 4: That's great.

1703
01:26:05,439 --> 01:26:07,679
Speaker 3: I've done that, I said, on your way out makes

1704
01:26:07,760 --> 01:26:09,800
Speaker 3: you stop by or I do.

1705
01:26:09,920 --> 01:26:11,559
Speaker 4: I say, I'm like hon to stop and I always

1706
01:26:11,560 --> 01:26:12,880
Speaker 4: do stop by and say hello.

1707
01:26:12,920 --> 01:26:15,760
Speaker 3: But I dissuade them that a picture has any I'm like,

1708
01:26:16,080 --> 01:26:17,360
Speaker 3: let me just value of that idea.

1709
01:26:17,680 --> 01:26:18,960
Speaker 4: There's no value at all.

1710
01:26:19,120 --> 01:26:19,280
Speaker 2: This.

1711
01:26:20,240 --> 01:26:21,800
Speaker 1: That's it's good.

1712
01:26:22,000 --> 01:26:22,439
Speaker 2: That's the thing.

1713
01:26:22,479 --> 01:26:24,200
Speaker 1: You want to be able to say, Oh, I had

1714
01:26:24,240 --> 01:26:28,760
Speaker 1: this special bespoke interaction instead of I have.

1715
01:26:28,760 --> 01:26:32,320
Speaker 4: This like, yeah, it's not very great.

1716
01:26:33,160 --> 01:26:34,320
Speaker 1: They're never gonna.

1717
01:26:34,160 --> 01:26:41,200
Speaker 4: Be everyone's tense.

1718
01:26:41,120 --> 01:26:46,400
Speaker 2: But you know, everyone's comfortable and not tense for what

1719
01:26:46,400 --> 01:26:49,240
Speaker 2: we're about to do and witness.

1720
01:26:48,720 --> 01:26:49,519
Speaker 1: Is okay.

1721
01:26:49,520 --> 01:26:54,599
Speaker 3: I just want to say you that a couple of things.

1722
01:26:54,640 --> 01:26:54,920
Speaker 1: Okay.

1723
01:26:55,000 --> 01:26:56,760
Speaker 3: The first thing I'm going to say is that I

1724
01:26:56,800 --> 01:26:58,280
Speaker 3: have been preoccupied with.

1725
01:27:00,400 --> 01:27:01,160
Speaker 4: Family stuff.

1726
01:27:01,200 --> 01:27:05,080
Speaker 3: So I as much as I've wanted to really think

1727
01:27:05,120 --> 01:27:10,760
Speaker 3: about this and have it be the sole focus of

1728
01:27:10,800 --> 01:27:13,160
Speaker 3: getting this right, I have not had the kind of

1729
01:27:13,200 --> 01:27:15,120
Speaker 3: time I typically devote to something I care about.

1730
01:27:15,160 --> 01:27:15,720
Speaker 4: That's number one.

1731
01:27:15,800 --> 01:27:19,920
Speaker 3: Number Two, I don't have to be with anybody that

1732
01:27:21,760 --> 01:27:24,800
Speaker 3: is just nothing chaps my ass, nothing wants me the

1733
01:27:24,840 --> 01:27:26,599
Speaker 3: wrong way.

1734
01:27:26,280 --> 01:27:28,560
Speaker 4: I don't really carry around.

1735
01:27:28,720 --> 01:27:32,880
Speaker 3: So this was like to try to find something that

1736
01:27:33,080 --> 01:27:36,439
Speaker 3: really bothers me is so anatholic.

1737
01:27:40,080 --> 01:27:41,840
Speaker 2: You and I.

1738
01:27:43,120 --> 01:27:45,240
Speaker 3: Don't even know if it's even close to a minute long,

1739
01:27:45,280 --> 01:27:53,880
Speaker 3: and I'm gonna if it's going, it's really bad.

1740
01:27:50,120 --> 01:27:54,800
Speaker 1: You've plussed it with the.

