1 00:00:01,600 --> 00:00:04,880 Speaker 1: Hi, I'm Kristin Davis, and I want to know are 2 00:00:04,880 --> 00:00:10,800 Speaker 1: you a Charlotte. Hi, everybody, thanks for tuning in this week. 3 00:00:11,039 --> 00:00:14,320 Speaker 1: I'm very, very excited because this is our first director 4 00:00:14,360 --> 00:00:15,040 Speaker 1: we're having. 5 00:00:14,880 --> 00:00:18,439 Speaker 2: On It is Alan Coulter. He's an amazing director. 6 00:00:18,480 --> 00:00:22,239 Speaker 1: He came on in the second season of Sex and 7 00:00:22,280 --> 00:00:24,840 Speaker 1: the City and he directed I believe eight episodes. He 8 00:00:25,000 --> 00:00:29,840 Speaker 1: had to me an incredible effect on our overall show. 9 00:00:30,240 --> 00:00:34,480 Speaker 1: He changed the visuals, he changed the way that we 10 00:00:34,680 --> 00:00:38,360 Speaker 1: kind of interacted within a scene in a group scene. 11 00:00:39,200 --> 00:00:41,559 Speaker 1: For me as an actor, he really just gave me 12 00:00:41,600 --> 00:00:44,000 Speaker 1: so much confidence and I was so much more at 13 00:00:44,040 --> 00:00:46,000 Speaker 1: ease when he was directing. I learned so much from 14 00:00:46,080 --> 00:00:48,199 Speaker 1: him and he also the way that we got him 15 00:00:48,280 --> 00:00:51,159 Speaker 1: is that he was already directing the Sopranos. He was 16 00:00:51,280 --> 00:00:53,880 Speaker 1: on their first season and then he continued on with them. 17 00:00:54,200 --> 00:00:57,520 Speaker 1: So he was really just like one of HBO's key directors, 18 00:00:57,800 --> 00:01:00,880 Speaker 1: and we were incredibly lucky to get him, and we're 19 00:01:00,880 --> 00:01:02,680 Speaker 1: incredibly lucky to talk to him today. He's going to 20 00:01:02,760 --> 00:01:07,000 Speaker 1: share with us so many just incredible tidbits of details 21 00:01:07,040 --> 00:01:10,360 Speaker 1: and how he created scenes, and it's a joy. So 22 00:01:10,400 --> 00:01:13,600 Speaker 1: today technically we are Rewatching for Women in a Funeral, 23 00:01:13,800 --> 00:01:16,119 Speaker 1: but he also directed Take Me Out to the Ballgame, 24 00:01:16,400 --> 00:01:19,520 Speaker 1: The Awful Truth Freak Show for weddings and a Funeral, What 25 00:01:19,600 --> 00:01:22,040 Speaker 1: Comes Around Goes Around one of my all time favorite episodes, 26 00:01:22,240 --> 00:01:26,000 Speaker 1: Coco Doodle Doo defining moment, what sex got to do 27 00:01:26,040 --> 00:01:29,679 Speaker 1: with it? I mean, wow, wow, love Alan Culder so much. 28 00:01:29,920 --> 00:01:37,399 Speaker 1: Enjoy you guys, Alan, Hi, Hi, how are you. I'm good? 29 00:01:37,440 --> 00:01:37,880 Speaker 2: How are you? 30 00:01:38,840 --> 00:01:40,160 Speaker 3: I'm good? I'm good. 31 00:01:40,360 --> 00:01:42,559 Speaker 1: Thank you so much for coming on. I have wanted 32 00:01:42,600 --> 00:01:45,840 Speaker 1: you to come on for many reasons. Number one, I 33 00:01:45,920 --> 00:01:49,320 Speaker 1: enjoy you so much, as you know. Number two, what 34 00:01:49,560 --> 00:01:52,960 Speaker 1: I have been rewatching because I never I watched like 35 00:01:53,080 --> 00:01:55,560 Speaker 1: when the initial show would get delivered to us on 36 00:01:55,600 --> 00:02:00,120 Speaker 1: the VHS, but I've never rewatched, so in rewatching, I 37 00:02:00,160 --> 00:02:04,920 Speaker 1: have even more and deeper appreciation for your contribution as 38 00:02:04,920 --> 00:02:05,480 Speaker 1: a director. 39 00:02:06,160 --> 00:02:08,280 Speaker 3: Oh well, thank you. That's so nice for you to say. 40 00:02:08,520 --> 00:02:11,280 Speaker 2: It's true. It's true. I can tell an Allen culture. 41 00:02:11,320 --> 00:02:14,000 Speaker 1: I mean, for me personally as an actor, I learned 42 00:02:14,000 --> 00:02:16,040 Speaker 1: so much from you, which I think you were aware of, 43 00:02:16,160 --> 00:02:18,280 Speaker 1: Like you had a big impact on me. 44 00:02:19,160 --> 00:02:20,840 Speaker 3: I didn't, but I'm glad to hear it. 45 00:02:20,919 --> 00:02:23,680 Speaker 2: Oh you didn't know that. Oh my god, Oh my god. 46 00:02:23,919 --> 00:02:25,520 Speaker 2: I mean, I think for a couple of reasons. 47 00:02:25,760 --> 00:02:30,160 Speaker 1: I think, number one, something about your southernness makes me 48 00:02:30,200 --> 00:02:30,840 Speaker 1: feel at home. 49 00:02:31,200 --> 00:02:31,799 Speaker 2: So there's that. 50 00:02:32,280 --> 00:02:35,440 Speaker 1: And then you had such like like when I watch 51 00:02:35,520 --> 00:02:37,560 Speaker 1: an episode that's one of your episodes, I can tell 52 00:02:37,639 --> 00:02:41,360 Speaker 1: immediately because of the way the camera moves, because of 53 00:02:41,520 --> 00:02:45,600 Speaker 1: certain elements of the visuals. And I think I feel 54 00:02:45,639 --> 00:02:47,440 Speaker 1: like I can say this. I don't know if I'm 55 00:02:47,440 --> 00:02:49,040 Speaker 1: speaking out of term, but I think all of our 56 00:02:49,120 --> 00:02:53,200 Speaker 1: work is more relaxed. There's a relaxation. 57 00:02:54,480 --> 00:02:57,720 Speaker 3: Great, that's really lovely to hear. That's what I hope 58 00:02:57,880 --> 00:02:58,080 Speaker 3: you know. 59 00:02:58,200 --> 00:02:58,720 Speaker 2: It's true. 60 00:02:59,000 --> 00:03:01,320 Speaker 1: You made us feel comfortable, and I feel like we're 61 00:03:01,400 --> 00:03:03,560 Speaker 1: less kind of performative. I mean, I know it's a 62 00:03:03,600 --> 00:03:07,360 Speaker 1: comedy and sometimes you need an element of performative, but 63 00:03:07,880 --> 00:03:11,520 Speaker 1: it's less and especially for myself, which I'm my own 64 00:03:11,560 --> 00:03:13,840 Speaker 1: worst critic. And then one of the best things that 65 00:03:13,880 --> 00:03:15,359 Speaker 1: you ever taught me, and I think the rest of 66 00:03:15,440 --> 00:03:17,880 Speaker 1: us as well, was to talk fast and walk slow. 67 00:03:21,040 --> 00:03:23,280 Speaker 1: That was a big lesson in a show where you. 68 00:03:23,240 --> 00:03:23,800 Speaker 2: Walk and talk. 69 00:03:24,600 --> 00:03:28,160 Speaker 1: Yeah, I bring it up now on the new show 70 00:03:28,320 --> 00:03:29,520 Speaker 1: with our new cast members. 71 00:03:30,000 --> 00:03:31,960 Speaker 2: We quote you. And you know the other thing that 72 00:03:31,960 --> 00:03:33,440 Speaker 2: we quote sometimes. 73 00:03:33,000 --> 00:03:34,920 Speaker 1: If we're working really late, which is not as much 74 00:03:34,960 --> 00:03:38,920 Speaker 1: as in the older days, we say cockrel do you remember? 75 00:03:41,320 --> 00:03:43,480 Speaker 1: So you're still with us, Alan, You're still with us 76 00:03:43,480 --> 00:03:44,520 Speaker 1: in so many ways. 77 00:03:44,960 --> 00:03:48,160 Speaker 3: That's so great. Well, I actually went back and because 78 00:03:48,320 --> 00:03:50,360 Speaker 3: of this, I went back. I had not seen the 79 00:03:50,400 --> 00:03:54,120 Speaker 3: show probably since it was released, and went back and 80 00:03:54,160 --> 00:03:57,880 Speaker 3: watched it, and I was really pleased, first of all, 81 00:03:58,040 --> 00:04:01,600 Speaker 3: just how well the show plays still and of course 82 00:04:01,920 --> 00:04:05,760 Speaker 3: it's getting like the Sopranos, it's getting another life, you know, 83 00:04:05,880 --> 00:04:09,200 Speaker 3: different ages. And my wife was Kim was watching it 84 00:04:09,800 --> 00:04:12,119 Speaker 3: and she was saying, it's it's great. I mean, it's 85 00:04:12,120 --> 00:04:15,880 Speaker 3: still plays so that that's really a high compliment to 86 00:04:16,560 --> 00:04:19,080 Speaker 3: all of the involved, all of you and Michael, Patrick 87 00:04:19,200 --> 00:04:22,920 Speaker 3: and Darren and so on. But it really does. And 88 00:04:22,960 --> 00:04:25,560 Speaker 3: I you know, I'm you're talking about YOURNG worst critic. 