1
00:00:01,639 --> 00:00:04,880
Speaker 1: Hi, I'm Kristen Davis, and I want to know are

2
00:00:04,880 --> 00:00:08,920
Speaker 1: you a Charlotte? Michael Patrick is here you guys, we've

3
00:00:08,960 --> 00:00:09,800
Speaker 1: just jumped right in.

4
00:00:10,160 --> 00:00:14,000
Speaker 2: It's the glorious return of the case, the return of

5
00:00:14,080 --> 00:00:14,960
Speaker 2: Are You a Charlotte?

6
00:00:15,000 --> 00:00:15,200
Speaker 1: And me?

7
00:00:15,560 --> 00:00:17,319
Speaker 2: That's right, we love it so much.

8
00:00:17,360 --> 00:00:19,079
Speaker 1: And he asked me how long we were going to go,

9
00:00:19,120 --> 00:00:21,080
Speaker 1: and I said, as long as he wants to talk,

10
00:00:22,360 --> 00:00:25,120
Speaker 1: because this whole season. As when I saw you, we

11
00:00:25,160 --> 00:00:28,480
Speaker 1: talked that were in no like like a week ago

12
00:00:28,560 --> 00:00:30,000
Speaker 1: or whatever you like, at the.

13
00:00:30,040 --> 00:00:33,559
Speaker 2: Human Rights beautiful time that we were honoring you at

14
00:00:33,720 --> 00:00:34,560
Speaker 2: Human Rights Campaign.

15
00:00:34,600 --> 00:00:36,080
Speaker 1: So exciting the Human Rights Campaign.

16
00:00:36,120 --> 00:00:36,720
Speaker 2: Thank you so much.

17
00:00:37,240 --> 00:00:38,959
Speaker 1: You said that you were going to help me with

18
00:00:39,000 --> 00:00:41,400
Speaker 1: my season four amnesia.

19
00:00:41,800 --> 00:00:43,560
Speaker 2: Yeah, yeah, like's start there.

20
00:00:43,720 --> 00:00:45,640
Speaker 1: Yeah, because I don't know why I have it.

21
00:00:45,800 --> 00:00:49,400
Speaker 2: I love season four. Oh, I love season four and

22
00:00:49,440 --> 00:00:51,360
Speaker 2: the City season four. I love it too.

23
00:00:51,640 --> 00:00:54,000
Speaker 1: In my mind it was one with season three.

24
00:00:54,240 --> 00:00:54,880
Speaker 2: Yes, you know what I mean.

25
00:00:54,960 --> 00:00:57,880
Speaker 3: In my mind, people always say to me, oh, I

26
00:00:58,240 --> 00:01:00,600
Speaker 3: want to do Sex in the City again. I love

27
00:01:00,640 --> 00:01:02,319
Speaker 3: Sex in the City, and I always go, you love

28
00:01:02,360 --> 00:01:06,200
Speaker 3: Sex in the City Season four. That's where it peaked,

29
00:01:06,400 --> 00:01:11,880
Speaker 3: definitely of its clarity. Yes, one was like, what totally

30
00:01:11,959 --> 00:01:14,520
Speaker 3: finding it? And then two and three, but four is

31
00:01:14,600 --> 00:01:20,080
Speaker 3: like you you all are so strong and so vibrant,

32
00:01:20,160 --> 00:01:23,600
Speaker 3: and the writing has gotten to such a place where

33
00:01:23,600 --> 00:01:29,000
Speaker 3: there's so many exciting twists and turns and so many

34
00:01:29,040 --> 00:01:31,360
Speaker 3: amount that we talked about.

35
00:01:31,240 --> 00:01:35,720
Speaker 4: So much, the changing of Charlotte, the change so much

36
00:01:35,720 --> 00:01:39,040
Speaker 4: of Charlotte, so much changing of Miranda, the amount of

37
00:01:39,920 --> 00:01:41,640
Speaker 4: bravery in the writing room.

38
00:01:41,800 --> 00:01:43,800
Speaker 1: Yes, oh, no, joke is incredible.

39
00:01:43,920 --> 00:01:44,320
Speaker 2: It is not.