1741
01:27:56,400 --> 01:27:57,360
Speaker 4: Glasses and not to the word.

1742
01:27:58,040 --> 01:27:58,240
Speaker 2: Now.

1743
01:27:58,680 --> 01:28:03,639
Speaker 3: I saw Tina Fey the Great read, so listen.

1744
01:28:04,560 --> 01:28:06,280
Speaker 1: I don't so many.

1745
01:28:07,400 --> 01:28:10,920
Speaker 3: I don't think so, honey, Yes, and you bookend it

1746
01:28:10,960 --> 01:28:12,200
Speaker 3: with I don't think so.

1747
01:28:13,160 --> 01:28:16,280
Speaker 2: You don't have to end on you should you should?

1748
01:28:16,320 --> 01:28:18,599
Speaker 1: I don't think so, honey should begin the piece and

1749
01:28:18,640 --> 01:28:20,200
Speaker 1: it should end the piece, and if it can come

1750
01:28:20,280 --> 01:28:21,560
Speaker 1: check her throughout the piece.

1751
01:28:21,479 --> 01:28:22,160
Speaker 4: I'm gonna try.

1752
01:28:22,240 --> 01:28:26,280
Speaker 3: But there's if you ever have me back for no

1753
01:28:26,360 --> 01:28:29,040
Speaker 3: reason at all, because I think we've basically.

1754
01:28:29,560 --> 01:28:35,559
Speaker 4: Covered with subjects, I will do better.

1755
01:28:35,920 --> 01:28:39,000
Speaker 2: No, you haven't even heard.

1756
01:28:40,320 --> 01:28:42,840
Speaker 4: And I'm afraid everyone's to cover this topic.

1757
01:28:42,880 --> 01:28:44,600
Speaker 3: But it's the only thing in the whole world that

1758
01:28:44,680 --> 01:28:47,240
Speaker 3: bothers nothing, but.

1759
01:28:51,560 --> 01:28:53,160
Speaker 2: This is Sarah Burgers. I don't think so.

1760
01:28:53,200 --> 01:28:54,439
Speaker 1: One of your time starts now.

1761
01:28:55,280 --> 01:28:58,320
Speaker 3: I don't think so, honey, talking everywhere too loud on

1762
01:28:58,360 --> 01:28:58,800
Speaker 3: your phone.

1763
01:28:59,120 --> 01:29:01,240
Speaker 4: In fact, don't want to hear your very.

1764
01:29:01,080 --> 01:29:04,800
Speaker 3: Important business call regarding upcoming merger.

1765
01:29:06,320 --> 01:29:07,440
Speaker 4: Potential buyout.

1766
01:29:08,080 --> 01:29:11,840
Speaker 3: The Internescian workplace battles with Doug or Stacy or Kate.

1767
01:29:13,040 --> 01:29:14,000
Speaker 4: I don't think so, honey.

1768
01:29:14,040 --> 01:29:16,320
Speaker 3: We don't actually care whether we learn the inner workings

1769
01:29:16,320 --> 01:29:19,759
Speaker 3: of your psyche as you scream into your airsticks airs

1770
01:29:20,240 --> 01:29:22,599
Speaker 3: or into your speaker phone, or with the phone.

1771
01:29:22,400 --> 01:29:23,240
Speaker 4: Press to your ears.

1772
01:29:23,280 --> 01:29:26,479
Speaker 3: Nonetheless, both parties back and forth amplified for all to hear.

1773
01:29:26,520 --> 01:29:27,479
Speaker 4: I don't think so, honey.

1774
01:29:27,880 --> 01:29:32,080
Speaker 3: We know you are no doubt a very important person man.