89 00:04:25,560 --> 00:04:30,719 Speaker 3: I'm looking really you couldn't do better. But but but 90 00:04:30,800 --> 00:04:32,600 Speaker 3: there were a few things I really liked, and will 91 00:04:32,600 --> 00:04:35,320 Speaker 3: say that there were some moments that I thought, and 92 00:04:35,400 --> 00:04:38,480 Speaker 3: there's one with you and and uh and and Kyle 93 00:04:39,040 --> 00:04:41,760 Speaker 3: just sort of sitting I think it's when you've kind 94 00:04:41,760 --> 00:04:44,840 Speaker 3: of finally gotten together and had sex with it, and 95 00:04:44,880 --> 00:04:46,599 Speaker 3: it's just I just remember you're sort of sitting against 96 00:04:46,640 --> 00:04:50,480 Speaker 3: a wall. Yeah, it's a nice scene and just two 97 00:04:50,560 --> 00:04:53,880 Speaker 3: people just talking. And there's one with Sarah Jessica and 98 00:04:53,880 --> 00:04:56,600 Speaker 3: and Chris Uh when they're sitting on the bed. It 99 00:04:56,640 --> 00:04:58,800 Speaker 3: is after they kind of get they you think they're 100 00:04:58,800 --> 00:05:01,039 Speaker 3: gonna get back together. He's got the red wall, right, 101 00:05:01,680 --> 00:05:03,600 Speaker 3: and then she just says they're kind of look at 102 00:05:03,600 --> 00:05:06,200 Speaker 3: each other and just says, you know, he says, I 103 00:05:06,279 --> 00:05:09,160 Speaker 3: like living alone and she's and she said that doesn't 104 00:05:09,160 --> 00:05:11,960 Speaker 3: surprise me or something. But there's just a quality that 105 00:05:12,040 --> 00:05:15,120 Speaker 3: I was real pleased with. I just thought, absolutely, yeah, 106 00:05:16,000 --> 00:05:17,480 Speaker 3: just sitting quietly talking. 107 00:05:17,520 --> 00:05:19,839 Speaker 1: So I think those things are amazing. And I also 108 00:05:19,920 --> 00:05:23,000 Speaker 1: feel like one of the first episodes that you directed, 109 00:05:23,279 --> 00:05:27,240 Speaker 1: there's a scene with Kim with Samantha where she is 110 00:05:27,279 --> 00:05:29,920 Speaker 1: with a man who's younger and he's telling her, like, 111 00:05:30,240 --> 00:05:32,680 Speaker 1: you know what, you must be forty and she goes 112 00:05:32,720 --> 00:05:34,240 Speaker 1: in the bathroom and she looks at herself and then 113 00:05:34,279 --> 00:05:36,680 Speaker 1: she comes back up and he's all chained up in 114 00:05:36,720 --> 00:05:39,880 Speaker 1: the closet, which is of course a shock, but you 115 00:05:39,960 --> 00:05:41,760 Speaker 1: do this cool thing with the camera it's not a 116 00:05:41,839 --> 00:05:42,680 Speaker 1: very big bedroom. 117 00:05:43,000 --> 00:05:45,560 Speaker 2: But she walks out and she doesn't know where. 118 00:05:45,400 --> 00:05:48,080 Speaker 1: He is, and she's looking around, and the camera moves 119 00:05:48,279 --> 00:05:53,240 Speaker 1: around her just in perfect harmony with her look, you know, 120 00:05:53,680 --> 00:05:56,320 Speaker 1: which as an actor is not that easy to do, right, 121 00:05:56,560 --> 00:05:59,599 Speaker 1: and it's seamless, and then you both land on the 122 00:05:59,680 --> 00:06:02,120 Speaker 1: door at the same time. The camera and her face 123 00:06:02,160 --> 00:06:03,160 Speaker 1: like you're behind her. 124 00:06:03,440 --> 00:06:04,200 Speaker 2: Is very cool. 125 00:06:04,440 --> 00:06:07,000 Speaker 1: And that's the kind of thing we did more often later. 126 00:06:07,279 --> 00:06:09,120 Speaker 1: But I think that's because you brought it, you know, 127 00:06:09,200 --> 00:06:10,880 Speaker 1: you introduced that to us. 128 00:06:11,240 --> 00:06:13,800 Speaker 3: Well, you know, that's funny. I'm glad you're saying that, 129 00:06:13,880 --> 00:06:16,480 Speaker 3: because you know, I was thinking, you know, what happened 130 00:06:16,480 --> 00:06:18,600 Speaker 3: for you guys. Probably I don't know how much y'all 131 00:06:18,680 --> 00:06:20,760 Speaker 3: knew what was going on, But I was doing the 132 00:06:20,760 --> 00:06:23,840 Speaker 3: Sopranos and I was finishing up whatever the season was, 133 00:06:24,120 --> 00:06:30,599 Speaker 3: the first season maybe, and uh, and Michael Hill came 134 00:06:30,640 --> 00:06:33,120 Speaker 3: to me and he said, we're going to start season 135 00:06:33,120 --> 00:06:34,839 Speaker 3: two of Sex and the City and I'd like for 136 00:06:34,880 --> 00:06:37,719 Speaker 3: you to come and try to bring some style to 137 00:06:37,760 --> 00:06:40,040 Speaker 3: it because I had not. You look like a sitcom, 138 00:06:40,480 --> 00:06:44,560 Speaker 3: you know, so true, and so I said, sure, I'd 139 00:06:44,560 --> 00:06:47,960 Speaker 3: love to. And I remember, this is my memory of it. 140 00:06:48,200 --> 00:06:49,760 Speaker 2: You guys, what, what are your memories? 141 00:06:49,839 --> 00:06:54,440 Speaker 3: Yes, But but so when I showed up and everybody 142 00:06:54,600 --> 00:06:57,240 Speaker 3: was just like a sponge. Everybody was just like, what 143 00:06:57,279 --> 00:07:02,200 Speaker 3: do you want, you know, reaction? Everybody, all of you 144 00:07:02,320 --> 00:07:05,760 Speaker 3: four knew that things were not working the way they could. 145 00:07:06,360 --> 00:07:08,800 Speaker 3: And so consequently, here comes a new guy you know, 146 00:07:08,839 --> 00:07:14,320 Speaker 3: in the door, and everybody was so like eager, and 147 00:07:14,360 --> 00:07:16,280 Speaker 3: I did something I just wanted to kind of and 148 00:07:16,600 --> 00:07:18,320 Speaker 3: as I the more I directed you or the more 149 00:07:18,360 --> 00:07:21,240 Speaker 3: I loosened up too and did more. But I remember, 150 00:07:22,560 --> 00:07:24,880 Speaker 3: you know, doing things like and I'm just thinking about this. 151 00:07:26,440 --> 00:07:29,800 Speaker 3: There's a scene where I just said, you know, I'm 152 00:07:29,840 --> 00:07:31,920 Speaker 3: not going to try to stage this because it was 153 00:07:31,920 --> 00:07:34,560 Speaker 3: too complicated. So what I told each of you was 154 00:07:35,400 --> 00:07:38,120 Speaker 3: just get to that person for their line. I don't 155 00:07:38,160 --> 00:07:40,760 Speaker 3: care where to go, and I'll go with you. And 156 00:07:40,800 --> 00:07:43,560 Speaker 3: that's so I just turned you guys loose, and I 157 00:07:43,560 --> 00:07:45,480 Speaker 3: think everybody just sparked it because it was kind of 158 00:07:45,520 --> 00:07:48,000 Speaker 3: like theater, you know, definitely, and then you know, somebody 159 00:07:48,000 --> 00:07:50,080 Speaker 3: would carry the camera over and just just in time 160 00:07:50,120 --> 00:07:52,320 Speaker 3: to land on the other person who picked up the 161 00:07:52,400 --> 00:07:54,040 Speaker 3: you know, and then took it back. But it was 162 00:07:54,200 --> 00:07:57,320 Speaker 3: very had a great quality of just random people talking 163 00:07:57,400 --> 00:08:00,560 Speaker 3: and you each found something some reason, and I said, 164 00:08:00,600 --> 00:08:02,840 Speaker 3: find a reason to go over to that person at 165 00:08:02,840 --> 00:08:03,480 Speaker 3: that point. 166 00:08:03,680 --> 00:08:06,600 Speaker 2: Yeah that was hard. I mean I think we really 167 00:08:06,600 --> 00:08:07,680 Speaker 2: love to be challenged. 168 00:08:08,120 --> 00:08:10,840 Speaker 3: Yeah it was. Yeah, it was fun and exciting and 169 00:08:11,520 --> 00:08:13,440 Speaker 3: we got the shots a lot quicker than if we 170 00:08:13,600 --> 00:08:15,239 Speaker 3: had to set up on each one of those moments. 171 00:08:15,240 --> 00:08:15,720 Speaker 2: Oh my god. 172 00:08:15,800 --> 00:08:18,680 Speaker 3: Yes, so and I just so that was fun for me. 173 00:08:18,800 --> 00:08:20,960 Speaker 3: It was just to say, how can I help break 174 00:08:21,000 --> 00:08:26,680 Speaker 3: this out of what it was? And I was left alone, 175 00:08:26,720 --> 00:08:29,200 Speaker 3: which is another great thing. I mean, I just was like, 176 00:08:29,400 --> 00:08:30,880 Speaker 3: I don't think there was anybody on the set. I 177 00:08:30,880 --> 00:08:32,439 Speaker 3: mean the writers might have been, but they didn't say 178 00:08:32,440 --> 00:08:32,760 Speaker 3: a word. 179 00:08:33,080 --> 00:08:36,199 Speaker 1: They were often upstairs early on, you know, like Darren 180 00:08:36,200 --> 00:08:38,360 Speaker 1: would be upstairs and Michael would be upstairs, and if 181 00:08:38,400 --> 00:08:40,760 Speaker 1: you needed them they might come down, whereas later on 182 00:08:40,800 --> 00:08:42,880 Speaker 1: they would be there, like if it was their script 183 00:08:43,000 --> 00:08:45,440 Speaker 1: they would be sitting there, which they are still now 184 00:08:45,520 --> 00:08:47,800 Speaker 1: and now you know they're like part you know, they're 185 00:08:47,960 --> 00:08:48,920 Speaker 1: very much present. 186 00:08:49,320 --> 00:08:50,760 Speaker 2: But yeah, I do remember that. 187 00:08:50,960 --> 00:08:52,920 Speaker 1: I mean I also I remember so many things, but 188 00:08:52,960 --> 00:08:55,040 Speaker 1: I remember, of course we worked all night, you know, 189 00:08:55,240 --> 00:08:55,960 Speaker 1: very frequently. 190 00:08:58,160 --> 00:09:00,920 Speaker 2: It was a challenge, but we were younger. 191 00:09:01,240 --> 00:09:02,840 Speaker 3: I was used to that from The Sopranos. 