40
00:01:44,480 --> 00:01:49,360
Speaker 3: It is like, what would really happen? Let's feel that

41
00:01:49,840 --> 00:01:50,640
Speaker 3: and follow that.

42
00:01:50,920 --> 00:01:52,840
Speaker 1: This reminds me of something that I wanted to talk

43
00:01:52,840 --> 00:01:55,800
Speaker 1: to you about when so what I remember and I

44
00:01:55,840 --> 00:01:58,000
Speaker 1: know that most shows don't have this, and it was

45
00:01:58,080 --> 00:01:59,680
Speaker 1: it was such a joy that you would.

46
00:01:59,480 --> 00:02:02,240
Speaker 2: Sit as down, Hi, darling, it's Michael Patrick King you guys,

47
00:02:02,360 --> 00:02:02,760
Speaker 2: we're in.

48
00:02:02,880 --> 00:02:05,640
Speaker 1: Okay, we're in. Remember how you would call us and

49
00:02:05,800 --> 00:02:07,160
Speaker 1: or have lunch with this, depending.

50
00:02:06,880 --> 00:02:08,840
Speaker 3: On for each season, I give you the out of

51
00:02:08,880 --> 00:02:12,080
Speaker 3: town tryout exactly what I'm thinking for Charlotte, right, And

52
00:02:12,080 --> 00:02:12,359
Speaker 3: it was.

53
00:02:12,320 --> 00:02:15,400
Speaker 1: Such a joy because most executive producer showrunners do not

54
00:02:15,520 --> 00:02:17,920
Speaker 1: do that to their actors, for their actors, which is

55
00:02:18,120 --> 00:02:19,160
Speaker 1: so insane to me.

56
00:02:19,880 --> 00:02:22,080
Speaker 3: You know, It's interesting because if you're on a show

57
00:02:22,840 --> 00:02:27,560
Speaker 3: that is working or our show, so much of what

58
00:02:27,600 --> 00:02:31,800
Speaker 3: we're doing is for you, the actress. So much is

59
00:02:31,880 --> 00:02:35,200
Speaker 3: based on your version of Charlotte in seasons one, two,

60
00:02:35,200 --> 00:02:39,160
Speaker 3: and three that I always felt I not only owed

61
00:02:39,200 --> 00:02:42,320
Speaker 3: it to you, but I wanted a temperature check from

62
00:02:42,320 --> 00:02:45,000
Speaker 3: you about whether you were going to be excited about

63
00:02:45,040 --> 00:02:49,440
Speaker 3: where we're going. And also I loved bringing you surprise.

64
00:02:49,960 --> 00:02:51,079
Speaker 1: Yeah, I was so exciting.

65
00:02:51,160 --> 00:02:54,600
Speaker 3: Yeah, but it was really a tribute to you guys

66
00:02:55,000 --> 00:02:58,360
Speaker 3: that I wanted you as partners emotionally in the arc

67
00:02:58,440 --> 00:03:01,240
Speaker 3: of these characters that we create together. Yea. Yeah. But

68
00:03:01,320 --> 00:03:04,920
Speaker 3: literally it wasn't like go to work do these lines? No,

69
00:03:05,160 --> 00:03:09,240
Speaker 3: not on that show, because we were literally taking from you.

70
00:03:09,880 --> 00:03:12,160
Speaker 3: What can you do? What can we do with that?

71
00:03:12,320 --> 00:03:17,280
Speaker 3: What would be so great is if Charlotte couldn't get

72
00:03:17,320 --> 00:03:20,280
Speaker 3: pregnant and Miranda did. I'm talking about could it would

73
00:03:20,280 --> 00:03:20,720
Speaker 3: it should have?

74
00:03:20,840 --> 00:03:21,080
Speaker 1: Yeah.

75
00:03:21,919 --> 00:03:22,960
Speaker 2: The idea of.