1775
01:29:33,400 --> 01:29:36,600
Speaker 3: And though you may think your baritone dulcet tones are

1776
01:29:36,640 --> 01:29:39,080
Speaker 3: a gift to your fellow citizen on the train, bus

1777
01:29:39,160 --> 01:29:43,240
Speaker 3: or terminal d Gate twenty seven, or your abuse of

1778
01:29:43,280 --> 01:29:47,599
Speaker 3: the quiet car, or even the unsuspecting pedestrian you share

1779
01:29:47,680 --> 01:29:49,759
Speaker 3: a corner with as we wait for the walk sign.

1780
01:29:50,120 --> 01:29:52,960
Speaker 3: Who is on the receiving end of your screaming instructions

1781
01:29:52,960 --> 01:29:58,480
Speaker 3: to a coworker, family member or hotel receptionist. Hotel receptionists

1782
01:29:58,479 --> 01:30:00,599
Speaker 3: as you bully for the room with the ocean view.

1783
01:30:00,880 --> 01:30:02,439
Speaker 4: No, Bradley, I don't think so.

1784
01:30:02,560 --> 01:30:05,639
Speaker 3: Money, what you might consider a gift for those whose

1785
01:30:05,720 --> 01:30:08,800
Speaker 3: unfortunate path you cross, is more so a punishment.

1786
01:30:08,840 --> 01:30:09,439
Speaker 4: I don't think so.

1787
01:30:09,760 --> 01:30:14,880
Speaker 3: Public spaces don't qualify as working from home, Teddy are

1788
01:30:15,000 --> 01:30:19,679
Speaker 3: not inspired, motivated and pressed or swooning. So bro, bro

1789
01:30:20,439 --> 01:30:23,360
Speaker 3: with all do nothing cooler or hotter than a guy

1790
01:30:23,360 --> 01:30:26,960
Speaker 3: who knows when to use his indoor voice. That's crushing it,

1791
01:30:27,400 --> 01:30:31,840
Speaker 3: I don't think so, honey.

1792
01:30:30,560 --> 01:30:32,960
Speaker 1: That's to all you mister biggs out there. What are

1793
01:30:32,960 --> 01:30:36,120
Speaker 1: you talking about? That was? It felt like I was

1794
01:30:36,400 --> 01:30:37,960
Speaker 1: hearing it was euphoric for.

1795
01:30:39,680 --> 01:30:42,400
Speaker 3: So long I was gonna talk about how everyone has

1796
01:30:42,439 --> 01:30:44,599
Speaker 3: to walk from A to B with a big twelve

1797
01:30:44,600 --> 01:30:47,519
Speaker 3: ounce er of liquid constantly, but now it's so hot.

1798
01:30:47,560 --> 01:30:49,160
Speaker 3: I felt like that would be a criticism of people

1799
01:30:49,240 --> 01:30:51,040
Speaker 3: being properly diddressed dehydrated.

1800
01:30:51,040 --> 01:30:53,799
Speaker 2: But you know what, it is grotesque. It is too big,

1801
01:30:53,920 --> 01:30:56,400
Speaker 2: and all these little appositive affirmations on the bottle.

1802
01:30:56,479 --> 01:30:59,759
Speaker 1: We don't You're a grown person.

1803
01:31:00,280 --> 01:31:02,000
Speaker 2: You know you don't need that.

1804
01:31:02,160 --> 01:31:03,519
Speaker 1: What was the audition song, by.

1805
01:31:03,360 --> 01:31:05,639
Speaker 4: The way, Nothing from a course line?

1806
01:31:05,720 --> 01:31:06,080
Speaker 1: Nothing?

1807
01:31:06,800 --> 01:31:08,880
Speaker 2: Yeah, yeah, I do.

1808
01:31:09,040 --> 01:31:09,439
Speaker 1: I do think.

1809
01:31:09,640 --> 01:31:12,360
Speaker 2: I think a course line ending on one is actually

1810
01:31:12,439 --> 01:31:15,280
Speaker 2: quite iconic. I love that number so good.

1811
01:31:15,560 --> 01:31:21,719
Speaker 3: But that's experience where everybody, yes, everybody, specific types typically

1812
01:31:21,760 --> 01:31:25,640
Speaker 3: speaking are on their phone too loud.