192 00:09:02,880 --> 00:09:07,360 Speaker 1: Got it like eight you know, right, right, right, So 193 00:09:07,559 --> 00:09:10,440 Speaker 1: when you went to the Sopranos, just refresh my memory too, 194 00:09:10,520 --> 00:09:13,040 Speaker 1: because I don't know. I knew for sure that there 195 00:09:13,120 --> 00:09:16,560 Speaker 1: was a group of directors from The Sopranos that HBO 196 00:09:16,640 --> 00:09:18,640 Speaker 1: really loved, that they wanted to come to us, And 197 00:09:18,640 --> 00:09:20,000 Speaker 1: of course we were thrilled, right. 198 00:09:19,920 --> 00:09:22,440 Speaker 2: We were like, yes, yes, yes, when so you had 199 00:09:22,480 --> 00:09:23,000 Speaker 2: been over. 200 00:09:22,880 --> 00:09:26,200 Speaker 1: There on the first season with Sopranos, then you came 201 00:09:26,240 --> 00:09:27,600 Speaker 1: to a second that's right. 202 00:09:27,640 --> 00:09:32,040 Speaker 3: I started with the college episode when he oh, like. 203 00:09:32,040 --> 00:09:35,120 Speaker 2: The best episode ever. Oh my god, yeah that was. 204 00:09:35,120 --> 00:09:38,080 Speaker 3: And so and then I did David at that point 205 00:09:38,720 --> 00:09:41,320 Speaker 3: when he I still remember when it happened because it 206 00:09:41,360 --> 00:09:43,800 Speaker 3: was such a life altering moment. He came on the 207 00:09:44,240 --> 00:09:46,760 Speaker 3: we were shooting on location, and he came on the 208 00:09:46,880 --> 00:09:49,280 Speaker 3: location and walked out to me, like ten in the morning. 209 00:09:49,360 --> 00:09:51,000 Speaker 3: He said, I've just seen the dailies. I want you 210 00:09:51,040 --> 00:09:53,080 Speaker 3: to stay on. I've got one other episode free, and 211 00:09:53,120 --> 00:09:55,760 Speaker 3: I want you to be the producing director and oversee 212 00:09:55,800 --> 00:09:58,559 Speaker 3: the other directors. And so I was like okay, and 213 00:09:58,640 --> 00:10:01,680 Speaker 3: that and so I came out of that season having 214 00:10:01,679 --> 00:10:04,320 Speaker 3: done a couple of episodes, and I think it was 215 00:10:04,480 --> 00:10:07,160 Speaker 3: right after that rather than the second season. I'm pretty 216 00:10:07,160 --> 00:10:10,200 Speaker 3: sure it was right then that Then I don't I 217 00:10:10,280 --> 00:10:12,960 Speaker 3: just don't remember how that how we segued, but I 218 00:10:12,960 --> 00:10:15,800 Speaker 3: remember it was done and then I just kind of 219 00:10:15,840 --> 00:10:19,520 Speaker 3: almost literally the next day, Oh wow, I felt like 220 00:10:19,520 --> 00:10:21,480 Speaker 3: it anyway, I don't know what it really was. I mean, 221 00:10:22,480 --> 00:10:24,559 Speaker 3: and then I came in and this the timing was 222 00:10:24,600 --> 00:10:26,839 Speaker 3: such that I could come in and work with the 223 00:10:26,880 --> 00:10:28,720 Speaker 3: four of you, and that was and I have to say, 224 00:10:28,760 --> 00:10:31,520 Speaker 3: the mood was great. I mean, you everybody was in 225 00:10:31,559 --> 00:10:36,760 Speaker 3: great spirits and uh and excited and and you know, 226 00:10:36,800 --> 00:10:39,559 Speaker 3: I think it was fresh, you know, as far as 227 00:10:39,600 --> 00:10:41,439 Speaker 3: the writers, it was sort of a fresh approach with 228 00:10:41,520 --> 00:10:45,880 Speaker 3: Jenny and yeah, Michael and you know, and I guess 229 00:10:45,880 --> 00:10:48,320 Speaker 3: it was trying to remember the other writer was. I 230 00:10:48,320 --> 00:10:50,680 Speaker 3: think maybe Amy. 231 00:10:50,559 --> 00:10:52,760 Speaker 1: Was a Yeah, Amy would have been there by that point. 232 00:10:52,760 --> 00:10:56,280 Speaker 1: And I think soon Cindy comes Cindy shoepack. Yeah, that's right, 233 00:10:56,320 --> 00:10:58,840 Speaker 1: that's like one, you know, we added a woman, like 234 00:10:58,920 --> 00:11:00,800 Speaker 1: every couple of months we got a new woman, and 235 00:11:00,800 --> 00:11:02,200 Speaker 1: then they were part of the phone there. 236 00:11:02,280 --> 00:11:05,400 Speaker 3: I remember that my closest relationship was with Jenny, just 237 00:11:05,440 --> 00:11:10,480 Speaker 3: by serendipitous, and and she is pretty hilarious. 238 00:11:10,840 --> 00:11:24,000 Speaker 2: I love Jenny. Did you go back and forth between 239 00:11:24,080 --> 00:11:25,280 Speaker 2: us and the Sopranos? 240 00:11:25,640 --> 00:11:29,360 Speaker 3: I did for a few seasons. Yes, so I did. 241 00:11:29,840 --> 00:11:32,520 Speaker 3: I think I did four episodes at first, because I 242 00:11:32,559 --> 00:11:35,040 Speaker 3: actually directed the first four episodes. What happened. I was 243 00:11:35,280 --> 00:11:37,280 Speaker 3: hired to do the first two episodes to try to 244 00:11:37,280 --> 00:11:39,760 Speaker 3: set the tone, but very quickly they said why don't 245 00:11:39,760 --> 00:11:41,880 Speaker 3: you just stay and do the first four, which I did, 246 00:11:42,040 --> 00:11:45,439 Speaker 3: But the fourth episode, which was four women at a funeral, 247 00:11:46,000 --> 00:11:48,720 Speaker 3: they pushed to air as the fifth episode. It wasn't 248 00:11:48,760 --> 00:11:52,680 Speaker 3: the fourth, right, But I directed the first four and then, 249 00:11:52,880 --> 00:11:55,400 Speaker 3: and I think, very nicely, the other directors came in 250 00:11:55,440 --> 00:11:59,400 Speaker 3: and went, oh, we can do this, And so I 251 00:11:59,400 --> 00:12:02,439 Speaker 3: remember into John Coles he said, you know, saying, oh, 252 00:12:02,480 --> 00:12:04,640 Speaker 3: so we're we're cutting loose a little bit. I said, yeah, 253 00:12:04,640 --> 00:12:07,680 Speaker 3: you know, and and so then I went back to 254 00:12:07,720 --> 00:12:12,240 Speaker 3: Sopranos and then somewhere along the line I got free 255 00:12:12,559 --> 00:12:16,240 Speaker 3: and I came back for season three right where I 256 00:12:16,320 --> 00:12:19,400 Speaker 3: did like The Freak Show, which I really like. 257 00:12:19,720 --> 00:12:22,600 Speaker 1: Yeah, the Freak Show we've already seen it season two. Yeah, 258 00:12:22,920 --> 00:12:26,080 Speaker 1: it's really good. It's so great. Yeah that's right. Season 259 00:12:26,080 --> 00:12:27,040 Speaker 1: two yeah, yeah, yeah. 260 00:12:27,080 --> 00:12:28,880 Speaker 2: But I think you were around season three too. 261 00:12:29,440 --> 00:12:31,640 Speaker 3: I was. I was on three. I did I think 262 00:12:32,360 --> 00:12:34,319 Speaker 3: cocka doodle do? What goes around comes around? 263 00:12:34,440 --> 00:12:36,680 Speaker 2: Oh a great episode? Oh my god? What are my 264 00:12:36,679 --> 00:12:37,480 Speaker 2: all time favorites? 265 00:12:38,080 --> 00:12:40,480 Speaker 3: That's I like that one. I just watched that. That 266 00:12:40,600 --> 00:12:42,600 Speaker 3: was one. I felt like. It has also my one 267 00:12:42,600 --> 00:12:45,400 Speaker 3: of my favorite shots, which was I mean. 268 00:12:45,840 --> 00:12:47,280 Speaker 2: Nothing, no tell us. 269 00:12:47,559 --> 00:12:51,040 Speaker 3: Praise is on myself. But I just hapdpen to like it. Well. 270 00:12:51,040 --> 00:12:53,360 Speaker 3: First of all, I really loved the scene between Sarah 271 00:12:53,400 --> 00:12:58,040 Speaker 3: Jesca and Bridget moynihan and Bridget and Sarah Jeska apologizes 272 00:12:58,360 --> 00:13:01,319 Speaker 3: and then Bridget very quietly says, okay, are you through? 273 00:13:01,520 --> 00:13:06,880 Speaker 3: And then she proceeds and really lacerates, you know, Carrie, 274 00:13:07,760 --> 00:13:11,880 Speaker 3: just quietly. And I remember talking to Bridget because I 275 00:13:11,920 --> 00:13:14,319 Speaker 3: got a very nice note from either Bridget or her 276 00:13:14,480 --> 00:13:18,560 Speaker 3: manager after that, because I think she had a different 277 00:13:18,840 --> 00:13:21,480 Speaker 3: you know, she was going to be really angry and stuff, 278 00:13:21,520 --> 00:13:26,560 Speaker 3: and I just said, now you know what, don't do that, 279 00:13:27,800 --> 00:13:34,000 Speaker 3: my favorite direction, don't do that, and got her to 280 00:13:34,120 --> 00:13:38,480 Speaker 3: really just quietly deliver that really devastating speech and she's 281 00:13:38,520 --> 00:13:41,520 Speaker 3: written and I got a very nice note from either, 282 00:13:41,600 --> 00:13:43,520 Speaker 3: as I say, either Bridge or or from her manager, 283 00:13:43,559 --> 00:13:45,880 Speaker 3: and it was, you know, made me realize that it 284 00:13:45,960 --> 00:13:48,440 Speaker 3: really worked for her. But the other thing is right 285 00:13:48,480 --> 00:13:50,439 Speaker 3: after that, there's a shot of Sarah Jessica that I 286 00:13:51,120 --> 00:13:53,079 Speaker 3: really like, and it's the very last shot, I think, 287 00:13:53,120 --> 00:13:56,200 Speaker 3: and God blessed John Melfie. I had been playing a 288 00:13:56,200 --> 00:13:58,360 Speaker 3: piece of music when I shot it because I had 289 00:13:58,400 --> 00:14:00,679 Speaker 3: this feeling about it, and he went out and got 290 00:14:00,720 --> 00:14:04,720 Speaker 3: the music and cost him a fortune. And it's she 291 00:14:04,960 --> 00:14:07,240 Speaker 3: just walks toward the camera. She's wearing this New York 292 00:14:07,240 --> 00:14:08,280 Speaker 3: Times dress. 