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Speaker 1: Today's episode was recorded before the SAG after a strike

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Speaker 1: began on July fourteenth. Table for two thanks you, as

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Speaker 1: always for tuning in and supporting entertainers. Hey, everybody, thank

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Speaker 1: you for pulling up a chair for today's episode of

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Speaker 1: Table for two. We're sitting at the iconic lobster role

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Speaker 1: in Amagansett, New York, and we're about to have another

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Speaker 1: great lunch. Okay, well, look who I seek? Come in

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Speaker 1: my way. Hey beautiful, I'm gonna give you a hug.

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Speaker 2: We're hungry today, I'm always hungry.

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Speaker 1: My guest today is a dear friend, incredible actress, and

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Speaker 1: brilliant business person. She's currently celebrating twenty five years of

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Speaker 1: her show Sex and the City with season two of

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Speaker 1: Jests Like That on Max. She also has a stylish

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Speaker 1: footwear line, a book in print, and her own food column.

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Speaker 2: Yes, folks, she's.

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Speaker 1: A serious food there's your beefsteak tomato?

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Speaker 3: Oh my god.

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Speaker 1: Being at the lobster role eating and letting the conversation

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Speaker 1: meander always feels like a classic peak summertime activity, and

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Speaker 1: there's no better way to celebrate the height of the

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Speaker 1: season and having lunch with today's guests.

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Speaker 2: My friend Sarah.

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Speaker 3: Jessica Parker here cheers, Luna. What are you saying, Salu.

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Speaker 1: I'm Bruce Bosi and this is my podcast table for two.

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Speaker 3: So I tend to I order a lot. I have

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Speaker 3: a food column, so my editor always wants me to,

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Speaker 3: you know, have more if we're not going to be

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Speaker 3: a party of four where we can all share a

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Speaker 3: lot of dishes.

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Speaker 2: Could you remind everyone, like of the paper, it's thick net.

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Speaker 3: It's a wire service, so it's like syndicated a lot

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Speaker 3: of papers.

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Speaker 1: Okay, well, I mean over sort of the course of

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Speaker 1: launching a show, like and just like that season two,

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Speaker 1: that what's difficult in the process of like, okay, now

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Speaker 1: you did all that work.

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Speaker 3: I think for me it's not. It's been really pleasant

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Speaker 3: because I decided that it's very different than it used

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Speaker 3: to be to launch anything news and the way we

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Speaker 3: talk about things, the pace of our lives and social

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Speaker 3: media and this just like revolving door of the news

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Speaker 3: cycle is like our daily life, like, so trying to

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Speaker 3: talk about something that's important is just different than it

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Speaker 3: used to be. In the old days, you'd have press

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Speaker 3: junket days, you'd go on every talk show, you'd do

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Speaker 3: you know, you pick a few nighttime shows, morning shows,

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Speaker 3: afternoon shows, you do newspapers, you would do as syndicated,

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Speaker 3: you would meet with everybody, you'd meet with the foreign press,

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Speaker 3: and it was formal and organized and it was it

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Speaker 3: was a lot of work, which was fine if you

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Speaker 3: if something you care about. But now you're sort of

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Speaker 3: it's I feel like it's fluid, so meaning like it

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Speaker 3: keeps changing, Like what's the best way to make impact?

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Speaker 3: How do you reach an audience? You know, what do

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Speaker 3: you Are you doing it via social media? Are you

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Speaker 3: doing it on a podcast? Are you doing it on

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Speaker 3: There's just so for me, I decided that there's so

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Speaker 3: much information about the show already, you know, then it

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Speaker 3: just becomes more You get more concentrated about what you

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Speaker 3: want to do. So I was like, I want to

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Speaker 3: do you know, one or two magazines and you know,

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Speaker 3: one or two visits in the morning, and you know,

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Speaker 3: did Diane Sawyer and then Cynthia and Kristin and I

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Speaker 3: did Good Morning America together, you know, I did The

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Speaker 3: New Yorker and I did Vogue and you I care

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Speaker 3: a Swisher And that way it feels very specific and

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Speaker 3: like targeted. I don't mean in a strategic way, but

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Speaker 3: I guess it is, but just thoughtful, so you're not

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Speaker 3: just throwing yourself out there and seeing, you know, just

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Speaker 3: randomly kind of what you know. I don't does that

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Speaker 3: make sense? It just feels much more disciplined.

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Speaker 2: And how you did Howard? You were great on Howard?

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Speaker 3: We did, yes, power forgive me, of course, my goodness.

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Speaker 2: But you know the thing that do you think?

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Speaker 1: Because you know on Instagram there's a pretty great account

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Speaker 1: for in just like that, you know what I mean?

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Speaker 1: Like all leading up to the season, I feel as

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Speaker 1: the as a fan, as a viewer, we're kind of.

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Speaker 3: Getting you're seeing it, and I think we you know,

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Speaker 3: you have to do that now if you're a show

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Speaker 3: that shoots on the streets all the time, so now

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Speaker 3: with phones with cameras, everybody shooting what we're doing anyway,

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Speaker 3: so you have to also have to figure out how

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Speaker 3: to wrangle all that and have it be our offerings

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Speaker 3: as well as the public's offerings. So that's active. And

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Speaker 3: I have an Instagram account and I'm you know, I

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Speaker 3: always I have a very conflicted relationship with how to

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Speaker 3: use that, and you know what it is, I think

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Speaker 3: I just always. There's so many things I want to

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Speaker 3: talk about. There's things that are personal and not business oriented.

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Speaker 3: But because I didn't start off an Instagram account promoting work,

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Speaker 3: it feels harder for me to do it now, as

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Speaker 3: if I'm exploiting any of the followers. But when I

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Speaker 3: don't share information about where people are, like why didn't

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Speaker 3: you share that? So it's a little harder for me

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Speaker 3: than it is for other people who just began always

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Speaker 3: business business business business, and the two were mixed and

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Speaker 3: the lines weren't blurred. It was just like, this is

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Speaker 3: part of my life. So I try to post about

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Speaker 3: the show or about my wine or my fragrance or

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Speaker 3: shoes or books or whatever it is. But I'm glad

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Speaker 3: that we have official accounts too where you can direct

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Speaker 3: people because it feels working.

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Speaker 2: How you felt about that, It's hard. I thought, oh,

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Speaker 2: is this official? Is it not?

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Speaker 3: Yeah, that's official through h Max now, And then we

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Speaker 3: have an amazing one that is run through our costume department,

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Speaker 3: which is incredible.

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Speaker 2: I know that one.

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Speaker 3: It's called I think, and just like that costumes. Okay,

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Speaker 3: and the Max one is great too, But costumes is

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Speaker 3: a kind of deeply personal it's sort of it has

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Speaker 3: a sort of in real time, and it's Molly Rogers

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Speaker 3: who is our costume designer, and Danny who is again costumes.

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Speaker 1: Go, yeah, do you find you know? I spoke to

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Speaker 1: Scarlet had lunch with me Johansson.

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Speaker 3: It was so great.

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Speaker 1: Scarlett would say how difficult it is to shoot on

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Speaker 1: the streets of New York City. And alternately, when she

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Speaker 1: sees a crew shooting and it gets hurt, even when

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Speaker 1: it's like not her, she gets queezy.

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Speaker 2: But also.

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Speaker 3: Funny.

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Speaker 1: I don't mean that no, but what it evokes for

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Speaker 1: people like yourself. I know that happens to you. How

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Speaker 1: difficult is it to get through a take?

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Speaker 3: I mean, on a practical level, it's hard because the

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Speaker 3: crowd control is an issue. So if you're shooting a

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Speaker 3: scene on Perry Street, for instance, and there's four hundred

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Speaker 3: five hundred people, you have to first of all get

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Speaker 3: equipment through there, and then you're asking everyone please, you know,

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Speaker 3: be quiet, what we call action. No cameras, no shutters,

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Speaker 3: no response to the scene, because now they're just witnessed

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Speaker 3: like you're in a priscenium stage, you know, like a theater.