76
00:03:22,880 --> 00:03:29,160
Speaker 3: That contrast is based on both your strengths as an

77
00:03:29,240 --> 00:03:33,960
Speaker 3: actor and also your connection is people bind this point, Yeah,

78
00:03:34,040 --> 00:03:37,200
Speaker 3: you all were sort of in love with each other,

79
00:03:37,400 --> 00:03:41,800
Speaker 3: so it was really easy to play the hurt when

80
00:03:41,800 --> 00:03:43,840
Speaker 3: the friendships didn't connect.

81
00:03:43,440 --> 00:03:47,160
Speaker 1: It, yeah, and always so scary. I remember just being

82
00:03:47,160 --> 00:03:49,960
Speaker 1: so nervous about that if we ever had the disagreements,

83
00:03:50,200 --> 00:03:53,560
Speaker 1: because we did have, it was threat felt threatening just

84
00:03:53,680 --> 00:03:56,600
Speaker 1: personally because I did you know, we loved each other and.

85
00:03:56,560 --> 00:04:00,200
Speaker 3: We I think by season four, if it's going well,

86
00:04:00,600 --> 00:04:05,520
Speaker 3: you believe your character, you believe it. So it's all

87
00:04:05,640 --> 00:04:06,440
Speaker 3: very personal.

88
00:04:06,640 --> 00:04:07,400
Speaker 2: It's so personal.

89
00:04:07,480 --> 00:04:11,440
Speaker 1: Everything's personal totally. So when it's hard for me to

90
00:04:11,480 --> 00:04:14,200
Speaker 1: remember the first time, like I feel like it would

91
00:04:14,200 --> 00:04:16,720
Speaker 1: have been, I feel I don't remember pre season two

92
00:04:17,000 --> 00:04:19,560
Speaker 1: a sit down, though maybe it happened and I don't

93
00:04:19,600 --> 00:04:20,080
Speaker 1: remember it.

94
00:04:20,160 --> 00:04:20,600
Speaker 2: I don't know.

95
00:04:20,680 --> 00:04:23,320
Speaker 1: I remember season three when we were really having the

96
00:04:23,480 --> 00:04:26,880
Speaker 1: long art conversations and long conversations about the long arcs, right.

97
00:04:26,960 --> 00:04:31,839
Speaker 3: I think it became important when we started to deviate

98
00:04:32,520 --> 00:04:37,240
Speaker 3: from the log line YEP for sexy Singles in Manhattan.

99
00:04:37,680 --> 00:04:41,000
Speaker 3: The minute we started going what would happen to Charlotte?

100
00:04:41,000 --> 00:04:45,120
Speaker 3: And I said, Charlotte would get married. This is bush

101
00:04:45,240 --> 00:04:49,080
Speaker 3: that she isn't going to just drive that car to

102
00:04:49,600 --> 00:04:52,200
Speaker 3: wedding because it's time. And that's when we started having

103
00:04:52,240 --> 00:04:55,240
Speaker 3: to say, I know what we started with, but here's

104
00:04:55,240 --> 00:04:57,440
Speaker 3: what we're thinking and then I could see these like

105
00:04:57,560 --> 00:04:59,640
Speaker 3: out of town tryouts in your eyes.

106
00:05:00,000 --> 00:05:01,400
Speaker 2: I could see the lighting up.

107
00:05:01,800 --> 00:05:04,760
Speaker 3: Which is necessary for me to keep going because it

108
00:05:04,800 --> 00:05:05,880
Speaker 3: was always before they were.

109
00:05:05,760 --> 00:05:09,000
Speaker 1: Written, right, it was just the plan.

110
00:05:11,920 --> 00:05:12,599
Speaker 2: Each season.

111
00:05:12,640 --> 00:05:14,919
Speaker 1: And did you talk to HBO about that too, or

112
00:05:14,960 --> 00:05:16,800
Speaker 1: did you wait and turn in the scripts?

113
00:05:17,279 --> 00:05:20,560
Speaker 3: Talk to you guys first, and then I talked to them. Cool,

114
00:05:20,760 --> 00:05:27,080
Speaker 3: but I wanted to have a strong emotional connection first.