1813
01:31:25,680 --> 01:31:30,439
Speaker 1: I would I would say that there is something I

1814
01:31:30,600 --> 01:31:35,960
Speaker 1: just wonder what's happening in private. That's so boring that

1815
01:31:36,000 --> 01:31:38,160
Speaker 1: they need to perform, because that's really what it is.

1816
01:31:38,200 --> 01:31:41,519
Speaker 1: They never had their little courset line hairspray moment, right,

1817
01:31:41,680 --> 01:31:43,639
Speaker 1: they didn't never, they just you know what I mean,

1818
01:31:43,680 --> 01:31:44,400
Speaker 1: that's their stage.

1819
01:31:44,400 --> 01:31:46,840
Speaker 3: Have you ever seen the fellow that sits in the

1820
01:31:46,880 --> 01:31:50,800
Speaker 3: old days, probably before there was security issues in the

1821
01:31:50,920 --> 01:31:53,720
Speaker 3: gate area, and answers the person on the phone.

1822
01:31:53,760 --> 01:31:55,360
Speaker 4: Who's talking, I do that now.

1823
01:31:55,520 --> 01:31:56,200
Speaker 1: That's funny.

1824
01:31:56,240 --> 01:31:57,800
Speaker 3: I wish I could pull up a tape I do

1825
01:31:57,880 --> 01:31:59,760
Speaker 3: it now, and my children are like, please moment, don't

1826
01:31:59,760 --> 01:32:00,000
Speaker 3: do that.

1827
01:32:00,080 --> 01:32:00,400
Speaker 2: Please.

1828
01:32:00,800 --> 01:32:02,800
Speaker 3: So if someone's on the phone saying, well, Bob, you know,

1829
01:32:03,200 --> 01:32:04,840
Speaker 3: can you make it in seven days, I'm like, I'll

1830
01:32:04,840 --> 01:32:05,519
Speaker 3: try to make it.

1831
01:32:05,920 --> 01:32:09,479
Speaker 4: I answer, oh, that's great. And after a minute, it's.

1832
01:32:09,280 --> 01:32:13,559
Speaker 3: So confusing to the person who is loudly having this

1833
01:32:14,120 --> 01:32:19,839
Speaker 3: important call at gate anyway, watch that guy, he's it's

1834
01:32:20,120 --> 01:32:21,880
Speaker 3: I don't know if you're a fan of what's the

1835
01:32:21,920 --> 01:32:23,000
Speaker 3: show Candid Camera?

1836
01:32:23,240 --> 01:32:23,880
Speaker 1: I love?

1837
01:32:24,080 --> 01:32:27,400
Speaker 3: Okay, that's basically my This is this that that's that's that.

1838
01:32:28,920 --> 01:32:29,760
Speaker 4: I mean, this is that.

1839
01:32:29,920 --> 01:32:32,000
Speaker 2: This is that the kids these days don't know about

1840
01:32:32,040 --> 01:32:38,599
Speaker 2: Candiy camera camera good. And I will say that in Paris.

1841
01:32:38,640 --> 01:32:40,280
Speaker 2: This is there's a woman in you know, my room

1842
01:32:40,320 --> 01:32:41,720
Speaker 2: wasn't quite ready, so I was killing. I was killing

1843
01:32:41,760 --> 01:32:44,280
Speaker 2: about an hour. And it really sticks out when there's

1844
01:32:44,320 --> 01:32:49,560
Speaker 2: a clearly American person wasn't a man, but this American

1845
01:32:49,560 --> 01:32:53,240
Speaker 2: American was screaming on the phone, and I was like, really,

1846
01:32:54,080 --> 01:32:56,160
Speaker 2: and all these French people just turning their.

1847
01:32:56,160 --> 01:32:56,960
Speaker 4: Oh, it's so awful.