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Speaker 3: More complicated than that because the crowds tend to be

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Speaker 3: really cooperative, sweet they're excited to be there. Some are

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Speaker 3: New Yorkers, some are and some people just hanging out.

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Speaker 3: I mean as equal to the street people are the

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Speaker 3: people that are out hanging out their windows in their apartments,

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Speaker 3: fire escapes, crazy leaning out. But it's the paparazzi that

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Speaker 3: is a more complicated affair because you can hear their

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Speaker 3: shutters and it can ruin a take. And they are

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Speaker 3: because you don't own the streets. You get a permit,

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Speaker 3: but we don't dictate sidewalks. To some degree, we have

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Speaker 3: a footprint, but they are typically right next to the

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Speaker 3: lens or right over the shoulder of the person whom

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Speaker 3: you're playing opposite in a scene, so they are in

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Speaker 3: your eyeline all the time, and some are doing it

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Speaker 3: purposefully and some are That's kind of where they've found

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Speaker 3: themselves because they've watched rehearsal. They know what the scene is.

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Speaker 3: And that's really hard, and that's taken a really it's

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Speaker 3: been years and years and years of that, and some

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Speaker 3: of them are more provocative than others. But I think

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Speaker 3: it's just that is our cross to bear, and we

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Speaker 3: sort of have to make peace with it, and I

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Speaker 3: struggle with a little bit. But what are you going

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Speaker 3: to do? I mean, we can't be inside. We don't

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Speaker 3: want to be inside. We want to be on the

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Speaker 3: streets of New York and we want to be active

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Speaker 3: and we want to be able to still have scenes

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Speaker 3: that are excited, you know, and interesting and dramatic and

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Speaker 3: funny and absurd.

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Speaker 1: So you just say, it's such an important character. Ye

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Speaker 1: you made that way back when. I mean, and your

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Speaker 1: love of New York and you know, and Matthew's love

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Speaker 1: of New York, your husband and my love like that

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Speaker 1: for the show. That's key and when you're watching you

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Speaker 1: guys walk down the street, is it's magical.

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Speaker 3: Thank you, We love it. And I will say the

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Speaker 3: way that it works is an incredible a d department

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Speaker 3: as well as our crew who were just really used

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Speaker 3: to it, and they're used to the crowds, they're used

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Speaker 3: to moving equipment in and out, and there is much

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Speaker 3: a part of making it possible as anybody else, like

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Speaker 3: as any of our emotional kind of exchanges with it.

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Speaker 1: Thanks for joining us on Table for two. Carrie Bradshaw

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Speaker 1: is one of the most memorable TV roles of the.

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Speaker 2: Past quarter century.

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Speaker 1: And over the years, Sarah Jessica has truly brought her life.

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Speaker 1: I'm curious what's it like to prepare to play such

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Speaker 1: an iconic character. I once watched a documentary on Marilyn

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Speaker 1: Monroe and she was talking to I think Susan Strasburg

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Speaker 1: at the time, and she was about to go down

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Speaker 1: the stairs, and there were all these press and the

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Speaker 1: people there, and she said, do you want to see her?

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Speaker 2: Watch? When do you want to see her?

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Speaker 3: And she Marilyn was talking about herself.

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Speaker 1: Talking about herself, and when she went down the stairs,

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Speaker 1: she looked at the press and her voice changed, and

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Speaker 1: then Marilyn showed up. Is there something in your day

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Speaker 1: when you go to work and now you're bringing Carrie

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Speaker 1: Bradshaw to life?

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Speaker 2: Is there a piece jewelry?

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Speaker 1: Is there a moment where you go, Carrie's here, She's

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Speaker 1: in the room now?

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Speaker 3: Action?

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Speaker 2: Action?

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Speaker 3: Action? Yeah. I mean you walk to the set, maybe

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Speaker 3: up sweatpants, covering part of your outfit because it's twenty

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Speaker 3: four degrees and it's February, and you have your own

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Speaker 3: tote bag with your books and your phone in it

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Speaker 3: and a snack or whatever, and you have maybe a

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Speaker 3: parka on over a ball gown right, and gloves and

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Speaker 3: you know, silk liners underneath, and then you rehearse and

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Speaker 3: then you strip right and the minute that you take

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Speaker 3: all of the outer layers off and anything that's keeping

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Speaker 3: you comfortable or closer to you because it's for you

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Speaker 3: versus for Carrie. The minute I take it off, then

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Speaker 3: someone calls action. She's there, Yeah, I mean she isn't

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Speaker 3: always there exactly as I want her, because that's the

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Speaker 3: nature of acting is It's like you're not a machine.

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Speaker 3: So you can't like push a button and say like

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Speaker 3: Carrie's set Carrie silly, Carrie confused. Yeah, So she's there

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Speaker 3: as much as I can control. But that's when it is.

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Speaker 3: It's not before and it's not after.

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Speaker 2: Cut interesting, that's really but you have to.

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Speaker 3: Have all those layers off to do it, you know,

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Speaker 3: and you have to be totally willing to have all

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Speaker 3: the things away from you that are comfortable.

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Speaker 1: Right, because that would distract from it's.

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Speaker 3: Then it's not you're not complete, right. Yeah.

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Speaker 1: Were you amazed at the effect that you had in

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Speaker 1: New York with style and with women and men in

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Speaker 1: the nineties, I really you get you know, you're credited

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Speaker 1: and justifiably so for really shifting a whole conversation and

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Speaker 1: look and now again. So I guess my question is,

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Speaker 1: were you, like, when was there a moment that you

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Speaker 1: looked across the street and saw somebody and you're like,

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Speaker 1: she's dressed like Carrie Bradshaw.

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Speaker 3: Yeah, I think over time and I will say that

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Speaker 3: really is Pat Field and Mollie Rogers. Originally, you know,

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Speaker 3: Pat was our original custom designer, as you know, she's incredible.

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Speaker 3: Mollie Rogers was there from day one of the original show.

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Speaker 3: So I think what we all recognized the ways in

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Speaker 3: which the show was influencing life, whether it was the

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Speaker 3: flower you know, or the Carrie name plate yep, or

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Speaker 3: you know, walking down the street with two purses versus one,

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Speaker 3: or two pocketbooks versus one pocketbook, or or you'd start

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Speaker 3: to see young women gathered four and five on a

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Speaker 3: Sunday for brunch, right and you'd just see more of it,

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Speaker 3: or groups of women walking. You'd see a kind of

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Speaker 3: emotional life that wasn't as visible in certain ways. But

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Speaker 3: the clothes had a huge impact. And I think that

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Speaker 3: was because Pat never and Molly Patt they know, I

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Speaker 3: ever felt that they had to answer to anybody or apologize.

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Speaker 3: I'll speak specifically to Carrie, who has a very specific

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Speaker 3: relationship with fashion as well vintage. So I think, you know,

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Speaker 3: there were lots of hits, and there were, in many

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Speaker 3: people's opinion, lots of misses, and to us, none of

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Speaker 3: it was a mistake. Like you had. You had to

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Speaker 3: take an approach and be totally monogamous to an aesthetic idea.

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Speaker 3: And when you do that, like in anything, it's arresting.

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Speaker 3: You know, if somebody writes a book and uses a

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Speaker 3: voice that you've never read before, everybody's going to talk

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Speaker 3: about it. Or think of early images on MTV and

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Speaker 3: what made us all stop and watch a video a

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Speaker 3: hundred times? You know, music, architecture, you know, anything anything

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Speaker 3: that feels from bush unique and yet unseen, but not arbitrarily.

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Speaker 3: So you can't just be ridiculous, because you can be

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Speaker 3: and it really doesn't look like there's any point of

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Speaker 3: view or perspective. It looks just like you're trying to

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Speaker 3: be controversial exactly. So I feel like the things that

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Speaker 3: were influential were because they were a real choice. And

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Speaker 3: then you you know, you know, in the beginning, I've

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Speaker 3: told destroy many times that we didn't have anything. In

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Speaker 3: the beginning, nobody would loan us anything. We were getting

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Speaker 3: most of Carrie's wardrobe from vintage and consignment shops and

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Speaker 3: Century twenty one. Occasionally we could afford a dress off

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Speaker 3: the rack at a finer department store like Sacks.