115
00:05:27,080 --> 00:05:29,200
Speaker 3: It starts in the writing room. We all sort of

116
00:05:29,880 --> 00:05:32,960
Speaker 3: fall in love or fall out of love with the

117
00:05:33,000 --> 00:05:35,919
Speaker 3: story that we were doing, and that is the first

118
00:05:36,040 --> 00:05:39,840
Speaker 3: jury room. It's like we all put the stories on trial,

119
00:05:40,720 --> 00:05:43,120
Speaker 3: and then when I feel really strong about that, I

120
00:05:43,200 --> 00:05:47,520
Speaker 3: bring them to you and then I see you as

121
00:05:47,560 --> 00:05:53,640
Speaker 3: an audience slash hybrid actor playing this part. React and

122
00:05:53,680 --> 00:05:56,440
Speaker 3: then that's everything, got it? And then I go and say,

123
00:05:56,440 --> 00:06:00,080
Speaker 3: this is what we're doing. I don't audition the sea

124
00:06:00,600 --> 00:06:06,040
Speaker 3: for the studio. God were always very very interesting, you know.

125
00:06:06,279 --> 00:06:09,240
Speaker 1: Yeah, yeah, yeah. Do you remember the time, and this

126
00:06:09,279 --> 00:06:11,599
Speaker 1: would have been this would have been fourth season. See

127
00:06:11,600 --> 00:06:14,040
Speaker 1: in my mind, I had crunched third season and fourth

128
00:06:14,040 --> 00:06:15,800
Speaker 1: season into one. I think also because we were doing

129
00:06:15,880 --> 00:06:17,840
Speaker 1: so many episodes, right, it was it was.

130
00:06:17,800 --> 00:06:18,839
Speaker 2: A lot of television.

131
00:06:19,160 --> 00:06:22,920
Speaker 1: Yeah, the olden d television exactly exactly, like eighteen was

132
00:06:22,920 --> 00:06:25,800
Speaker 1: it eighteen? For each I feel like sometimes yeah, I

133
00:06:25,839 --> 00:06:29,919
Speaker 1: feel like four was eighteen and three both eighteen?

134
00:06:30,160 --> 00:06:30,480
Speaker 2: Yeah?

135
00:06:30,520 --> 00:06:34,640
Speaker 1: Crazy right, right, so great, and they're just each one

136
00:06:34,720 --> 00:06:38,240
Speaker 1: is packed, packed, packed with plot for each character, like

137
00:06:38,320 --> 00:06:39,080
Speaker 1: it's so good.

138
00:06:39,240 --> 00:06:41,360
Speaker 2: Yeah, so and thirty minutes, I.

139
00:06:41,320 --> 00:06:44,480
Speaker 1: Mean insane, Like what you guys could accomplish.

140
00:06:43,960 --> 00:06:48,000
Speaker 3: Writing of all those storylines and with could it should have? Yeah,

141
00:06:48,040 --> 00:06:51,719
Speaker 3: it was the ideal thing because we always tried to

142
00:06:51,720 --> 00:06:55,680
Speaker 3: find a story where everybody could react based on who

143
00:06:55,720 --> 00:07:00,480
Speaker 3: they are. Yes, So Miranda getting pregnant was both comic

144
00:07:00,760 --> 00:07:04,160
Speaker 3: because of the Steve one ball runner and.

145
00:07:05,640 --> 00:07:08,320
Speaker 2: Unbelievable that we would risk that give the.

146
00:07:08,279 --> 00:07:12,080
Speaker 3: One who was the least maternal in our eyes, the mother,

147
00:07:13,840 --> 00:07:21,200
Speaker 3: contrasting hard crash into Charlotte's inability to become pregnant, and

148
00:07:21,240 --> 00:07:26,200
Speaker 3: then the very very ballsy thing, which is this episode's

149
00:07:26,200 --> 00:07:27,120
Speaker 3: about abortion.

150
00:07:27,080 --> 00:07:30,080
Speaker 1: Right, and tell us about that? How did you talk

151
00:07:30,120 --> 00:07:32,000
Speaker 1: about in the writer's room? How did you talk about

152
00:07:32,000 --> 00:07:33,760
Speaker 1: it with HBO? Was their worry?