1848
01:32:57,040 --> 01:33:00,439
Speaker 2: It's it's especially like agreed.

1849
01:33:01,160 --> 01:33:04,759
Speaker 1: It's really something when you are with someone to who's

1850
01:33:04,840 --> 01:33:07,439
Speaker 1: doing that and you can't. I remember I was on it.

1851
01:33:07,880 --> 01:33:09,880
Speaker 1: I was on a date one time and we were

1852
01:33:09,920 --> 01:33:13,280
Speaker 1: in a very crowded place going home, and he was

1853
01:33:13,360 --> 01:33:17,839
Speaker 1: loudly explaining to me when he learned the difference between

1854
01:33:17,840 --> 01:33:21,400
Speaker 1: a hard no and a soft no over email and

1855
01:33:21,439 --> 01:33:24,880
Speaker 1: I'm gonna I'm going to use it forgive me. But

1856
01:33:25,000 --> 01:33:28,000
Speaker 1: the woman in front of us turned around and made

1857
01:33:28,040 --> 01:33:31,439
Speaker 1: eye contact with me like this, and all she was

1858
01:33:31,439 --> 01:33:33,200
Speaker 1: saying with her eyes was you cannot.

1859
01:33:33,200 --> 01:33:35,839
Speaker 4: I don't think.

1860
01:33:38,920 --> 01:33:41,840
Speaker 1: I don't worry. I was like, this is a one

1861
01:33:41,920 --> 01:33:45,519
Speaker 1: arm tug and a sayonara at the end of this,

1862
01:33:46,240 --> 01:33:49,840
Speaker 1: I don't think so honey, loudly going on about it,

1863
01:33:49,880 --> 01:33:51,960
Speaker 1: and I'm like, oh my god, where am I am?

1864
01:33:52,000 --> 01:33:54,720
Speaker 1: I am I the matrix right now or something like that.

1865
01:33:54,920 --> 01:34:00,880
Speaker 1: She was, she was, she was helpful, she was huge,

1866
01:34:01,120 --> 01:34:03,200
Speaker 1: you know, and only in New York, only New York.

1867
01:34:03,360 --> 01:34:08,000
Speaker 2: And we're so lucky that you joined us today. Thank

1868
01:34:08,040 --> 01:34:09,960
Speaker 2: you for having me, thank you for coming on.

1869
01:34:10,040 --> 01:34:12,800
Speaker 3: I said so many many many many many many many

1870
01:34:12,840 --> 01:34:18,880
Speaker 3: months ago. Literally, I think last whenever we wrapped, I said,

1871
01:34:19,200 --> 01:34:21,040
Speaker 3: you know, I was trying to un figure out, like

1872
01:34:21,560 --> 01:34:23,120
Speaker 3: how do you talk about a show today?

1873
01:34:23,160 --> 01:34:25,400
Speaker 4: Like what makes sense? What matters?

1874
01:34:25,760 --> 01:34:25,840
Speaker 1: What?

1875
01:34:26,760 --> 01:34:31,200
Speaker 4: There's just so much, but I was like, this is

1876
01:34:31,280 --> 01:34:32,080
Speaker 4: what I want to do.

1877
01:34:32,160 --> 01:34:33,920
Speaker 3: I want to do this show so much because I

1878
01:34:33,960 --> 01:34:40,000
Speaker 3: really I love what you're both doing together and separately,

1879
01:34:40,240 --> 01:34:45,599
Speaker 3: and it's you know, there's always the thing that feels fresh,

1880
01:34:45,600 --> 01:34:49,400
Speaker 3: and people are figuring out ways of like giving us

1881
01:34:49,439 --> 01:34:54,600
Speaker 3: information and stuff. But so I just I'm you know,

1882
01:34:54,720 --> 01:34:58,160
Speaker 3: I was hoping that it would be something that you

1883
01:34:58,160 --> 01:35:01,160
Speaker 3: guys would be hospitable to. So, Mike, thank you so

1884
01:35:01,240 --> 01:35:04,400
Speaker 3: much for having me. I really really appreciate it so much.