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Speaker 2: But that was very rare for the Plaza.

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Speaker 3: That was the most expensive dress they ever bought. It

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Speaker 3: was a Christian dey or simple sheath dress. I've heard

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Speaker 3: it was every anywhere from six hundred to eight hundred dollars.

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Speaker 3: But that would have been like, yeah, you'd be making

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Speaker 3: decisions then okay, well if you do, we get that,

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Speaker 3: then we can't have that. Like that wasn't alone. That

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Speaker 3: was a blue chase.

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Speaker 4: Yeah.

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Speaker 1: What I think about with you is just how you

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Speaker 1: live your life. And you do live your life just

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Speaker 1: like smartly and like you're a self made human that.

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Speaker 2: Has been working her whole life.

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Speaker 1: And I think that there's an appreciation for what you have,

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Speaker 1: what you've earned. You've imparted that with your children, and

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Speaker 1: that's important because it's easy not.

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Speaker 3: To and well you're I mean, I think all of

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Speaker 3: us are making similar choices. We're trying to, you know,

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Speaker 3: for a bunch of reasons. Whether it's because you always

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Speaker 3: think you're going to be poor, you always think you're

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Speaker 3: going to be broke, you know, some of us think

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Speaker 3: like that, or we're worried we will be Also because

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Speaker 3: you don't want to blow through money foolishly and spend

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Speaker 3: it on things that don't really add up over time.

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Speaker 3: And also you want your children to understand what it

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Speaker 3: means to earn money, what it takes to earn money,

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Speaker 3: and the value of it, and that they the expectations

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Speaker 3: will be the same for them. You know. Colly Parton

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Speaker 3: said that when she was growing up, she always had

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Speaker 3: let me say this, I think she not didn't set

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Speaker 3: this about growing up. I think maybe in terms of

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Speaker 3: someone will correct this quote, but it was either about

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Speaker 3: taking care of family, nieces and nephews, or the way

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Speaker 3: she was raised. And I can't remember, so forget me.

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Speaker 3: But she always she said, you always have everything you need,

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Speaker 3: but not everything you want. And I can't remember about

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Speaker 3: what she could who she was talking about, but I

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Speaker 3: think it's a great way of living for children that

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Speaker 3: there needs are meant to be fed and safe and loved,

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Speaker 3: and you know the important things in life, you know,

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Speaker 3: books and food and interesting experiences, and they're warm in

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Speaker 3: the winter and cool as they But they should be

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Speaker 3: kind for things. They should want things, and we should also,

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Speaker 3: I think, be interested in how do they contribute to

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Speaker 3: the things at a certain point exactly.

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Speaker 1: You know, to Ava to recently like she's at the

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Speaker 1: age where I'm like, you know, okay, if you want

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Speaker 1: something now you have to figure out how to contribute

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Speaker 1: to purchasing. You know. The ease of Amazon and the

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Speaker 1: ease of a telephone makes things very easy, and sometimes.

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Speaker 3: You forget how the how got There is a gorgeous

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Speaker 3: is it good?

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Speaker 2: The Gannette? The burger perfect?

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Speaker 3: I might have you, honestly, do just a little box

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Speaker 3: inside the column just about the burger. You know what

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Speaker 3: I mean? Because I promised editors that it would be

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Speaker 3: more fish because of the location. But I might since

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Speaker 3: the burger here is so good, we might just do

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Speaker 3: a box. Since I the column. Please leave the stuff

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Speaker 3: at about the column? Have I said that already?

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Speaker 2: You are an avid reader? You have an imprint you.

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Speaker 1: I just got a book that you send which I

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Speaker 1: have not yet started.

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Speaker 3: And Paradise, Yes, great, it's just got a beautiful review

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Speaker 3: The New York times just this morning when you're picking.

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Speaker 2: Up Wow, yeah, congratulations.

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Speaker 3: Yeah to the writer writer Alia Chang.

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Speaker 1: But also like I mean you aren't you picked right?

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Speaker 1: Oh yeah, you pick both. But yes, I mean you've

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Speaker 1: always been a bookie, which I love. And because with

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Speaker 1: my mother, really she was a librarian.

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Speaker 3: She wasn't although actually she said she'd always wish that

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Speaker 3: she had gotten her degree, you know, as a librarian,

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Speaker 3: which is a very hard degree to get, very I

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Speaker 3: do not very hard degree to get really, but she

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Speaker 3: was an educator. She had her she's a graduate in

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Speaker 3: she was you know, her specialty was early childhood education.

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Speaker 3: But she taught up Yeah, so she taught up to

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Speaker 3: second grade and then she stopped after I was born.

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Speaker 3: I'm one of eight kids, so she and I'm the

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Speaker 3: fourth of the eighth. But my mom always my mother

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Speaker 3: never let us leave the house without something to read.

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Speaker 3: And that meant even when we couldn't read, So we

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Speaker 3: would be in the car with picture books or books

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Speaker 3: that had words and we were not able to read them,

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Speaker 3: she said, make up, make up your own story, and

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Speaker 3: she would do the same. She would take us to

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Speaker 3: this was in Cincinnati, Ohio. We had an incredible library there,

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Speaker 3: and but she would also take us to the symphony

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Speaker 3: and the opera and the ballet and art museums, and

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Speaker 3: we always had a book. And symphony to a very

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Speaker 3: young child, forgive me, is very boring, but she would

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Speaker 3: let us have a book, so we would be hearing

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Speaker 3: this beautiful music and then we'd be looking at a

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Speaker 3: book in the sament and art museum. You know, we

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Speaker 3: get bored walking around and you're tired, you're little. Yeah,

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Speaker 3: she just say just sit on that bench. You've got

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Speaker 3: your book. Every now and then look around, see that

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Speaker 3: beautiful painting.

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Speaker 2: Online, like holy moly.

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Speaker 3: And there came a point in our lives as young

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Speaker 3: adults where it just became our choice to not leave

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Speaker 3: the house without a book or something to read, something

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Speaker 3: to read. The idea of being stuck somewhere for two

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Speaker 3: minutes or two hours or two months. Sometimes they see

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Speaker 3: people get on the plane and there's nothing in their hands.

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Speaker 3: There is nothing in their hands.

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Speaker 2: Yeah yeah, I'm like, what are you gonna do?

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Speaker 3: What you could do?

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Speaker 2: Right? And it's valuable time.

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Speaker 3: And I don't mean a phone, because that's the sad

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Speaker 3: thing is most people are looking at their phones, but

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Speaker 3: like it just stuns me that you could. And by

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Speaker 3: the way, listening to a book too, like anything that

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Speaker 3: makes an experience your own, versus the way we all

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Speaker 3: get information now, which is kind of siloed, like we're

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Speaker 3: all getting from the same source. But books take you,

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Speaker 3: LL swear, they transport you. You learn about other cultures,

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Speaker 3: other religions and their tribes, their villages and their countries, other.

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Speaker 1: Food and just you know, you said, we last summer,

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Speaker 1: we were meeting for dinner and you were running just

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Speaker 1: a little late, and you said, and you knew you

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Speaker 1: were running mates, and you said, bring a book. Yeah,

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Speaker 1: that was like, bring a book. And now I don't

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Speaker 1: know if I would have brought a book, but I

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Speaker 1: brought a book. I brought the book I was reading,

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Speaker 1: and it was like it was like never alone, never alone.

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Speaker 2: And you can also kind of avoid it.