293 00:14:08,480 --> 00:14:13,199 Speaker 2: You know, it's oh yes, the door, yeah. 294 00:14:12,920 --> 00:14:15,680 Speaker 3: And she's walking toward the camera. And I found a 295 00:14:15,679 --> 00:14:18,240 Speaker 3: position on Park Avenue so that I could look through 296 00:14:18,280 --> 00:14:22,120 Speaker 3: the car windows to see her. Get this a little 297 00:14:22,120 --> 00:14:25,720 Speaker 3: moment where the cars seen through these cars and it's 298 00:14:25,800 --> 00:14:28,840 Speaker 3: kind of dreamy and sort of poignant in a weird way. 299 00:14:28,920 --> 00:14:32,040 Speaker 3: And it's so much about New York, both because of 300 00:14:32,160 --> 00:14:36,680 Speaker 3: Sarah Jessica and her character Carrie, but also also because 301 00:14:37,080 --> 00:14:39,600 Speaker 3: the dress says the Times, and you've got the taxis 302 00:14:39,640 --> 00:14:42,440 Speaker 3: going through and the traffic and it was just everything 303 00:14:42,440 --> 00:14:45,160 Speaker 3: about it. I thought it did what I'd hoped one 304 00:14:45,200 --> 00:14:46,680 Speaker 3: of the things I'd hoped to do. And this is 305 00:14:46,720 --> 00:14:49,840 Speaker 3: the cliche of all time, but when I came on 306 00:14:50,000 --> 00:14:52,560 Speaker 3: to the show, I just felt like New York was 307 00:14:52,640 --> 00:14:56,800 Speaker 3: kind of missing. I thought it should really be five characters, 308 00:14:56,840 --> 00:15:00,240 Speaker 3: you know, in the city, So I was looking for 309 00:15:00,320 --> 00:15:03,400 Speaker 3: ways to show that. Like on cocka Doodle Do. This 310 00:15:03,520 --> 00:15:06,120 Speaker 3: is one of those things that only I know. Right now, 311 00:15:06,200 --> 00:15:09,040 Speaker 3: you and I presume nobody's listening to. 312 00:15:09,360 --> 00:15:11,880 Speaker 2: No, it's just us. 313 00:15:13,680 --> 00:15:18,320 Speaker 3: But I start that episode with a miniature version of 314 00:15:18,400 --> 00:15:20,560 Speaker 3: the largest woman in New York, and I ended with 315 00:15:20,600 --> 00:15:23,760 Speaker 3: the largest man because it starts with statue of liberty, 316 00:15:24,760 --> 00:15:27,760 Speaker 3: statute about this big and through the show you come 317 00:15:27,800 --> 00:15:29,160 Speaker 3: back to it, and at the end of the Empire 318 00:15:29,160 --> 00:15:30,080 Speaker 3: State Building, Oh. 319 00:15:29,960 --> 00:15:31,240 Speaker 1: My god, amazing. 320 00:15:31,320 --> 00:15:32,240 Speaker 2: I never realized that. 321 00:15:33,160 --> 00:15:36,520 Speaker 3: Well, it's one of those things that I think directors 322 00:15:36,600 --> 00:15:39,480 Speaker 3: do that just for their own amusement, but I kind 323 00:15:39,480 --> 00:15:40,480 Speaker 3: of liked the idea, so. 324 00:15:40,640 --> 00:15:42,080 Speaker 2: Yeah, I mean, this is the thing. 325 00:15:42,200 --> 00:15:44,280 Speaker 1: I think you're doing it for your own amusement, but 326 00:15:44,360 --> 00:15:49,120 Speaker 1: it's adding layer upon layer upon layer because you're putting 327 00:15:49,240 --> 00:15:52,200 Speaker 1: so much thought into the shots and how the shots 328 00:15:52,240 --> 00:15:54,480 Speaker 1: are moving and the characters and like shooting through the windows. 329 00:15:54,520 --> 00:15:58,320 Speaker 1: That was so powerful, But people don't always necessarily think 330 00:15:58,320 --> 00:16:00,840 Speaker 1: about it. But that's the joy of direct is that 331 00:16:00,880 --> 00:16:03,040 Speaker 1: you're influencing the whole storytelling. 332 00:16:03,680 --> 00:16:06,880 Speaker 3: Well, I think you hope that they feel it. Yeah, 333 00:16:07,560 --> 00:16:11,320 Speaker 3: rarely recognized it, and that four women in a funeral 334 00:16:11,360 --> 00:16:15,920 Speaker 3: one of the things that I did, again, very subtle, 335 00:16:15,960 --> 00:16:18,720 Speaker 3: but I put it in there whenever I could. Was 336 00:16:18,760 --> 00:16:23,040 Speaker 3: I liked the idea of kind of slightly diaphonous curtains blowing. 337 00:16:23,040 --> 00:16:23,880 Speaker 3: There's something about that. 338 00:16:23,840 --> 00:16:27,720 Speaker 2: They I noticed that, Yes, beautiful. 339 00:16:28,200 --> 00:16:31,440 Speaker 1: There's a shot of Sarah at the window and for 340 00:16:31,480 --> 00:16:33,520 Speaker 1: whatever reason, I don't know if it. 341 00:16:33,480 --> 00:16:36,280 Speaker 2: Was how you had our guys light her. 342 00:16:36,280 --> 00:16:38,960 Speaker 1: But her skin is just so beautiful and she's looking 343 00:16:38,960 --> 00:16:41,880 Speaker 1: at the window of smoking, I believe, and the curtains 344 00:16:41,880 --> 00:16:44,600 Speaker 1: are blowing in her face, and that was something we 345 00:16:44,760 --> 00:16:49,560 Speaker 1: just hadn't had that layer of kind of emotion in 346 00:16:49,600 --> 00:16:50,920 Speaker 1: the shots previously. 347 00:16:51,040 --> 00:16:53,920 Speaker 3: Well that's great, that's great, Yeah, because I yeah, and 348 00:16:54,000 --> 00:16:56,120 Speaker 3: also because it's the atmosphere of the city, and I 349 00:16:56,120 --> 00:16:57,800 Speaker 3: think I ended it on curtains. I think the last 350 00:16:57,840 --> 00:17:01,400 Speaker 3: image of the season bed with big yes ask them 351 00:17:01,600 --> 00:17:03,640 Speaker 3: and goes toward the wind and you see the curtains moving. 352 00:17:03,920 --> 00:17:05,720 Speaker 2: Yes, it's so fantastic. 353 00:17:05,800 --> 00:17:07,560 Speaker 1: And this is the funny thing to me too, is 354 00:17:07,600 --> 00:17:10,440 Speaker 1: that people think, or people in our business, I guess, 355 00:17:10,560 --> 00:17:11,320 Speaker 1: or I don't know. 356 00:17:11,359 --> 00:17:13,000 Speaker 2: Sometimes even on the podcast. 357 00:17:12,600 --> 00:17:15,320 Speaker 1: I think people have said that television isn't so much 358 00:17:15,359 --> 00:17:17,439 Speaker 1: the director's medium. People think of it as being the 359 00:17:17,440 --> 00:17:21,440 Speaker 1: writer's medium. Right, more so, But if you really think 360 00:17:21,480 --> 00:17:24,080 Speaker 1: about our show, where I feel like, obviously the writers 361 00:17:24,080 --> 00:17:27,160 Speaker 1: have a huge, huge, huge impact and are very present, 362 00:17:27,440 --> 00:17:30,800 Speaker 1: but the directors, those of you who came with a 363 00:17:30,920 --> 00:17:35,520 Speaker 1: vision and like, for whatever reason, felt the support to 364 00:17:35,640 --> 00:17:38,320 Speaker 1: do what you wanted, which, thank god, right, HBO was 365 00:17:38,359 --> 00:17:41,280 Speaker 1: great at that. You know, you really made a change 366 00:17:41,320 --> 00:17:44,520 Speaker 1: that lasted whether you were directing or not. You changed 367 00:17:44,560 --> 00:17:46,960 Speaker 1: the way that we perceived that we could be. 368 00:17:47,880 --> 00:17:50,399 Speaker 3: Well, that's great that. In fact, I just saw a 369 00:17:50,440 --> 00:17:53,199 Speaker 3: little piece of like just when I was looking at 370 00:17:53,240 --> 00:17:55,680 Speaker 3: these and it was like the opening of a season 371 00:17:55,960 --> 00:18:03,040 Speaker 3: four or five and Patrick directed, and uh, and but 372 00:18:03,080 --> 00:18:05,480 Speaker 3: I didn't know who directed it. And wow, that's got 373 00:18:05,480 --> 00:18:07,440 Speaker 3: great energy just the way he does the shots. It's 374 00:18:07,480 --> 00:18:10,600 Speaker 3: this rapid little series of shots that carries you into 375 00:18:10,600 --> 00:18:14,160 Speaker 3: the scene. And I thought well, good, because that's what 376 00:18:14,240 --> 00:18:16,240 Speaker 3: I would have I would not have done that. I 377 00:18:16,320 --> 00:18:19,000 Speaker 3: know what I would have done, but that's the show. 378 00:18:19,160 --> 00:18:23,760 Speaker 3: I was trying to say, to plant a flag in 379 00:18:23,800 --> 00:18:26,360 Speaker 3: that show and say this is where it can go. 380 00:18:26,600 --> 00:18:31,600 Speaker 3: And I just he did a really masterful job of 381 00:18:31,600 --> 00:18:34,480 Speaker 3: of saying, Okay, we had this freedom and this this 382 00:18:34,600 --> 00:18:38,920 Speaker 3: kind of language. I think that has been established and 383 00:18:38,920 --> 00:18:44,040 Speaker 3: and you know, of course my dear friend Timmy yeah, 384 00:18:44,080 --> 00:18:47,640 Speaker 3: and uh so he you know, he did the same 385 00:18:47,680 --> 00:18:52,240 Speaker 3: thing I said that those directors that have some vision, Yeah, 386 00:18:53,920 --> 00:18:57,800 Speaker 3: I feel like we're given this opportunity. 