1885
01:35:04,400 --> 01:35:06,160
Speaker 1: It's so special to get to talk thank you. It

1886
01:35:06,200 --> 01:35:06,640
Speaker 1: really is.

1887
01:35:06,800 --> 01:35:09,920
Speaker 2: It's when you yes, it's when you're when you embrace

1888
01:35:10,000 --> 01:35:14,160
Speaker 2: these things like you going on all these shows is very,

1889
01:35:14,360 --> 01:35:19,639
Speaker 2: very affirming for people who podcast. In the podcasting space,

1890
01:35:19,680 --> 01:35:22,320
Speaker 2: we're like, oh, we get to talk to someone is

1891
01:35:22,320 --> 01:35:23,840
Speaker 2: compelling and wonderful.

1892
01:35:23,600 --> 01:35:24,920
Speaker 1: And we do have a lot of mutual friends.

1893
01:35:24,920 --> 01:35:25,920
Speaker 2: We do, yeah, we do.

1894
01:35:25,960 --> 01:35:33,559
Speaker 3: So to cross it's more bigger or more ye, yes,

1895
01:35:33,640 --> 01:35:34,800
Speaker 3: and we will yeah.

1896
01:35:34,920 --> 01:35:42,320
Speaker 1: And you know, next time I see Matthew, I I

1897
01:35:42,439 --> 01:35:44,439
Speaker 1: didn't bother them this time, gon like next to Steve

1898
01:35:44,479 --> 01:35:47,960
Speaker 1: and everything, and I was just like there, but I

1899
01:35:48,000 --> 01:35:53,360
Speaker 1: did just watch election and so good and just such

1900
01:35:53,400 --> 01:35:54,799
Speaker 1: a icon in it.

1901
01:35:55,080 --> 01:35:56,080
Speaker 4: So good and so.

1902
01:35:57,800 --> 01:35:59,960
Speaker 1: Still did you have a crush on Fares?

1903
01:36:01,000 --> 01:36:03,360
Speaker 3: I thought he was great very quickly. I went to

1904
01:36:03,360 --> 01:36:06,400
Speaker 3: see Ferris Bueller with a young Martha Plimpton. She was staying,

1905
01:36:06,920 --> 01:36:08,679
Speaker 3: she was shayed with me, and we got to the

1906
01:36:08,680 --> 01:36:11,799
Speaker 3: theater at the Golf and Western Building, which is wow,

1907
01:36:12,080 --> 01:36:13,680
Speaker 3: just you know at Columbus Circle. You know what that

1908
01:36:13,680 --> 01:36:16,280
Speaker 3: building is called, of course, yeah, yeah, it was Golf

1909
01:36:16,320 --> 01:36:19,440
Speaker 3: and Western Building my whole childhood and endto young adulthood.

1910
01:36:19,479 --> 01:36:21,519
Speaker 3: And there was a theater, a movie theater underneath. It

1911
01:36:21,600 --> 01:36:24,200
Speaker 3: was a paramount movie theater. And we went to see it.

1912
01:36:24,240 --> 01:36:25,880
Speaker 3: I was with a fellow at the time, and Martha

1913
01:36:25,960 --> 01:36:28,640
Speaker 3: was sleeping over a bunch and we got to the

1914
01:36:28,640 --> 01:36:30,679
Speaker 3: theater and I remember she told me she forgot her wallet,

1915
01:36:30,720 --> 01:36:33,760
Speaker 3: and I was like, dang. But so we all saw

1916
01:36:33,800 --> 01:36:35,920
Speaker 3: Ferris Bueller together, which was amazing. And then I was

1917
01:36:35,920 --> 01:36:41,280
Speaker 3: shooting footloose when a movie when I think Project X

1918
01:36:41,320 --> 01:36:43,479
Speaker 3: came out, and another movie of his, and on my

1919
01:36:43,560 --> 01:36:46,160
Speaker 3: day off, I had rented a bike and I rode up,

1920
01:36:46,360 --> 01:36:48,720
Speaker 3: you know, to whatever in provo to the movie theater.