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Speaker 3: I wish we You know, you grew up in New

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Speaker 3: York and it was so great. I know you were

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Speaker 3: on subways early in the morning, and we all had

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Speaker 3: our bus pass and stuff like that. But I mean,

402
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Speaker 3: and and buses too, like city buses. I thought there

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Speaker 3: was to me, there was nothing greater than getting on

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Speaker 3: a bus or a subway early early morning, and people

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Speaker 3: got their New York Times out, and you know those

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Speaker 3: people that knew how to fold the Times, and how

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Speaker 3: about the people that wore the gloves? Yes, because of

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Speaker 3: the newsprints right exactly. And people you could smell people's colognes.

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Speaker 3: People hair were wet from the showers. You could smell

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Speaker 3: like what they shampooed. And you'd look around and you'd

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Speaker 3: be like, oh my god, what is that book. I've

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Speaker 3: never seen that book. You've be talking to people, what

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Speaker 3: is that book? What are you reading? What are you reading?

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Speaker 1: And everyone was sort of present because people didn't have

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Speaker 1: things in the rs.

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Speaker 3: Because it makes if you see a book on a

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Speaker 3: subway car or a newspaper, it's just shocking. I mean,

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Speaker 3: and you're like, oh my god, look someone's reading. I'm like, Matthew,

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Speaker 3: looks someone's reading a book.

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Speaker 1: Sarah, Jessica and Matthew are avid subway writers, like you're.

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Speaker 2: It's the smartest way I know that.

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Speaker 1: You know people that surprises people sometimes, but New York

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Speaker 1: is that kind of city. And you also soak in

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Speaker 1: like when you're like, yeah, what are your And I

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Speaker 1: love to walk so like I'll walk forever in New

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Speaker 1: York just to soak it a reason to walk, right,

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Speaker 1: what a given sort of Sarah Jessica has no work,

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Speaker 1: which is a very rare day.

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Speaker 2: What is like a day for you that you enjoy

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Speaker 2: in the city.

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Speaker 3: Ideally, Yeah, I'm very bad about getting out of the house.

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Speaker 3: Once I'm out, it's fine, but I can think of

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Speaker 3: a million things to do in the house. But ideally

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Speaker 3: I would, you know, have my head bones on early walking, walking,

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Speaker 3: listening to a podcast, listening to WNYC Brian Lair, who's

436
00:24:13,359 --> 00:24:17,080
Speaker 3: like one of my most favorite on air personality hosts,

437
00:24:17,240 --> 00:24:20,960
Speaker 3: thoughtful thinkers. But podcasts are a great friend because you

438
00:24:21,000 --> 00:24:23,439
Speaker 3: can't read, and I don't listen to books. So then

439
00:24:23,560 --> 00:24:25,480
Speaker 3: maybe I would jump on a train and I would

440
00:24:25,520 --> 00:24:28,200
Speaker 3: take the train with my book and I go to Chinatown,

441
00:24:29,040 --> 00:24:32,480
Speaker 3: you know, have some dumplings, have some lunch, have some noodles,

442
00:24:32,680 --> 00:24:36,240
Speaker 3: some vegetables. Then I would for sure maybe walk home

443
00:24:36,280 --> 00:24:38,719
Speaker 3: from Chinatown listening which I do, I don't. I mean,

444
00:24:38,720 --> 00:24:41,880
Speaker 3: I've been to Chinatown and I say three or four

445
00:24:41,880 --> 00:24:45,080
Speaker 3: times in the last two months, because I love it.

446
00:24:45,160 --> 00:24:46,160
Speaker 2: You've always loved it.

447
00:24:47,080 --> 00:24:49,439
Speaker 3: Love it, I would say. Then I could make a

448
00:24:49,440 --> 00:24:51,600
Speaker 3: pit stop at the Whitney on the way back, see

449
00:24:51,600 --> 00:24:54,960
Speaker 3: what's going on there. That's like an ideal day, you.

450
00:24:54,920 --> 00:24:59,160
Speaker 2: Know, wrapping you home in the afternoon to them maybe.

451
00:24:59,000 --> 00:25:01,199
Speaker 3: The kids are coming home from school, or maybe I

452
00:25:01,240 --> 00:25:04,080
Speaker 3: can take care of some stuff or some calls, or.

453
00:25:05,840 --> 00:25:06,399
Speaker 2: Cook dinner.

454
00:25:06,960 --> 00:25:10,880
Speaker 3: We cook every night. We cook every night. It's a

455
00:25:10,920 --> 00:25:14,080
Speaker 3: source of a huge amount of pride for everybody. But

456
00:25:14,119 --> 00:25:18,320
Speaker 3: it's also like mystifying because we just don't order in

457
00:25:18,400 --> 00:25:22,040
Speaker 3: as a family, and on the rare occasion we have,

458
00:25:23,400 --> 00:25:25,600
Speaker 3: we we always here. Like other families, they do it

459
00:25:25,640 --> 00:25:27,480
Speaker 3: and then like one kid orders from this place, and

460
00:25:27,480 --> 00:25:29,440
Speaker 3: when it's so confusing.

461
00:25:29,200 --> 00:25:33,160
Speaker 1: Everyone's now postmating their own meals in. It's insane.

462
00:25:33,240 --> 00:25:39,360
Speaker 3: But we really do cook five to six nights a week,

463
00:25:39,480 --> 00:25:41,480
Speaker 3: for sure. We try to. We we have always have

464
00:25:41,560 --> 00:25:45,240
Speaker 3: a Sunday dinner. We invite people. We often go on

465
00:25:45,280 --> 00:25:48,600
Speaker 3: Sundays to Jeans. Do you know Jeans? I don't, Oh

466
00:25:48,680 --> 00:25:51,080
Speaker 3: my gosh, we go to Jeans. It's on Eleventh between

467
00:25:51,359 --> 00:25:53,440
Speaker 3: fifth and sixth closer to six thousand year.

468
00:25:53,880 --> 00:25:55,520
Speaker 2: I live right around from there and I've never been.

469
00:25:55,800 --> 00:25:59,000
Speaker 3: It's a neighborhood establishment's been owned by the same family

470
00:25:59,119 --> 00:26:04,640
Speaker 3: since the mid seven Two brothers now two brothers own it.

471
00:26:04,640 --> 00:26:11,959
Speaker 3: It's one of the most It is the portrait of

472
00:26:12,000 --> 00:26:17,240
Speaker 3: a local restaurant. It's Italian food. If you walk in there,

473
00:26:17,280 --> 00:26:21,359
Speaker 3: you are bound to see at least five or seven

474
00:26:21,400 --> 00:26:23,560
Speaker 3: of the same people you see every time you go there.

475
00:26:24,160 --> 00:26:26,840
Speaker 3: It's a beautiful, low ceiling room. You walk down some

476
00:26:26,960 --> 00:26:29,159
Speaker 3: old beat up marble steps. There is a bar that

477
00:26:29,240 --> 00:26:31,080
Speaker 3: greets you right in the front that is one of

478
00:26:31,160 --> 00:26:35,600
Speaker 3: the most beautiful little bars ever that It's just one

479
00:26:35,600 --> 00:26:38,520
Speaker 3: big back room with the most lovely servers. I have

480
00:26:38,600 --> 00:26:40,159
Speaker 3: the same thing every time, and I always talk with

481
00:26:40,160 --> 00:26:41,720
Speaker 3: the kids like I'm like, when am I gonna order someone,

482
00:26:41,720 --> 00:26:44,639
Speaker 3: I'm not gonna You're gonna get the vil pacata extra

483
00:26:44,720 --> 00:26:47,159
Speaker 3: large order. You're gonna get a side order of the

484
00:26:47,200 --> 00:26:50,560
Speaker 3: apasta palmadoro. And we go around the table. Everybody knows

485
00:26:50,600 --> 00:26:53,160
Speaker 3: what we're gonna order. What's papa, what's Papa gonna order?

486
00:26:53,200 --> 00:26:56,679
Speaker 3: Shrimp diavolo. You know it's it's just a friendly place.

487
00:26:56,840 --> 00:26:58,080
Speaker 2: I know exactly where it is.