387 00:18:58,000 --> 00:19:01,159 Speaker 1: Absolutely, absolutely, and for us, I mean that's why so 388 00:19:01,200 --> 00:19:03,119 Speaker 1: great to talk to you too, is that, you know, 389 00:19:03,200 --> 00:19:06,240 Speaker 1: I'm so curious about what you guys remember, but also 390 00:19:06,600 --> 00:19:09,000 Speaker 1: you know, to look back and really think about, oh, 391 00:19:09,359 --> 00:19:11,960 Speaker 1: here's where the show kind of jumped up a level. 392 00:19:12,040 --> 00:19:14,119 Speaker 1: You know, Like we were there and we were eager, 393 00:19:14,160 --> 00:19:15,879 Speaker 1: as you say, you know, and we were just so 394 00:19:16,000 --> 00:19:17,760 Speaker 1: excited that it got picked back up. You know, we 395 00:19:17,760 --> 00:19:21,720 Speaker 1: were obviously had some sense that it was unusual. We 396 00:19:21,920 --> 00:19:24,520 Speaker 1: never would have jumped that it you know, lived the 397 00:19:24,560 --> 00:19:27,800 Speaker 1: life that it has lived, obviously, but we were super excited, 398 00:19:28,040 --> 00:19:31,040 Speaker 1: as you know. But you need a vision and a 399 00:19:31,119 --> 00:19:35,080 Speaker 1: leader in different perspectives to come in to bring life 400 00:19:35,200 --> 00:19:35,560 Speaker 1: to it. 401 00:19:36,440 --> 00:19:39,840 Speaker 3: That's right, That's right. And yeah, that's right. And I 402 00:19:39,880 --> 00:19:42,840 Speaker 3: think that, uh, you know, I was. I have to 403 00:19:42,840 --> 00:19:46,320 Speaker 3: say those first few seasons were really fun because there 404 00:19:46,400 --> 00:19:48,400 Speaker 3: was a spirit to the show. I mean, I I 405 00:19:48,480 --> 00:19:51,240 Speaker 3: just I think at a certain point, as with the Sopranos, 406 00:19:51,359 --> 00:19:54,520 Speaker 3: I just ceased to be able to I just didn't 407 00:19:54,520 --> 00:19:56,440 Speaker 3: have the room on the schedule because then I started 408 00:19:56,440 --> 00:19:59,160 Speaker 3: doing other things and and you know, after you've done, 409 00:20:00,040 --> 00:20:03,119 Speaker 3: in my case, four seasons and a little bit of 410 00:20:03,160 --> 00:20:05,320 Speaker 3: the fifth season on Sopranos, and I think I did. 411 00:20:05,400 --> 00:20:08,440 Speaker 3: I think I shot something in season four. I'm fairy 412 00:20:08,480 --> 00:20:10,239 Speaker 3: sure I did on Sex and the City. And then 413 00:20:10,640 --> 00:20:14,200 Speaker 3: I didn't have the bandwidth, you know, I started doing 414 00:20:14,200 --> 00:20:15,520 Speaker 3: pilots and stuff. 415 00:20:15,359 --> 00:20:17,719 Speaker 1: Right, But we want that, we want you guys to 416 00:20:17,760 --> 00:20:20,160 Speaker 1: succeed and do bigger and better and get paid more 417 00:20:20,160 --> 00:20:22,520 Speaker 1: and whatnot. 418 00:20:23,240 --> 00:20:26,959 Speaker 3: That happened. So yeah, but but yeah, it was, and 419 00:20:27,000 --> 00:20:28,879 Speaker 3: I was just thinking about it. I will tell you 420 00:20:28,920 --> 00:20:32,800 Speaker 3: this though, Actually this is perfect because you have a 421 00:20:32,880 --> 00:20:37,520 Speaker 3: part in you have a definite part in an allergy 422 00:20:38,400 --> 00:20:42,760 Speaker 3: that I have. And it started on Four Women in funeral, 423 00:20:42,800 --> 00:20:45,639 Speaker 3: and what it was was because I didn't have this before. 424 00:20:46,040 --> 00:20:48,400 Speaker 3: And then if you remember the scene where you show 425 00:20:48,480 --> 00:20:51,680 Speaker 3: up with the lilies, the lilies and we did a 426 00:20:51,680 --> 00:20:54,600 Speaker 3: bunch of takes of that, I do remember that instant. 427 00:20:54,680 --> 00:20:59,520 Speaker 3: I became wildly allergic to lilies and I can't. 428 00:21:01,400 --> 00:21:02,280 Speaker 2: Oh my god. 429 00:21:02,800 --> 00:21:05,280 Speaker 3: I never thought i'd have an opportunity to say, hey, but. 430 00:21:07,000 --> 00:21:09,400 Speaker 2: I remember that day so well. 431 00:21:09,680 --> 00:21:12,280 Speaker 1: Like you know, obviously, we spent many a day on 432 00:21:12,320 --> 00:21:14,879 Speaker 1: the set, right, And sometimes I don't remember anything, like 433 00:21:14,920 --> 00:21:17,200 Speaker 1: I'll be rewatching, I'll think like I have no idea 434 00:21:17,240 --> 00:21:19,120 Speaker 1: what I'm about to do because I don't remember this. 435 00:21:19,440 --> 00:21:21,880 Speaker 1: But in some days I remember everything. And I remember 436 00:21:21,920 --> 00:21:24,960 Speaker 1: that day really well because I think we're in Harlem 437 00:21:25,080 --> 00:21:30,560 Speaker 1: at a graveyard and it was raining and raining and raining, 438 00:21:30,720 --> 00:21:33,840 Speaker 1: and it was cold and I was not supposed to 439 00:21:33,840 --> 00:21:37,400 Speaker 1: wear a coat, and I was like, I'm a Southern 440 00:21:37,440 --> 00:21:40,600 Speaker 1: girl and I like the heat. And I was begging 441 00:21:40,680 --> 00:21:42,560 Speaker 1: Pat for a coat, but Pat didn't want to put 442 00:21:42,600 --> 00:21:44,479 Speaker 1: a coat on me because she liked the dress and 443 00:21:44,520 --> 00:21:46,639 Speaker 1: it was you know, she has her vision, I get it. 444 00:21:46,720 --> 00:21:49,159 Speaker 1: But I was just like shivering, you know, and my 445 00:21:49,320 --> 00:21:52,160 Speaker 1: feet were soaked. I ruined my Manolo's and those were 446 00:21:52,200 --> 00:21:54,480 Speaker 1: the first pair of high shoes that she had got 447 00:21:54,480 --> 00:21:57,560 Speaker 1: me in. They had to go to the cobbler and 448 00:21:57,600 --> 00:22:00,000 Speaker 1: get like totally redone because I had to climb up 449 00:22:00,080 --> 00:22:04,760 Speaker 1: up a hill, like I think, yeah, to hit him maybe. 450 00:22:04,640 --> 00:22:07,200 Speaker 3: Or to or after you had to kind of charge 451 00:22:07,240 --> 00:22:08,399 Speaker 3: up this end cline. 452 00:22:08,760 --> 00:22:12,080 Speaker 2: Yeah, it was muddy. It was dick. When you watch it, 453 00:22:12,119 --> 00:22:12,840 Speaker 2: you can't really tell. 454 00:22:12,920 --> 00:22:15,080 Speaker 1: I mean, you can tell that it had rained, you know, 455 00:22:15,200 --> 00:22:17,600 Speaker 1: in the magic of cinema, right, but you can't tell 456 00:22:17,640 --> 00:22:19,600 Speaker 1: that it literally we're sitting there waiting for it to 457 00:22:19,600 --> 00:22:20,200 Speaker 1: stop raining. 458 00:22:20,520 --> 00:22:22,119 Speaker 2: And I remember the girls. 459 00:22:21,800 --> 00:22:25,240 Speaker 1: Came after that to do the actual funeral where the 460 00:22:25,240 --> 00:22:27,880 Speaker 1: hat blows off, which is so fun. And I hadn't 461 00:22:28,080 --> 00:22:31,080 Speaker 1: really remembered all that, and I remember I turned to 462 00:22:31,119 --> 00:22:33,080 Speaker 1: Sarah Jesska and I was like, oh, I'm freezing, and 463 00:22:33,119 --> 00:22:34,840 Speaker 1: I roll in my shoes and I just blah blah 464 00:22:34,880 --> 00:22:37,680 Speaker 1: blah vented. But I just felt that was one of 465 00:22:37,720 --> 00:22:40,680 Speaker 1: those times where I was like, man, it's a challenging job. 466 00:22:41,800 --> 00:22:43,600 Speaker 3: Well it was that day, that's for sure. 467 00:22:43,840 --> 00:22:45,640 Speaker 2: It was. It was, It really was. 468 00:22:46,240 --> 00:22:48,760 Speaker 1: But you know, I look at it and I love it. 469 00:22:48,960 --> 00:22:51,840 Speaker 1: You know what I mean, like you, I think one 470 00:22:51,880 --> 00:22:54,119 Speaker 1: of the things as an actor you feel when it 471 00:22:54,280 --> 00:22:57,919 Speaker 1: is like a physical challenge in the environment is that 472 00:22:57,960 --> 00:22:59,760 Speaker 1: you're somehow not going to be good. You know, that 473 00:23:00,040 --> 00:23:03,639 Speaker 1: it's taking attention away from the actual work or whatever. 474 00:23:03,640 --> 00:23:05,320 Speaker 1: But it's fine, it's good, it's great. 475 00:23:05,920 --> 00:23:10,440 Speaker 3: No, it's great. Well, you know, it's watching Cockle Doodle 476 00:23:10,520 --> 00:23:15,280 Speaker 3: Doo last night, and and I was watching, and I 477 00:23:15,320 --> 00:23:17,560 Speaker 3: watched as you get to the end of that, and 478 00:23:17,600 --> 00:23:23,600 Speaker 3: there's the roof party and uh, which was you know, 479 00:23:23,680 --> 00:23:26,080 Speaker 3: really it's very sweet scene. You know, it's kind of 480 00:23:26,080 --> 00:23:28,720 Speaker 3: all is forgiven by the as they were referred to 481 00:23:28,760 --> 00:23:31,560 Speaker 3: in the show, the trainees, and it may not be 482 00:23:31,600 --> 00:23:33,000 Speaker 3: appropriate nowadays. 