153
00:07:35,240 --> 00:07:38,400
Speaker 3: There was worry in the writing room, and there was

154
00:07:38,440 --> 00:07:40,960
Speaker 3: a necessity in the writing room to tell the story

155
00:07:41,400 --> 00:07:46,880
Speaker 3: and the journey really was about people's personal touches to

156
00:07:46,920 --> 00:07:50,520
Speaker 3: their friends who had had abortions. Or I'm not saying

157
00:07:50,520 --> 00:07:53,000
Speaker 3: anyone in the room had had abortions, right, everyone had

158
00:07:53,760 --> 00:07:57,360
Speaker 3: a situation that they had touched their friendships or themselves

159
00:07:57,520 --> 00:08:03,160
Speaker 3: about what would really happen and how people weren't talking

160
00:08:03,200 --> 00:08:06,240
Speaker 3: about that, right. And there's a line in the show

161
00:08:06,280 --> 00:08:10,640
Speaker 3: that I remember being radical is Samantha saying I've had two?

162
00:08:10,760 --> 00:08:11,640
Speaker 2: How many have you had?

163
00:08:11,840 --> 00:08:12,000
Speaker 3: Right?

164
00:08:12,560 --> 00:08:14,960
Speaker 1: I remember that? I mean even rewatch, I'm like, oh, like,

165
00:08:15,080 --> 00:08:16,720
Speaker 1: I don't remember every detail, but I was like, oh

166
00:08:16,720 --> 00:08:17,800
Speaker 1: my god, we're so brave.

167
00:08:18,560 --> 00:08:20,400
Speaker 2: It was brave, right, I've had two?

168
00:08:20,480 --> 00:08:22,800
Speaker 3: How many of you had? And Carrie actually takes a

169
00:08:22,880 --> 00:08:27,080
Speaker 3: mownent and goes one like, what am I you?

170
00:08:27,360 --> 00:08:27,560
Speaker 2: Right?

171
00:08:27,720 --> 00:08:27,880
Speaker 1: Right?

172
00:08:27,960 --> 00:08:28,120
Speaker 3: Right?

173
00:08:28,160 --> 00:08:28,280
Speaker 2: Right?

174
00:08:28,280 --> 00:08:32,280
Speaker 3: The idea of saying I've had two as a legitimate

175
00:08:33,240 --> 00:08:36,840
Speaker 3: sentence in a show, right, could you even say that? Now?

176
00:08:37,040 --> 00:08:39,120
Speaker 1: I don't think so. That's the other thing I wanted

177
00:08:39,120 --> 00:08:43,040
Speaker 1: to ask you, like, isn't it nutty? How I felt

178
00:08:43,120 --> 00:08:45,200
Speaker 1: at the time that we were doing something different and

179
00:08:45,200 --> 00:08:48,280
Speaker 1: that it was going to help shift things in our

180
00:08:49,040 --> 00:08:51,959
Speaker 1: you know, TV landscape, cultural landscape. What was okay? To

181
00:08:52,000 --> 00:08:53,880
Speaker 1: talk about, and I feel like it did for a while.

182
00:08:54,080 --> 00:08:56,560
Speaker 1: And then TV is kind of or streaming whatever we're

183
00:08:56,559 --> 00:08:59,199
Speaker 1: supposed to call it now has pulled pulled back from fear.

184
00:08:59,640 --> 00:09:02,800
Speaker 3: The trick with us is we got in with like

185
00:09:02,960 --> 00:09:07,839
Speaker 3: the comedy of the sex, and that was the shocking thing.

186
00:09:07,880 --> 00:09:10,320
Speaker 3: But it was not just sex. It was funny sex,

187
00:09:10,720 --> 00:09:13,760
Speaker 3: sex with the laugh So we slid in. That was

188
00:09:13,800 --> 00:09:14,720
Speaker 3: the calling card.

189
00:09:14,640 --> 00:09:16,640
Speaker 2: Got it? Yeah, yeah, you got funny.

190
00:09:16,840 --> 00:09:20,240
Speaker 3: Yeah, you're laughing, and we're not asking you to be aroused.

191
00:09:20,240 --> 00:09:22,480
Speaker 3: In fact, if you are aroused, there's something wrong.