488
00:26:58,160 --> 00:26:59,800
Speaker 3: We'll talk to you, they come up to the table,

489
00:26:59,840 --> 00:27:03,400
Speaker 3: they catch up. Yeah. And then another place that we

490
00:27:03,480 --> 00:27:08,159
Speaker 3: love is La Repai. You know it. It's been on

491
00:27:08,240 --> 00:27:12,520
Speaker 3: Hudson for forty years. It's Hudson just across basically from

492
00:27:12,600 --> 00:27:13,520
Speaker 3: Bleeker Street Park.

493
00:27:13,640 --> 00:27:16,080
Speaker 2: Okay, it's an old French restaurant, yep.

494
00:27:18,040 --> 00:27:21,320
Speaker 3: But that's like our family thing. And we'll say, like

495
00:27:21,400 --> 00:27:23,560
Speaker 3: we call Victor and Victor Barbon and be like, oh,

496
00:27:23,640 --> 00:27:26,399
Speaker 3: Victor's alone in town, Victor will come for dinner, or

497
00:27:26,480 --> 00:27:27,719
Speaker 3: Jeffrey Hickey whoever.

498
00:27:27,880 --> 00:27:30,720
Speaker 1: Yeah, you have you, you and Matthew you have you know,

499
00:27:30,960 --> 00:27:33,399
Speaker 1: your tribe, and it's such a beautiful tribe.

500
00:27:33,400 --> 00:27:35,920
Speaker 2: And over the years, you know you're a part of it.

501
00:27:37,040 --> 00:27:39,520
Speaker 2: You are no thank you, no, no yours.

502
00:27:39,640 --> 00:27:41,879
Speaker 1: I feel I know, but and I feel like I'm

503
00:27:41,920 --> 00:27:44,760
Speaker 1: about I feel like we all have we share something.

504
00:27:44,640 --> 00:27:48,880
Speaker 3: Very specially Matthew leaves you, he's like he just loves

505
00:27:48,920 --> 00:27:49,560
Speaker 3: you so much.

506
00:27:49,920 --> 00:27:53,000
Speaker 2: He is, Yeah, he really loves you. That's that means

507
00:27:53,040 --> 00:27:53,480
Speaker 2: a lot to me.

508
00:27:53,560 --> 00:27:56,120
Speaker 3: And you lived here, you'd be at Jeans every Sunday too, thank.

509
00:27:55,920 --> 00:27:56,880
Speaker 2: You, thank you, thank you.

510
00:27:57,000 --> 00:27:59,959
Speaker 1: And I love that in the sense of the family

511
00:28:00,040 --> 00:28:02,000
Speaker 1: and the Sunday night and the rituals, like this is

512
00:28:02,000 --> 00:28:03,720
Speaker 1: all we got, like you know what I mean. So

513
00:28:03,760 --> 00:28:06,040
Speaker 1: it's like and the kids then they're gone before you

514
00:28:06,119 --> 00:28:08,000
Speaker 1: know it, and they're in their world and you just

515
00:28:08,240 --> 00:28:12,440
Speaker 1: hope that. Okay, So these are really important moments.

516
00:28:12,480 --> 00:28:12,720
Speaker 3: Yeah.

517
00:28:12,760 --> 00:28:14,480
Speaker 1: One of the reasons I come out here because my

518
00:28:14,520 --> 00:28:16,800
Speaker 1: parents are here and my sister's here, so just to

519
00:28:16,840 --> 00:28:18,919
Speaker 1: make sure we do connect with Yeah.

520
00:28:18,960 --> 00:28:22,280
Speaker 3: Absolutely, and it's not always perfect. There's always at least

521
00:28:22,280 --> 00:28:24,720
Speaker 3: one fight over this one.

522
00:28:24,800 --> 00:28:27,119
Speaker 2: Like the other. Yes, they're in the shower. I was like,

523
00:28:27,160 --> 00:28:29,359
Speaker 2: I can't breathe. I can't breathe in this house.

524
00:28:29,840 --> 00:28:33,359
Speaker 1: This how I maybe I haven't breathed in this house

525
00:28:33,600 --> 00:28:34,639
Speaker 1: for over twenty years.

526
00:28:34,720 --> 00:28:36,399
Speaker 3: It's possible I haven't taken a deep breath.

527
00:28:36,520 --> 00:29:00,720
Speaker 2: Yeah, seriously, Welcome back to Table for two. Sarah. Jessica

528
00:29:00,800 --> 00:29:02,800
Speaker 2: has been a close friend for years.

529
00:29:03,000 --> 00:29:07,120
Speaker 1: But there's a story about us that I've never told her,

530
00:29:08,000 --> 00:29:13,000
Speaker 1: and well, I'm just gonna come out and finally tell her.

531
00:29:15,840 --> 00:29:17,600
Speaker 1: So I want to share with you a story that

532
00:29:17,800 --> 00:29:22,920
Speaker 1: is you don't know the story. It's one of the

533
00:29:22,960 --> 00:29:26,000
Speaker 1: most embarrassing moments of my life. What it happened with you?

534
00:29:26,960 --> 00:29:29,920
Speaker 1: And it is and I'm gonna tell you quickly because

535
00:29:30,000 --> 00:29:31,760
Speaker 1: this is about this lunch is about you.

536
00:29:31,800 --> 00:29:35,760
Speaker 2: But you ate all yeah, yeah you did, but you

537
00:29:35,800 --> 00:29:36,920
Speaker 2: should because you love it.

538
00:29:36,960 --> 00:29:38,800
Speaker 3: Oh my God, No, there's a big literally, there's a

539
00:29:38,800 --> 00:29:42,480
Speaker 3: claw left. Take a picture from my editor. Hold on, click.

540
00:29:42,240 --> 00:29:47,640
Speaker 1: Click, okay, just quickly. I was a page at NBC

541
00:29:47,920 --> 00:29:50,880
Speaker 1: in nineteen ninety. I moved out to LA. I was

542
00:29:50,920 --> 00:29:54,560
Speaker 1: just a super you know, big fan. LA story comes out,

543
00:29:54,840 --> 00:29:58,120
Speaker 1: you guys to cast LA. Story is on pheladwa you.

544
00:29:58,320 --> 00:30:00,560
Speaker 1: I had worked as a page on the show in

545
00:30:00,600 --> 00:30:05,200
Speaker 1: New York You want yep. I was in the audience

546
00:30:05,240 --> 00:30:07,400
Speaker 1: with my friend Stephanie.

547
00:30:06,920 --> 00:30:08,320
Speaker 3: As a page or as a civilian.

548
00:30:08,640 --> 00:30:11,280
Speaker 2: As a civilian. Now in La, you guys are all there,

549
00:30:11,320 --> 00:30:12,960
Speaker 2: and I just came to LA.

550
00:30:13,480 --> 00:30:15,200
Speaker 1: He did a week of shows in La. Wow, you

551
00:30:15,200 --> 00:30:18,840
Speaker 1: guys were doing press. I am the story.

552
00:30:18,880 --> 00:30:22,480
Speaker 3: And Steve Martin and me and Victoria Tenant and the

553
00:30:22,600 --> 00:30:25,640
Speaker 3: guy yes Richard.

554
00:30:25,960 --> 00:30:28,120
Speaker 2: Yes, all of you lined up in your chairs.

555
00:30:28,120 --> 00:30:29,880
Speaker 3: Were we swiveling? Were they swivel chairs?

556
00:30:29,880 --> 00:30:29,920
Speaker 4: Like?

557
00:30:31,120 --> 00:30:33,160
Speaker 3: No, no, no, no, they were.

558
00:30:33,680 --> 00:30:35,760
Speaker 1: And it's a story that goes nowhere with the exception

559
00:30:35,840 --> 00:30:37,480
Speaker 1: of just I finally feel like I have.

560
00:30:37,480 --> 00:30:39,880
Speaker 2: To just get this off my chest. Stephanie is sitting

561
00:30:39,920 --> 00:30:40,280
Speaker 2: next to me.