483 00:23:32,560 --> 00:23:33,800 Speaker 2: But right, no, it's definitely not. 484 00:23:35,600 --> 00:23:38,760 Speaker 3: But you know that's what the character's name is, exactly right, 485 00:23:39,359 --> 00:23:43,879 Speaker 3: that's the group is referred that way. But what's nice 486 00:23:43,960 --> 00:23:47,320 Speaker 3: is it is a very it's a very sweet scene 487 00:23:47,200 --> 00:23:50,720 Speaker 3: and everybody seems to be having fun, and you know, 488 00:23:51,400 --> 00:23:55,520 Speaker 3: Sarah Jessica gets up and does a little thing when requested, 489 00:23:55,560 --> 00:23:58,439 Speaker 3: you know, and and then the camera leaves them and 490 00:23:58,560 --> 00:24:00,640 Speaker 3: goes back up to the empire at. 491 00:24:00,400 --> 00:24:02,040 Speaker 2: Hinch oh yea yeah, yea, yeah, yeah. 492 00:24:02,480 --> 00:24:05,680 Speaker 3: The moment but when I was watching it, I found 493 00:24:05,720 --> 00:24:09,679 Speaker 3: myself a little bit touched. And the reason was I thought, well, 494 00:24:09,720 --> 00:24:12,239 Speaker 3: the scene is sweet, for sure, but it's also just 495 00:24:12,280 --> 00:24:14,679 Speaker 3: because I remember that day and I thought, oh, that 496 00:24:14,880 --> 00:24:19,040 Speaker 3: was you know, twenty plus years ago. Life was different 497 00:24:19,080 --> 00:24:22,879 Speaker 3: than I you know, it was different, the world was different, 498 00:24:22,960 --> 00:24:28,000 Speaker 3: and so it was there was something about that just 499 00:24:28,040 --> 00:24:31,040 Speaker 3: seeing that scene that entered into the personal where I 500 00:24:31,160 --> 00:24:32,240 Speaker 3: was like, oh. 501 00:24:31,920 --> 00:24:33,800 Speaker 2: Yeah, that was you know, it's true. 502 00:24:34,760 --> 00:24:36,760 Speaker 3: But and then you guys did I don't know who 503 00:24:36,800 --> 00:24:38,760 Speaker 3: did this, somebody in the art department, but there's a 504 00:24:38,800 --> 00:24:44,280 Speaker 3: scene where you guys go, you're down and soho and 505 00:24:45,280 --> 00:24:47,119 Speaker 3: you you're I think you didn't go to a party, 506 00:24:47,520 --> 00:24:51,720 Speaker 3: a fraternity party. I think maybe it's just him, and 507 00:24:52,320 --> 00:24:54,920 Speaker 3: that might have been just Sarah Jeskin Kim. It's because 508 00:24:54,920 --> 00:24:59,840 Speaker 3: when Sarah j it was where Kim's character gets some 509 00:25:00,000 --> 00:25:03,600 Speaker 3: I think, gets involved with a young college kid in 510 00:25:03,640 --> 00:25:08,439 Speaker 3: Texas supposedly. But I noticed that the dormitory. I mean 511 00:25:08,440 --> 00:25:10,439 Speaker 3: I didn't notice this until we were really shooting, and 512 00:25:10,440 --> 00:25:15,440 Speaker 3: then I look and see it's called Culter Hall. Who 513 00:25:15,440 --> 00:25:16,119 Speaker 3: did this? You know? 514 00:25:16,240 --> 00:25:16,880 Speaker 1: I love it? 515 00:25:18,440 --> 00:25:19,440 Speaker 2: That's adorable. 516 00:25:19,800 --> 00:25:23,360 Speaker 1: We had some fun little inside jokes, didn't we we did. 517 00:25:23,400 --> 00:25:26,360 Speaker 3: It was it was a very sweet deal and being there, 518 00:25:26,440 --> 00:25:30,200 Speaker 3: Silver Cup, and I mean, yeah, it was just I mean, 519 00:25:30,240 --> 00:25:32,639 Speaker 3: it was a great deal, you know, I mean it 520 00:25:32,680 --> 00:25:33,199 Speaker 3: really was. 521 00:25:33,320 --> 00:25:35,600 Speaker 1: It was I'm so happy that you were there. I mean, 522 00:25:35,600 --> 00:25:37,679 Speaker 1: it's also that's part of the reason I wanted to 523 00:25:37,680 --> 00:25:38,240 Speaker 1: do the podcast. 524 00:25:38,320 --> 00:25:39,200 Speaker 2: There's a couple of reasons. 525 00:25:39,240 --> 00:25:41,800 Speaker 1: One is it does hold up well, as you said 526 00:25:41,800 --> 00:25:44,000 Speaker 1: at the beginning, and there's this whole new group of 527 00:25:44,000 --> 00:25:46,560 Speaker 1: people who's watching it on Netflix, and it's so exciting. 528 00:25:46,880 --> 00:25:48,480 Speaker 2: And obviously they think some things. 529 00:25:48,320 --> 00:25:51,119 Speaker 1: Are crazy, right because it is a different time, and 530 00:25:51,160 --> 00:25:54,760 Speaker 1: then some things are a complete you know, current conversation 531 00:25:55,040 --> 00:25:57,399 Speaker 1: being had, you know, on social media or whatever. And 532 00:25:57,440 --> 00:25:59,560 Speaker 1: then also I just love to get everyone together and 533 00:25:59,600 --> 00:26:05,080 Speaker 1: hear everybody's memories because for me, it's incredible, our entire history, 534 00:26:05,200 --> 00:26:09,240 Speaker 1: you know, it's been so amazing. And back in the beginning, 535 00:26:09,880 --> 00:26:13,600 Speaker 1: you know, we didn't talk about things kind of you know, 536 00:26:13,680 --> 00:26:16,760 Speaker 1: like I think we felt like when you would do. 537 00:26:16,800 --> 00:26:19,640 Speaker 2: Press, it was more presentational. 538 00:26:19,640 --> 00:26:22,120 Speaker 1: It wasn't necessarily we wouldn't tell so many stories about 539 00:26:22,119 --> 00:26:23,000 Speaker 1: behind the scenes. 540 00:26:23,359 --> 00:26:26,600 Speaker 2: I don't think people knew so much about production really 541 00:26:26,680 --> 00:26:28,560 Speaker 2: in a way, and so. 542 00:26:28,560 --> 00:26:31,919 Speaker 1: It's a way to kind of get everybody like personal 543 00:26:32,720 --> 00:26:35,159 Speaker 1: memories and weave them together into a quilt of like 544 00:26:35,280 --> 00:26:38,399 Speaker 1: what was it like to actually create the show, you know, 545 00:26:38,520 --> 00:26:39,919 Speaker 1: by all the different people. 546 00:26:40,240 --> 00:26:41,880 Speaker 2: I mean, that's what I'd like to do. At least 547 00:26:41,920 --> 00:26:42,480 Speaker 2: that's my goal. 548 00:26:42,960 --> 00:26:45,320 Speaker 3: That's a great goal. I really thank you. 549 00:26:45,560 --> 00:26:46,320 Speaker 2: It's fun, isn't it. 550 00:26:46,880 --> 00:26:49,720 Speaker 3: Yes, it's fun. I didn't the what is it called 551 00:26:49,760 --> 00:26:55,199 Speaker 3: the Sopranos podcast? Yeah, talking Sopranos with Michael imperially. 552 00:26:55,560 --> 00:26:56,639 Speaker 2: Yeah, love it. 553 00:26:57,400 --> 00:27:00,240 Speaker 3: And it was just the same thing, you know, just 554 00:27:00,240 --> 00:27:04,600 Speaker 3: a blast, nothing different, kind of funny memories and stuff 555 00:27:04,640 --> 00:27:04,960 Speaker 3: like that. 556 00:27:15,520 --> 00:27:19,040 Speaker 1: Okay, so, as I said, this is what you brought up. Also, 557 00:27:19,119 --> 00:27:22,320 Speaker 1: it's so beautiful Sarah in the window, and I think 558 00:27:22,760 --> 00:27:25,199 Speaker 1: you know because we've had the voice over and then 559 00:27:25,200 --> 00:27:27,040 Speaker 1: we used to have the talking to the camera right, 560 00:27:27,080 --> 00:27:30,520 Speaker 1: which was like so awkward, and at this point it's going, 561 00:27:31,280 --> 00:27:33,399 Speaker 1: I don't know if it's totally gone. It shows up 562 00:27:33,440 --> 00:27:35,160 Speaker 1: in weird moments, but didn't show up in this one, 563 00:27:35,200 --> 00:27:37,080 Speaker 1: thank god, because we as we know, Sara Jessica did 564 00:27:37,080 --> 00:27:37,879 Speaker 1: not really enjoy it. 565 00:27:38,080 --> 00:27:40,640 Speaker 2: She wants to stand the scene, which totally makes sense. 566 00:27:40,960 --> 00:27:43,520 Speaker 1: But when we began this show, and the curtains are 567 00:27:43,520 --> 00:27:46,840 Speaker 1: blowing and she's smoking, and you're hearing her interior thoughts 568 00:27:47,160 --> 00:27:50,239 Speaker 1: about the funeral, like it has such a depth, you know, 569 00:27:50,359 --> 00:27:53,200 Speaker 1: to it, because I had not remembered this at all. 570 00:27:53,280 --> 00:27:56,879 Speaker 1: I had not remembered that the funeral. I hadn't remembered 571 00:27:56,880 --> 00:27:59,399 Speaker 1: the way that the funeral tied into her relationship with 572 00:27:59,440 --> 00:28:02,560 Speaker 1: Big that she literally thinks, am I really living life? 573 00:28:02,600 --> 00:28:03,439 Speaker 2: What am I doing? 