192
00:09:23,400 --> 00:09:23,880
Speaker 2: Yeah.

193
00:09:23,960 --> 00:09:27,679
Speaker 3: And then slowly we became to slip in other things

194
00:09:27,679 --> 00:09:30,600
Speaker 3: that women were talking about and not talking about on television.

195
00:09:31,280 --> 00:09:34,760
Speaker 1: But still they're not talking about on television for sure, and.

196
00:09:35,000 --> 00:09:40,600
Speaker 3: Not walking down the street after Iermez with a kerchief

197
00:09:40,640 --> 00:09:42,720
Speaker 3: on her head saying I've.

198
00:09:42,559 --> 00:09:44,280
Speaker 2: Had two what have you had?

199
00:09:44,360 --> 00:09:52,559
Speaker 3: You know, like the casual, sophisticated, grown up, real life,

200
00:09:52,800 --> 00:09:57,120
Speaker 3: real life in a very stylized frame of course, real life.

201
00:09:57,160 --> 00:10:00,880
Speaker 1: And was anyone at HBoL worried, No, which is we

202
00:10:01,080 --> 00:10:01,760
Speaker 1: just had such a.

203
00:10:01,800 --> 00:10:04,960
Speaker 3: I mean, we had a wonderful, wonderful experience that it

204
00:10:05,040 --> 00:10:12,600
Speaker 3: was always be You don't even be TV Yeah, be HBO, yeah,

205
00:10:12,720 --> 00:10:16,560
Speaker 3: don't be that be whatever that is. And they followed us,

206
00:10:16,600 --> 00:10:22,360
Speaker 3: and they trusted us because we rarely went too far

207
00:10:22,400 --> 00:10:25,720
Speaker 3: in any direction where it was the audience got pushed away.

208
00:10:25,920 --> 00:10:28,040
Speaker 1: Well that was the joy of having the different characters

209
00:10:28,040 --> 00:10:29,240
Speaker 1: in the different perspectives.

210
00:10:29,280 --> 00:10:34,800
Speaker 3: Well, yes, right, this perspective makes the Miranda story tolerable

211
00:10:34,920 --> 00:10:36,760
Speaker 3: for an enormous amount.

212
00:10:36,480 --> 00:10:40,840
Speaker 1: Of people, right, right, right, And also so okay, I

213
00:10:40,920 --> 00:10:43,959
Speaker 1: remember that at one point it was at least floated

214
00:10:43,960 --> 00:10:45,880
Speaker 1: to me that we were both going to get pregnant

215
00:10:46,040 --> 00:10:49,240
Speaker 1: and then we were going to contrast our different mothering styles.

216
00:10:49,360 --> 00:10:52,000
Speaker 1: And then at a certain point you called me and said,

217
00:10:52,520 --> 00:10:56,200
Speaker 1: I'm really sorry, Charlotte's not gonna get pregnant. I was like, what, like,

218
00:10:56,240 --> 00:10:58,800
Speaker 1: because of course I wanted what Charlotte wanted, which was

219
00:10:58,800 --> 00:11:02,120
Speaker 1: to get pregnant, right, And you said that because no

220
00:11:02,120 --> 00:11:04,960
Speaker 1: one it was even really in relationships in the writer's

221
00:11:05,040 --> 00:11:08,079
Speaker 1: room at that point, much less having children. Right at

222
00:11:08,080 --> 00:11:09,840
Speaker 1: that point in our lives, you were like, we just

223
00:11:09,880 --> 00:11:13,520
Speaker 1: don't have enough story material to be contrasting.

224
00:11:13,840 --> 00:11:17,720
Speaker 3: Yeah, Samesy's yeah, like oh your pregnance, this, my pregnance, this,

225
00:11:18,000 --> 00:11:21,439
Speaker 3: it's so much more interesting for Charlotte to do her

226
00:11:21,480 --> 00:11:25,120
Speaker 3: pregnancy through Miranda. Yeah, all the way to the baby shower.