562
00:30:41,000 --> 00:30:45,960
Speaker 1: I raised to ask a question for Sarah Jessica with

563
00:30:46,120 --> 00:30:49,160
Speaker 1: no question, but just wanted to connect.

564
00:30:49,920 --> 00:30:52,360
Speaker 2: So I raised my hand. The guy could go with

565
00:30:52,440 --> 00:30:55,600
Speaker 2: the mic. I always want take the mic because I'm

566
00:30:55,640 --> 00:30:57,000
Speaker 2: a pushy person.

567
00:30:57,360 --> 00:31:02,440
Speaker 1: Stephanie looked at me and I'm uttering nothing. I mean

568
00:31:02,720 --> 00:31:03,920
Speaker 1: stuttering and uttering.

569
00:31:05,560 --> 00:31:07,240
Speaker 2: You look at me. You have face.

570
00:31:07,320 --> 00:31:10,800
Speaker 1: Guys, you tell it like to the right, like what

571
00:31:11,240 --> 00:31:14,600
Speaker 1: is he? What is this person doing? She has gone

572
00:31:14,840 --> 00:31:18,360
Speaker 1: under her seat. I was mortified.

573
00:31:18,760 --> 00:31:20,480
Speaker 2: She couldn't stop me and I'm I have tears in

574
00:31:20,520 --> 00:31:20,800
Speaker 2: my eyes.

575
00:31:21,280 --> 00:31:22,040
Speaker 3: The machine.

576
00:31:22,120 --> 00:31:23,880
Speaker 1: But I just wanted you to know that's how far.

577
00:31:24,160 --> 00:31:26,560
Speaker 1: That's the moment that I was like, oh my god,

578
00:31:26,600 --> 00:31:27,960
Speaker 1: this is connection.

579
00:31:28,080 --> 00:31:28,920
Speaker 3: You did ask a question.

580
00:31:28,960 --> 00:31:31,440
Speaker 2: Eventually something came because we saw.

581
00:31:31,560 --> 00:31:34,560
Speaker 3: In a statement like you're on TV. I have a

582
00:31:34,600 --> 00:31:35,000
Speaker 3: question for.

583
00:31:36,040 --> 00:31:41,160
Speaker 2: No, Yeah, you're in a chair. That story is now over.

584
00:31:41,240 --> 00:31:45,160
Speaker 3: I just had to finally, that's very touching. Wow.

585
00:31:55,320 --> 00:31:57,760
Speaker 1: The other tradition that I have in my house is

586
00:31:57,880 --> 00:32:01,200
Speaker 1: family stone and I'll say it over and over again.

587
00:32:01,520 --> 00:32:04,600
Speaker 1: And I actually posted it on Instagram when I watched

588
00:32:04,640 --> 00:32:07,000
Speaker 1: it at Christmas time, and Diane Keaton on my feed

589
00:32:10,000 --> 00:32:14,000
Speaker 1: she's a beautiful movie, beautiful, You're incredible.

590
00:32:14,120 --> 00:32:19,280
Speaker 3: Watching her work on that movie was really why incredible

591
00:32:19,520 --> 00:32:22,720
Speaker 3: because you know, I think we did First Wives Club

592
00:32:22,800 --> 00:32:25,800
Speaker 3: before that movie and positive ready. So I had worked

593
00:32:25,800 --> 00:32:28,160
Speaker 3: with her minimally because I don't have I don't think

594
00:32:28,200 --> 00:32:30,600
Speaker 3: my character had a lot of scenes with her, but

595
00:32:33,160 --> 00:32:38,480
Speaker 3: you know, I just think she's incredible, and so I had,

596
00:32:38,840 --> 00:32:40,240
Speaker 3: you know, I was on the set with her a lot.

597
00:32:40,280 --> 00:32:43,320
Speaker 3: We rehearsed a lot, first of all, which was really

598
00:32:43,360 --> 00:32:48,360
Speaker 3: interesting and very I was really, really nervous. But watching

599
00:32:48,440 --> 00:32:54,400
Speaker 3: her work is a very interesting experience. She's really good,

600
00:32:55,240 --> 00:33:00,160
Speaker 3: she's very she has a process that's very real and

601
00:33:00,280 --> 00:33:04,040
Speaker 3: very committed to. She always has headphones on with a

602
00:33:05,240 --> 00:33:07,920
Speaker 3: i'm gonna say a disc man. Really, even at the

603
00:33:07,960 --> 00:33:11,920
Speaker 3: time was retro. She's listening to music up until the

604
00:33:11,960 --> 00:33:16,400
Speaker 3: director calls action something I'm sure that is specific to

605
00:33:16,480 --> 00:33:22,280
Speaker 3: a scene or an emotion, and so she takes the

606
00:33:22,320 --> 00:33:26,440
Speaker 3: headphones off and puts them down someplace or hands them

607
00:33:26,440 --> 00:33:32,680
Speaker 3: off to somebody. And she is different every time. I mean,

608
00:33:33,640 --> 00:33:38,320
Speaker 3: appropriately for the scene. She's not not telling the story,

609
00:33:38,720 --> 00:33:41,600
Speaker 3: but she's very you know, for all of her laughter

610
00:33:41,720 --> 00:33:43,800
Speaker 3: and the way she's on a talk show, which is

611
00:33:44,320 --> 00:33:49,200
Speaker 3: funny and unpredictable and kind of deeply honest and shocking

612
00:33:49,520 --> 00:33:53,440
Speaker 3: in her transparency. But she's just so freaking good. So

613
00:33:53,520 --> 00:33:56,120
Speaker 3: to watch her do her work like that, because you

614
00:33:56,200 --> 00:34:01,240
Speaker 3: don't understand how somebody who appears so effortlessly real on screen,

615
00:34:01,880 --> 00:34:04,000
Speaker 3: you know, she's not so bad. It was just very

616
00:34:04,000 --> 00:34:06,920
Speaker 3: I was like, oh, so you can you can be

617
00:34:07,000 --> 00:34:09,560
Speaker 3: a serious person on the set. You can not talk

618
00:34:09,600 --> 00:34:11,480
Speaker 3: to people when you don't need to talk to people.

619
00:34:12,080 --> 00:34:16,399
Speaker 3: You can be you know, focused and quiet and kind

620
00:34:16,440 --> 00:34:20,920
Speaker 3: of private, like if someone has headphones on, you're not

621
00:34:20,960 --> 00:34:25,840
Speaker 3: going to bother them, right, And it wasn't unsocial. It

622
00:34:25,960 --> 00:34:30,520
Speaker 3: was serious, but it was it wasn't hostile, do you know.

623
00:34:30,560 --> 00:34:32,360
Speaker 3: I mean like there was no one around her keeping

624
00:34:32,360 --> 00:34:36,160
Speaker 3: you from talking to her. But it was incredible to

625
00:34:36,160 --> 00:34:39,040
Speaker 3: watch her work. And she's just magnificent.

626
00:34:48,080 --> 00:34:51,520
Speaker 1: Your business life is so profound. I mean the fragrance

627
00:34:51,560 --> 00:34:54,200
Speaker 1: is to shoes the No Shoe store, which is beautiful

628
00:34:54,320 --> 00:34:57,960
Speaker 1: on Perry Street, gorgeous. What was that experience like and

629
00:34:58,400 --> 00:35:01,280
Speaker 1: being in the hot that side of hospitality where you're

630
00:35:01,480 --> 00:35:04,080
Speaker 1: selling your shoes to a customer and putting them on

631
00:35:04,120 --> 00:35:04,720
Speaker 1: their foot.

632
00:35:05,239 --> 00:35:05,920
Speaker 2: How is like?

633
00:35:06,719 --> 00:35:11,640
Speaker 1: Again, people would be like, really, but it's beautiful as well.

634
00:35:11,640 --> 00:35:14,480
Speaker 3: It's the same. Honestly, you know this, you can describe

635
00:35:14,480 --> 00:35:16,440
Speaker 3: it just as well. It's exact same thing as what

636
00:35:16,480 --> 00:35:20,640
Speaker 3: you did at your family restaurant for your entire life.