574 00:28:03,560 --> 00:28:05,879 Speaker 1: And that's why she calls him back, which is I 575 00:28:05,920 --> 00:28:10,200 Speaker 1: think so relatable in so many ways. You know, life 576 00:28:10,240 --> 00:28:12,520 Speaker 1: is passing, people pass away, and you do think like, 577 00:28:12,560 --> 00:28:15,040 Speaker 1: oh my god, am I actually living life? Like it's 578 00:28:15,080 --> 00:28:18,760 Speaker 1: a real valid question. And I had forgotten that I've 579 00:28:18,840 --> 00:28:22,280 Speaker 1: follow in love or whatever, lust whatever, like with the widower, 580 00:28:22,400 --> 00:28:24,639 Speaker 1: that though all those things are tied together, which I 581 00:28:24,640 --> 00:28:26,560 Speaker 1: think is also kind of one of the things that 582 00:28:26,600 --> 00:28:28,640 Speaker 1: the show is starting to do successfully that it didn't 583 00:28:28,680 --> 00:28:29,679 Speaker 1: really do first season. 584 00:28:30,440 --> 00:28:34,560 Speaker 3: Yeah, I think that's I mean, I watched very little 585 00:28:34,640 --> 00:28:36,920 Speaker 3: the first season because honestly, it was like, well, this 586 00:28:37,119 --> 00:28:39,720 Speaker 3: is not that interesting to me because it had really 587 00:28:39,760 --> 00:28:42,120 Speaker 3: didn't have a look to it and it wasn't really 588 00:28:42,160 --> 00:28:43,800 Speaker 3: as focused. I mean, it was finding itself. 589 00:28:43,840 --> 00:28:44,920 Speaker 2: In fairness, definitely. 590 00:28:45,800 --> 00:28:48,200 Speaker 3: I mean, if you see the early Simpsons, you go, 591 00:28:48,440 --> 00:28:51,800 Speaker 3: it looks nothing like the show now, right, So in fairness, 592 00:28:51,840 --> 00:28:54,239 Speaker 3: it takes a while to find a show and define it. 593 00:28:55,040 --> 00:28:56,880 Speaker 1: And I would say that the main thing of how 594 00:28:56,920 --> 00:29:00,320 Speaker 1: the first season looks is dark. You can't even see. Yes, 595 00:29:00,760 --> 00:29:04,760 Speaker 1: You're like, where are they in the nighttime? It's so interesting, 596 00:29:06,320 --> 00:29:08,760 Speaker 1: you know, you're just like, what, well are they there 597 00:29:08,800 --> 00:29:09,400 Speaker 1: on the street? 598 00:29:09,480 --> 00:29:10,160 Speaker 2: I'm not sure. 599 00:29:10,320 --> 00:29:13,040 Speaker 1: I mean there's a quaint, like a kind of nostalgic, 600 00:29:13,280 --> 00:29:15,880 Speaker 1: you know, quality to it because it's sometimes also we're 601 00:29:15,880 --> 00:29:17,680 Speaker 1: in the village and it looks just nothing like the 602 00:29:17,760 --> 00:29:21,440 Speaker 1: village looks now, you know what I'm saying, Like it's empty. Yeah, 603 00:29:21,720 --> 00:29:24,120 Speaker 1: it's fascinating. Yeah, but that's one of the things that 604 00:29:24,160 --> 00:29:26,680 Speaker 1: I noticed in your episode. In this particular episode, and 605 00:29:26,720 --> 00:29:31,440 Speaker 1: also freak Show. Freak Show, Cynthia is lit so beautifully 606 00:29:31,560 --> 00:29:33,880 Speaker 1: and you're so close on her face and all those 607 00:29:33,880 --> 00:29:37,080 Speaker 1: scenes that she's doing about talking dirty, and it's just 608 00:29:37,240 --> 00:29:42,680 Speaker 1: so there's something so vulnerable and young about it. 609 00:29:42,880 --> 00:29:44,440 Speaker 2: You know, I don't know how to put it. 610 00:29:44,400 --> 00:29:47,920 Speaker 1: But it's it has a sweetness at the same time 611 00:29:48,320 --> 00:29:50,560 Speaker 1: that we're talking about these kind of risque sexual things 612 00:29:50,600 --> 00:29:54,560 Speaker 1: and whatever. There's just like a vulnerability of being like 613 00:29:54,680 --> 00:29:56,400 Speaker 1: inside these women's lives. 614 00:29:57,560 --> 00:29:59,480 Speaker 3: I agree with you. In fact, Chris, and I was 615 00:29:59,520 --> 00:30:01,760 Speaker 3: thinking that I had to saw it last night. I thought, 616 00:30:01,800 --> 00:30:04,719 Speaker 3: you know, what's interesting about the show is it's extremely 617 00:30:04,760 --> 00:30:09,760 Speaker 3: innocent with all of this sexual you know, focus and 618 00:30:10,360 --> 00:30:12,480 Speaker 3: some of it. None of it's graphic, but it's all 619 00:30:12,880 --> 00:30:16,440 Speaker 3: you can't miss what's going on. Yeah, it's oddly innocent. 620 00:30:16,880 --> 00:30:17,320 Speaker 3: I think. 621 00:30:17,600 --> 00:30:18,240 Speaker 2: I think you're right. 622 00:30:18,840 --> 00:30:21,000 Speaker 3: There's something sort of sweet about it. It's there's no 623 00:30:21,280 --> 00:30:25,640 Speaker 3: it's not really mean spirited at all. And even when 624 00:30:25,680 --> 00:30:27,840 Speaker 3: somebody is kind of a dupe or like freak show 625 00:30:27,880 --> 00:30:31,200 Speaker 3: those guys, yeah, yeah, they're funny. I mean and we 626 00:30:32,080 --> 00:30:35,520 Speaker 3: you may remember that we we lit them like, I mean, 627 00:30:35,560 --> 00:30:38,320 Speaker 3: they and Michael Patrick, I'm sure it must have done it. 628 00:30:38,440 --> 00:30:40,760 Speaker 3: They bring in this kind of freak in this music 629 00:30:40,760 --> 00:30:44,400 Speaker 3: that sounds like a carnival. Yeah, you know that, so 630 00:30:44,480 --> 00:30:46,200 Speaker 3: that each one of those is lit to look like 631 00:30:46,560 --> 00:30:47,760 Speaker 3: something in a carnival. 632 00:30:47,840 --> 00:30:51,840 Speaker 1: And it's scary, yeah, but sweet and scary. I think 633 00:30:51,880 --> 00:30:54,000 Speaker 1: some of that and this is what I love. And 634 00:30:54,080 --> 00:30:56,400 Speaker 1: it's a little bit sometimes hard to talk about it. 635 00:30:56,440 --> 00:30:59,880 Speaker 1: But I do remember in the first season as actors, 636 00:31:00,200 --> 00:31:04,480 Speaker 1: as actresses, we were unsure of the point of view 637 00:31:04,640 --> 00:31:06,680 Speaker 1: of the show, right, So, like we knew that we 638 00:31:06,680 --> 00:31:08,320 Speaker 1: were these women and that we were going to talk 639 00:31:08,320 --> 00:31:11,040 Speaker 1: about sexuality, but when it came to time to do 640 00:31:11,080 --> 00:31:13,840 Speaker 1: a sex scene, you know, was it like from the 641 00:31:13,880 --> 00:31:16,960 Speaker 1: male perspective? Was it supposed to be titillating or was 642 00:31:17,000 --> 00:31:19,719 Speaker 1: it supposed to be realistic, or like, were we going 643 00:31:19,760 --> 00:31:22,520 Speaker 1: to make our female viewers uncomfortable? There were questions that 644 00:31:22,560 --> 00:31:25,000 Speaker 1: we had as actors because it was so different. You know, 645 00:31:25,000 --> 00:31:28,280 Speaker 1: it wasn't like in film. There was a lot of sexuality, 646 00:31:28,320 --> 00:31:31,440 Speaker 1: but it was very much from the male gaze in 647 00:31:31,560 --> 00:31:35,000 Speaker 1: terms of like titillation and not necessarily realistic and all 648 00:31:35,080 --> 00:31:37,440 Speaker 1: those things that we were definitely changing that, but we 649 00:31:37,480 --> 00:31:40,000 Speaker 1: didn't really know what we were doing in the beginning. 650 00:31:40,320 --> 00:31:43,160 Speaker 1: And what I see now by the time that you're 651 00:31:43,200 --> 00:31:47,160 Speaker 1: really establishing your look is that and I think this 652 00:31:47,200 --> 00:31:49,200 Speaker 1: is a powerful thing and it's kind of intangible. But 653 00:31:49,800 --> 00:31:54,120 Speaker 1: the way that you film someone can be from a 654 00:31:54,160 --> 00:32:01,440 Speaker 1: perspective of love, you know, of like interest, like curiosity, 655 00:32:01,840 --> 00:32:04,840 Speaker 1: which is how especially the Cynthia in the Freak Show 656 00:32:05,560 --> 00:32:09,400 Speaker 1: you're so close to her, but she's so she has 657 00:32:09,520 --> 00:32:13,040 Speaker 1: no guard you know, she's so brilliant obviously, but she 658 00:32:13,080 --> 00:32:15,719 Speaker 1: has no guard up. Like her face is so open. 659 00:32:16,080 --> 00:32:18,960 Speaker 1: But that's something that you can only create on a 660 00:32:19,040 --> 00:32:24,360 Speaker 1: set with like a love and a trust that the 661 00:32:24,440 --> 00:32:27,320 Speaker 1: actor can feel that way and that we trust the 662 00:32:27,320 --> 00:32:30,440 Speaker 1: camera crew and that the director you in this case, 663 00:32:30,560 --> 00:32:33,400 Speaker 1: is someone where we know that we're taken care of. 664 00:32:34,200 --> 00:32:38,160 Speaker 3: Well, that's yeah, that's good. It's interesting because I do 665 00:32:38,320 --> 00:32:41,160 Speaker 3: try to. I mean, I've never worked with a what 666 00:32:41,160 --> 00:32:45,680 Speaker 3: do they call it a with the section the person 667 00:32:45,720 --> 00:32:46,560 Speaker 3: that they now have. 668 00:32:46,800 --> 00:32:48,440 Speaker 2: It's a Z coordinator. 