1921
01:36:48,800 --> 01:36:51,040
Speaker 3: And so I was seeing all his movies, but not

1922
01:36:51,200 --> 01:36:55,000
Speaker 3: because I was like, no, I loved his work, but

1923
01:36:55,160 --> 01:36:58,840
Speaker 3: and I thought Ferris Bueller was like other worldly. Yeah,

1924
01:36:58,960 --> 01:37:01,800
Speaker 3: like that I'd never seen someone talk.

1925
01:37:03,120 --> 01:37:08,360
Speaker 1: Do you have a kiss for Daddy? He's so good. Hey,

1926
01:37:08,360 --> 01:37:10,439
Speaker 1: if you're watching, but you're probably watching the Mets, and

1927
01:37:10,479 --> 01:37:11,280
Speaker 1: I don't blame yet.

1928
01:37:12,040 --> 01:37:13,080
Speaker 2: And let's go Mets.

1929
01:37:13,400 --> 01:37:16,480
Speaker 4: Let's go Masa, let's go Mesdana.

1930
01:37:16,960 --> 01:37:22,200
Speaker 2: What is that? The Mets?

1931
01:37:19,080 --> 01:37:25,840
Speaker 4: The interesting And I'm listening.

1932
01:37:25,880 --> 01:37:27,479
Speaker 3: I'm the one I was filming was the one from

1933
01:37:27,600 --> 01:37:33,280
Speaker 3: six to sixty oh sixty six New York.

1934
01:37:33,720 --> 01:37:35,519
Speaker 4: That's all you have all the other songs that I

1935
01:37:35,560 --> 01:37:36,040
Speaker 4: don't have?

1936
01:37:36,120 --> 01:37:37,200
Speaker 1: Wait, which one are you thinking?

1937
01:37:37,320 --> 01:37:40,040
Speaker 3: Thata? I don't know it's the METSA that I don't

1938
01:37:40,080 --> 01:37:44,559
Speaker 3: know something with a six sixty. I don't know Menavy, yeah,

1939
01:37:44,720 --> 01:37:45,760
Speaker 3: six sixty on you.

1940
01:37:45,840 --> 01:37:46,360
Speaker 4: I am done.

1941
01:37:47,120 --> 01:37:50,080
Speaker 1: Well. You know we end every episode with a song,

1942
01:37:50,520 --> 01:37:54,200
Speaker 1: do we? We do? And I shed it read It's

1943
01:37:54,240 --> 01:38:06,960
Speaker 1: different every day, shed cha and for more than you can.

1944
01:38:06,960 --> 01:38:09,400
Speaker 1: Maybe catch it up the Jimmy Awards or just you know,

1945
01:38:09,400 --> 01:38:12,639
Speaker 1: get up to the library, up to like lines.

1946
01:38:19,920 --> 01:38:22,040
Speaker 2: Last Culture Racist is the production by Will Ferrell's Big

1947
01:38:22,080 --> 01:38:23,320
Speaker 2: Money Players in the iHeart Radio.

1948
01:38:23,160 --> 01:38:26,679
Speaker 1: Podcasts, created and hosted by Matt Rogers and Bowen Yeg,

1949
01:38:26,800 --> 01:38:29,040
Speaker 1: executive produced by Anna Hasnier and.

1950
01:38:29,000 --> 01:38:31,760
Speaker 2: Produced by Becka Ramos, Edited mixed by Doug Baby and

1951
01:38:31,840 --> 01:38:32,680
Speaker 2: ekl Board and our

1952
01:38:32,760 --> 01:38:35,720
Speaker 1: Music is by Henry K Birsky