637
00:35:20,920 --> 00:35:25,520
Speaker 3: It's taking care of the customer. What does that mean everything.

638
00:35:26,400 --> 00:35:30,280
Speaker 3: It's from the smallest, littlest thing to the most important

639
00:35:30,360 --> 00:35:33,560
Speaker 3: to the stuff that's more obviously big. So you're on

640
00:35:33,600 --> 00:35:36,160
Speaker 3: your hands and knees, putting shoes on people, taking them off,

641
00:35:36,480 --> 00:35:39,480
Speaker 3: read running back to the stock room, trying to get

642
00:35:39,520 --> 00:35:41,160
Speaker 3: what they need, trying to find what they need if

643
00:35:41,200 --> 00:35:43,440
Speaker 3: we don't have it looking online, you know, making sure

644
00:35:43,480 --> 00:35:45,160
Speaker 3: we can do a special order for this one who's

645
00:35:45,200 --> 00:35:48,760
Speaker 3: leaving town, who flights at five o'clock. Whatever it takes

646
00:35:48,880 --> 00:35:55,200
Speaker 3: to meet the customer's needs, requests, and then ten steps

647
00:35:55,239 --> 00:35:58,080
Speaker 3: beyond that. You never you never stop at that. You

648
00:35:58,239 --> 00:36:02,839
Speaker 3: go well beyond that, you know. So that's what it

649
00:36:02,880 --> 00:36:06,640
Speaker 3: is to have a store. It's like it's like inviting

650
00:36:06,680 --> 00:36:09,800
Speaker 3: someone into your home and then saying, you know, find

651
00:36:09,800 --> 00:36:11,920
Speaker 3: the towels. I know you've never been here yourself, but

652
00:36:12,680 --> 00:36:14,879
Speaker 3: good luck, you know, find the towels, and there's some

653
00:36:14,920 --> 00:36:17,800
Speaker 3: spices in that room over there. You know, you can't

654
00:36:17,800 --> 00:36:18,960
Speaker 3: do that customstly.

655
00:36:19,040 --> 00:36:22,960
Speaker 1: You're the kind of professional person that if you're going

656
00:36:23,040 --> 00:36:25,920
Speaker 1: to put anything that is about your name on something.

657
00:36:26,600 --> 00:36:31,840
Speaker 1: It is going to reflect quality elegance, So like you

658
00:36:32,000 --> 00:36:34,560
Speaker 1: being able to go into the store, work in the store,

659
00:36:34,680 --> 00:36:36,560
Speaker 1: or just go buy that store to make sure.

660
00:36:36,640 --> 00:36:38,480
Speaker 2: Okay, yeah, how does it look?

661
00:36:38,719 --> 00:36:41,040
Speaker 1: Is it creat Are the shoes placed the way they

662
00:36:41,160 --> 00:36:43,200
Speaker 1: that we wanted this season's shoes.

663
00:36:42,840 --> 00:36:43,560
Speaker 2: To look correct?

664
00:36:43,760 --> 00:36:46,440
Speaker 1: Very important time and for people that work not to

665
00:36:46,480 --> 00:36:47,040
Speaker 1: always know.

666
00:36:47,120 --> 00:36:49,120
Speaker 2: It's just part of the part of the drill.

667
00:36:49,520 --> 00:36:51,680
Speaker 1: Were you blown away that you created a drink that

668
00:36:52,000 --> 00:36:55,960
Speaker 1: is worldwide known and associated with Kerry Bradshaw.

669
00:36:55,640 --> 00:36:58,000
Speaker 3: Well, I you know, I didn't create it. I had

670
00:36:58,040 --> 00:37:02,960
Speaker 3: nothing to do with it. I know that when we

671
00:37:03,000 --> 00:37:06,000
Speaker 3: first started drinking them on the show, the ones on

672
00:37:06,040 --> 00:37:08,919
Speaker 3: the show were that kind of cosmopolitan that you later

673
00:37:09,000 --> 00:37:11,920
Speaker 3: learn are not the good ones. They were first of all,

674
00:37:11,960 --> 00:37:14,920
Speaker 3: ours weren't real. They were cranberry juice and water. But

675
00:37:15,800 --> 00:37:17,640
Speaker 3: there is You can go to a bar and be

676
00:37:17,719 --> 00:37:21,680
Speaker 3: served a cosmopolitan that is like just cranberry juice. You

677
00:37:21,680 --> 00:37:24,920
Speaker 3: know what, It's like, almost Bordeaux colored. It's like a

678
00:37:24,960 --> 00:37:31,120
Speaker 3: pinky kind of Bordeaux or ferry color. So I never

679
00:37:31,200 --> 00:37:35,160
Speaker 3: drank cobs and Politans. I thought they were terrible. You're drink,

680
00:37:35,480 --> 00:37:38,399
Speaker 3: So it was years and years, I would people would

681
00:37:38,440 --> 00:37:41,640
Speaker 3: send them over to me so kindly. People would send

682
00:37:41,640 --> 00:37:44,799
Speaker 3: them over and I would say thank you and raise

683
00:37:44,800 --> 00:37:46,680
Speaker 3: the glass and take a sip and think like, what

684
00:37:46,840 --> 00:37:49,719
Speaker 3: is the what it's all the fuss about? And then

685
00:37:49,800 --> 00:37:52,400
Speaker 3: one day I was somewhere and someone sent a Cosmopolitan

686
00:37:52,440 --> 00:37:58,680
Speaker 3: over and it was opaque, pale, pink, fleshy, like you

687
00:37:58,719 --> 00:38:02,800
Speaker 3: could see the a little bit of pulp of whatever

688
00:38:02,920 --> 00:38:09,680
Speaker 3: citrus had been used with a twist, freezing cold. And

689
00:38:09,719 --> 00:38:15,080
Speaker 3: I was like, oh, this is a Cosmopolitan. I get

690
00:38:15,080 --> 00:38:18,040
Speaker 3: it now and I love them now. And that's been

691
00:38:18,120 --> 00:38:21,160
Speaker 3: I would say, I really started drinking Cosmopolitans that I

692
00:38:21,360 --> 00:38:24,040
Speaker 3: chose on my own and would order I'm going to

693
00:38:24,080 --> 00:38:27,520
Speaker 3: say like six seven years ago, and I love them.

694
00:38:27,920 --> 00:38:30,520
Speaker 3: I don't know that we ever expected from the show,

695
00:38:30,560 --> 00:38:32,600
Speaker 3: from drinking them that it would turn into a thing.

696
00:38:32,719 --> 00:38:32,879
Speaker 2: Well.

697
00:38:32,920 --> 00:38:35,960
Speaker 1: I mean that, I think just again testament to all

698
00:38:36,040 --> 00:38:39,680
Speaker 1: the touch points and the power of the show in

699
00:38:39,719 --> 00:38:42,680
Speaker 1: the zeitgeist of the moment that people were like, oh

700
00:38:42,840 --> 00:38:47,279
Speaker 1: and the creation of Carrie Bradshaw that with the influence

701
00:38:47,400 --> 00:38:47,839
Speaker 1: that this.

702
00:38:47,840 --> 00:38:53,160
Speaker 3: Character had, Yeah, that funny. You can't think about these

703
00:38:53,200 --> 00:38:55,560
Speaker 3: things too much, and you can't try to write.

704
00:38:55,840 --> 00:38:58,399
Speaker 2: Right, you can't create them.

705
00:38:58,560 --> 00:39:02,279
Speaker 3: It has to be from the story and true, or

706
00:39:02,280 --> 00:39:06,120
Speaker 3: it just looks like you're just trying to make a moment.

707
00:39:06,640 --> 00:39:09,040
Speaker 1: I mean, if you're trying to achieve the end result,

708
00:39:09,440 --> 00:39:10,880
Speaker 1: you're gonnat that you can't.