669 00:32:48,560 --> 00:32:50,560 Speaker 3: I never worked with one, and I hope I never 670 00:32:50,600 --> 00:32:51,680 Speaker 3: have two friends. 671 00:32:53,200 --> 00:32:58,200 Speaker 1: You don't need to allan is other people who need that, Okay. 672 00:32:57,560 --> 00:33:00,440 Speaker 3: Yeah, because I mean I've shot more sex scenes than 673 00:33:00,600 --> 00:33:03,960 Speaker 3: probably any of those people will in their lifetime. Yes, 674 00:33:04,000 --> 00:33:07,719 Speaker 3: And you know, it was always about finding exactly you know, 675 00:33:07,800 --> 00:33:10,840 Speaker 3: just making sure that the actors are you know, having 676 00:33:10,880 --> 00:33:14,800 Speaker 3: I would always talk to actors before that. I don't 677 00:33:14,840 --> 00:33:16,520 Speaker 3: remember Sexy Seed, but I'm sure it was no different, 678 00:33:16,680 --> 00:33:18,360 Speaker 3: and you know, just to say, look, this is what 679 00:33:18,400 --> 00:33:20,400 Speaker 3: we're going to do. I wouldn't chase away and just 680 00:33:20,400 --> 00:33:23,920 Speaker 3: have a quiet conversation, right, make sure it's no awkwardness 681 00:33:24,040 --> 00:33:29,920 Speaker 3: or anybody was uncomfortable. And but I will tell you what. 682 00:33:30,000 --> 00:33:32,760 Speaker 3: It's the line that I've said many a time because 683 00:33:32,800 --> 00:33:38,200 Speaker 3: I think it's really right. The there's someone once said, 684 00:33:38,200 --> 00:33:40,840 Speaker 3: and I don't know who said it, everything is about 685 00:33:40,960 --> 00:33:47,400 Speaker 3: sex but sex, And so I kind of follow that guideline. 686 00:33:47,440 --> 00:33:49,440 Speaker 3: In other words, when I shoot a sex scene, I'm 687 00:33:49,520 --> 00:33:52,600 Speaker 3: always and that was true for Sex and the City 688 00:33:52,600 --> 00:33:55,560 Speaker 3: for sure, which is what is this scene really about? 689 00:33:56,000 --> 00:33:58,840 Speaker 3: And how can I show that? So in that case, 690 00:33:59,080 --> 00:34:03,800 Speaker 3: it was about Cynthia's innocence and her delight, almost like 691 00:34:03,840 --> 00:34:06,920 Speaker 3: a child, discovering something that she could do that she didn't. 692 00:34:07,320 --> 00:34:09,360 Speaker 3: Never occurred to her that she could do that and 693 00:34:09,440 --> 00:34:12,080 Speaker 3: actually embrace it, so to speak. But it was about that, 694 00:34:12,800 --> 00:34:15,640 Speaker 3: not about the dirtiness of what she's saying or whatever, 695 00:34:15,840 --> 00:34:19,840 Speaker 3: however one perceives that. And you made me think about 696 00:34:20,680 --> 00:34:22,680 Speaker 3: you know, and there's comical sex scenes. I mean the 697 00:34:22,719 --> 00:34:26,600 Speaker 3: one when Samantha has sex with this college kid and 698 00:34:27,400 --> 00:34:29,719 Speaker 3: you know, I sort of treated like a rodeo, you know, 699 00:34:30,040 --> 00:34:32,239 Speaker 3: like you you know, he kind of does some of 700 00:34:32,320 --> 00:34:35,200 Speaker 3: these things that the guy would write writing a bucking bronco. 701 00:34:35,280 --> 00:34:37,360 Speaker 3: You know what they would do, and so you know 702 00:34:37,440 --> 00:34:39,000 Speaker 3: that was meant to be comical. A lot of them 703 00:34:39,000 --> 00:34:41,799 Speaker 3: are comical, but one of the ones that I'm thinking of. 704 00:34:42,560 --> 00:34:45,000 Speaker 3: The point I want to make is that when there 705 00:34:45,000 --> 00:34:47,160 Speaker 3: are not a lot of serious sex scenes in that 706 00:34:47,200 --> 00:34:52,080 Speaker 3: show generally, but one of them, and when they are, 707 00:34:52,520 --> 00:34:56,480 Speaker 3: I'm not interested in the sex. I'm interested in suggesting 708 00:34:56,520 --> 00:34:59,800 Speaker 3: what the feeling is of that moment. And at the 709 00:34:59,880 --> 00:35:03,279 Speaker 3: end end of I guess I'm trying to remember if 710 00:35:03,280 --> 00:35:06,560 Speaker 3: it's oh, yeah, four women in a funeral, it ends 711 00:35:06,719 --> 00:35:11,440 Speaker 3: with carry in bed with big camera really just brushes 712 00:35:11,440 --> 00:35:14,880 Speaker 3: across them. It doesn't really lingo on that all. Just 713 00:35:15,000 --> 00:35:18,680 Speaker 3: it has a very sensual look beautiful, yeah, but there's 714 00:35:18,719 --> 00:35:21,040 Speaker 3: nothing it's just you know what's happening. But what the 715 00:35:21,080 --> 00:35:26,120 Speaker 3: scene is about is this is a a quiet intimate moment, 716 00:35:28,200 --> 00:35:31,239 Speaker 3: really intimate between the two of them, in which the 717 00:35:31,320 --> 00:35:34,640 Speaker 3: camera is just simply going on in its sort of 718 00:35:35,840 --> 00:35:39,360 Speaker 3: sensual path past them to kind of and the movement 719 00:35:39,400 --> 00:35:41,800 Speaker 3: of the cameras meant to kind of emphasize or underscore 720 00:35:41,840 --> 00:35:45,480 Speaker 3: maybe the sensuality of the moment as opposed to the 721 00:35:45,520 --> 00:35:48,680 Speaker 3: sexuality that there is that there. It's skin on skin 722 00:35:48,760 --> 00:35:51,800 Speaker 3: in a very intimate and meaningful way. But it glides 723 00:35:51,840 --> 00:35:53,840 Speaker 3: past them and towards the window, where once again you 724 00:35:53,880 --> 00:35:57,279 Speaker 3: see the curtains blowing, and it's also kind of going out, 725 00:35:57,320 --> 00:35:59,960 Speaker 3: and it's heading towards the New York night where others 726 00:36:00,040 --> 00:36:00,640 Speaker 3: are making love. 727 00:36:02,640 --> 00:36:05,920 Speaker 1: Yes, beautiful, and it's so you know, sir, Jessica is 728 00:36:06,080 --> 00:36:10,880 Speaker 1: obviously rightly so very always concerned with any kind of 729 00:36:10,880 --> 00:36:14,560 Speaker 1: sexual scene or nudity question or anything. 730 00:36:14,800 --> 00:36:16,240 Speaker 2: And she's not easy to trust. 731 00:36:16,280 --> 00:36:19,680 Speaker 1: And I think that's wonderful, especially because she's bland carry 732 00:36:20,160 --> 00:36:22,759 Speaker 1: and that is one of the few scenes where you 733 00:36:22,840 --> 00:36:26,320 Speaker 1: really she's very at ease and you get to see skin. 734 00:36:26,480 --> 00:36:29,680 Speaker 1: It's not salacious in any way. It's sensual, as you say, 735 00:36:29,960 --> 00:36:33,880 Speaker 1: and that's because she trusted you, which is, you know, incredible, 736 00:36:33,960 --> 00:36:37,520 Speaker 1: because it adds so much when she does choose to 737 00:36:37,800 --> 00:36:41,400 Speaker 1: show something, you know what I'm saying, It has more impact. 738 00:36:41,640 --> 00:36:44,239 Speaker 3: That's great, that's great. I love her. I just was 739 00:36:44,280 --> 00:36:47,000 Speaker 3: thinking that one of the things that I really enjoyed 740 00:36:47,040 --> 00:36:49,920 Speaker 3: on Freak Show was the thing when she becomes the 741 00:36:49,960 --> 00:36:56,400 Speaker 3: freak and I intentionally had her have a cigarette in 742 00:36:56,400 --> 00:36:57,520 Speaker 3: her mouth. The whole time. 743 00:36:59,200 --> 00:37:01,760 Speaker 2: Yes, it's good. It's so funny. 744 00:37:02,000 --> 00:37:04,839 Speaker 1: It's so funny because now no one smokes right, like 745 00:37:05,560 --> 00:37:07,280 Speaker 1: you're literally like a serial killer. 746 00:37:07,280 --> 00:37:10,840 Speaker 2: If you smoke now, it takes it. 747 00:37:10,840 --> 00:37:12,400 Speaker 3: Out of her mouth and she ends up and had 748 00:37:12,640 --> 00:37:15,920 Speaker 3: I said, get up on the bed, standing on the bed. 749 00:37:16,000 --> 00:37:19,359 Speaker 3: So she's really not doing anything right at that moment. 750 00:37:19,360 --> 00:37:22,520 Speaker 3: She's standing on this guy's bed, break into his private 751 00:37:22,560 --> 00:37:29,080 Speaker 3: collection of right, right, and and with this cigarette. So 752 00:37:29,160 --> 00:37:31,120 Speaker 3: she looks kind of like a I don't know, like 753 00:37:31,160 --> 00:37:33,360 Speaker 3: a I don't I don't even know how to say it, 754 00:37:33,440 --> 00:37:35,400 Speaker 3: like she's just some tough. 755 00:37:35,200 --> 00:37:38,960 Speaker 2: Broad from Yes, she does. She doesn't look like herself 756 00:37:38,960 --> 00:37:39,279 Speaker 2: at all. 757 00:37:39,320 --> 00:37:41,200 Speaker 1: It's true, and that makes it all the better when 758 00:37:41,200 --> 00:37:44,640 Speaker 1: he comes back in exactly so Alan, obviously, we have 759 00:37:44,719 --> 00:37:47,919 Speaker 1: so much to talk about. We are going to come back. 760 00:37:47,960 --> 00:37:49,799 Speaker 1: You guys, hang in there with us. We're going to 761 00:37:49,840 --> 00:37:52,160 Speaker 1: talk about for women and a funeral,