709
00:39:10,960 --> 00:39:11,760
Speaker 2: You got it.

710
00:39:11,560 --> 00:39:14,799
Speaker 3: It's I always say, like, you can't start with a

711
00:39:14,840 --> 00:39:17,600
Speaker 3: result and then write kind of into it backwards like that.

712
00:39:17,680 --> 00:39:18,480
Speaker 3: It's just awful.

713
00:39:25,960 --> 00:39:28,279
Speaker 1: Sarah Jessica and I have had such a fun and

714
00:39:28,320 --> 00:39:29,560
Speaker 1: delicious lunch today.

715
00:39:30,200 --> 00:39:32,239
Speaker 2: Thank you all for pulling up a chair. I hope

716
00:39:32,239 --> 00:39:32,879
Speaker 2: you have two.

717
00:39:33,320 --> 00:39:36,400
Speaker 1: But as our time together comes to an end, I

718
00:39:36,480 --> 00:39:39,880
Speaker 1: want to congratulate Sarah Jessica on twenty five years of

719
00:39:39,960 --> 00:39:43,399
Speaker 1: Sex in the City and hear her thoughts about its

720
00:39:43,440 --> 00:39:49,640
Speaker 1: continued success. We sort of are wrapping up our lunch spark,

721
00:39:49,800 --> 00:39:51,680
Speaker 1: and I just want to say, I like everyone's listening.

722
00:39:51,680 --> 00:39:53,680
Speaker 1: There's like a lot of stuff for you to, like,

723
00:39:54,000 --> 00:39:56,680
Speaker 1: I hope, lean into when it comes to Sarah Jessica Parker,

724
00:39:56,719 --> 00:39:58,480
Speaker 1: which is not just and just like that, which is

725
00:39:58,800 --> 00:40:02,360
Speaker 1: congratulations so good. I mean, it's just amazing, and you know,

726
00:40:02,400 --> 00:40:02,960
Speaker 1: I love it.

727
00:40:03,360 --> 00:40:05,960
Speaker 3: And thanks to everybody who's been watching it and who

728
00:40:05,960 --> 00:40:09,640
Speaker 3: has been part of the family of it for so long.

729
00:40:09,680 --> 00:40:12,319
Speaker 3: You know, we just celebrated the twenty fifth anniversary of

730
00:40:12,640 --> 00:40:17,319
Speaker 3: Sex and City, and it's hard to try to communicate

731
00:40:17,480 --> 00:40:22,640
Speaker 3: or articulate the kind of I always use the word gratitude,

732
00:40:22,680 --> 00:40:28,000
Speaker 3: but for the the gratitude that we feel for the

733
00:40:28,080 --> 00:40:32,600
Speaker 3: people who have chosen to keep us in their lives.

734
00:40:32,760 --> 00:40:37,360
Speaker 3: You know, we weren't on a free television station. People

735
00:40:37,440 --> 00:40:40,320
Speaker 3: made choices about how they were going to spend the

736
00:40:40,360 --> 00:40:42,319
Speaker 3: time and how are they were going to spend their money,

737
00:40:42,360 --> 00:40:44,279
Speaker 3: to be honest, and kept us in their lives for

738
00:40:44,360 --> 00:40:47,720
Speaker 3: twenty five years and have joined us on this next

739
00:40:48,000 --> 00:40:53,520
Speaker 3: chapter with such enthusiasm and such spirit and goodwill and excitement.

740
00:40:53,760 --> 00:40:58,239
Speaker 3: And it's obviously the only reason we do it is

741
00:40:58,320 --> 00:41:02,600
Speaker 3: for this audience who has been a point of inspiration

742
00:41:02,719 --> 00:41:07,719
Speaker 3: for us and been loving and hard on us and

743
00:41:08,280 --> 00:41:11,560
Speaker 3: have really high expectations. So it's an honor to try

744
00:41:11,600 --> 00:41:14,799
Speaker 3: to do right by this long relationship.

745
00:41:15,920 --> 00:41:19,920
Speaker 1: Well, it is joyful to watch, and I thank you

746
00:41:20,040 --> 00:41:23,680
Speaker 1: for giving me twenty five years of that and a

747
00:41:23,920 --> 00:41:25,719
Speaker 1: very long real friendship.

748
00:41:25,400 --> 00:41:27,879
Speaker 2: Oh my god, very meaningful. I love you too.

749
00:41:28,040 --> 00:41:29,680
Speaker 3: I love you more than all the other people who

750
00:41:29,680 --> 00:41:31,799
Speaker 3: come on this show. I know you better, I love

751
00:41:31,840 --> 00:41:32,200
Speaker 3: you more.

752
00:41:32,360 --> 00:41:34,279
Speaker 2: You know what, it's very back at you. It's a

753
00:41:34,320 --> 00:41:35,520
Speaker 2: context anyway.

754
00:41:35,680 --> 00:41:39,960
Speaker 3: Everyone's like, oh, you don't know.

755
00:41:40,320 --> 00:41:43,200
Speaker 2: Don't forget to go online read the review of the.

756
00:41:43,160 --> 00:41:48,040
Speaker 3: Gannette and it Typically I've got a couple people on vacation.

757
00:41:48,160 --> 00:41:52,000
Speaker 3: My editor on holiday for a couple of days, typically

758
00:41:52,080 --> 00:41:55,040
Speaker 3: takes the weekend, which I want to give him because

759
00:41:55,080 --> 00:41:57,680
Speaker 3: you know, you're on twenty four to seven when you're

760
00:41:57,719 --> 00:42:01,440
Speaker 3: in the newspaper business. So I'll make sure your followers

761
00:42:01,480 --> 00:42:02,760
Speaker 3: know how to win it posts.

762
00:42:02,840 --> 00:42:05,200
Speaker 2: Yeah, bom, some of you guys still.

763
00:42:04,960 --> 00:42:07,560
Speaker 3: Get the hard copies of your local newspapers and you

764
00:42:07,600 --> 00:42:08,239
Speaker 3: know who you are.

765
00:42:09,000 --> 00:42:11,520
Speaker 2: Anyway, Thank you for listening today on Table for two.

766
00:42:12,000 --> 00:42:12,520
Speaker 2: You got it.

767
00:42:12,640 --> 00:42:13,880
Speaker 3: Love you Smokey, how fun?

768
00:42:14,080 --> 00:42:14,799
Speaker 2: I Love you too.

769
00:42:24,000 --> 00:42:27,080
Speaker 5: Table for two with Bruce Bosi is produced by iHeartRadio

770
00:42:27,360 --> 00:42:31,160
Speaker 5: seven three seven Park and Airmail. Our executive producers are

771
00:42:31,160 --> 00:42:34,320
Speaker 5: Bruce Bosi and Nathan King. Table for two is researched

772
00:42:34,360 --> 00:42:38,359
Speaker 5: and written by Bridget arsenalt. Our sound engineers are Paul

773
00:42:38,400 --> 00:42:42,160
Speaker 5: Bowman and Alyssa Midcalf. Table for two's LA production team

774
00:42:42,280 --> 00:42:47,240
Speaker 5: is Danielle Romo and Lorraine Verrez. Our music supervisor is Randall.

775
00:42:47,239 --> 00:42:49,840
Speaker 5: Poster Our Talent Booking is by James Harkin.

776
00:42:50,120 --> 00:42:52,439
Speaker 1: And a special thank you to all the people who

777
00:42:52,480 --> 00:42:55,360
Speaker 1: work at the Lobster Role better known as Lunch on

778
00:42:55,440 --> 00:42:58,520
Speaker 1: Montauk Highway, and a special shout out to Andrea, Thank

779
00:42:58,560 --> 00:42:59,279
Speaker 1: you so much.

780
00:43:00,160 --> 00:43:04,879
Speaker 5: More podcasts from iHeartRadio visit the iHeartRadio app, Apple Podcasts,

781
00:43:04,960 --> 00:43:07,160
Speaker 5: or wherever you listen to your favorite shows.