227
00:11:25,520 --> 00:11:28,320
Speaker 3: Oh yeah, you know, like how Charlotte would do the

228
00:11:28,360 --> 00:11:32,400
Speaker 3: baby shower. So it's always better if you have one

229
00:11:32,440 --> 00:11:35,319
Speaker 3: person experiencing something and everybody reacting to it. And we

230
00:11:35,440 --> 00:11:36,960
Speaker 3: got Charlotte their events.

231
00:11:37,240 --> 00:11:39,920
Speaker 2: Definitely definite need to have a longer it was so

232
00:11:40,000 --> 00:11:40,960
Speaker 2: much more authentic.

233
00:11:41,120 --> 00:11:42,080
Speaker 1: I agree, I agree totally.

234
00:11:42,240 --> 00:11:44,840
Speaker 3: This struggle was so good for you as an actor,

235
00:11:45,040 --> 00:11:53,680
Speaker 3: definitely so good for Charlotte.

236
00:11:55,280 --> 00:11:58,160
Speaker 1: My Hondai hot take is going to have to go

237
00:11:58,679 --> 00:12:02,320
Speaker 1: with the Miranda the Charlotte scene on the street because

238
00:12:02,400 --> 00:12:04,440
Speaker 1: it is the first scene that Cynthia and I have

239
00:12:04,720 --> 00:12:08,080
Speaker 1: just by ourselves, and I love it, and it's so

240
00:12:08,120 --> 00:12:11,560
Speaker 1: beautifully written, and it's so beautifully filmed out there. I

241
00:12:11,559 --> 00:12:14,240
Speaker 1: believe we're on Fifth Avenue with all kinds of people,

242
00:12:15,000 --> 00:12:18,640
Speaker 1: and I love her performance so much. I love how

243
00:12:18,640 --> 00:12:22,120
Speaker 1: she walks behind me, so it's really really sweet. That's

244
00:12:22,160 --> 00:12:25,960
Speaker 1: going to be my Hyundaie hot take, celebrating iconic moments,

245
00:12:26,000 --> 00:12:33,920
Speaker 1: bold moves, and unforgettable style, just like Hyundai. It is

246
00:12:34,120 --> 00:12:37,080
Speaker 1: interesting to watch because you know, at the time I

247
00:12:37,120 --> 00:12:41,960
Speaker 1: was watching everything and micro you know, criticizing myself in

248
00:12:42,000 --> 00:12:44,600
Speaker 1: my head, and now you know how I do that. Yeah,

249
00:12:44,679 --> 00:12:45,480
Speaker 1: it's hard for us.

250
00:12:45,520 --> 00:12:47,280
Speaker 2: I feel bad for you. I know I feel bad

251
00:12:47,280 --> 00:12:48,000
Speaker 2: for all actors.

252
00:12:48,200 --> 00:12:51,960
Speaker 3: I'm sure I get the joy of writing them stuff

253
00:12:52,160 --> 00:12:55,520
Speaker 3: and watching them do it and editing in them and

254
00:12:55,559 --> 00:13:00,000
Speaker 3: falling in love with them from a not inside them

255
00:13:00,120 --> 00:13:03,040
Speaker 3: point of view. And I always say to actors, can

256
00:13:03,080 --> 00:13:06,040
Speaker 3: you even see how good you are? But they don't know.

257
00:13:06,559 --> 00:13:08,880
Speaker 3: They look away and they don't feel it. They don't

258
00:13:08,960 --> 00:13:11,600
Speaker 3: feel it. It's so much a part of my job

259
00:13:11,960 --> 00:13:15,880
Speaker 3: is to feel so excited and happy for the work

260
00:13:16,200 --> 00:13:18,719
Speaker 3: that people have done, like it's my favorite part of

261
00:13:18,760 --> 00:13:22,760
Speaker 3: the job is to see people accomplish, even in the

262
00:13:22,760 --> 00:13:26,040
Speaker 3: writing room, to see people accomplish something amazing.

263
00:13:26,160 --> 00:13:29,959
Speaker 2: You're an excellent mentor thank you? I am, yes.

264
00:13:30,679 --> 00:13:36,920
Speaker 3: But actors can't ever step outside themselves and feel it

265
00:13:36,960 --> 00:13:37,800
Speaker 3: the way the audiences.

266
00:13:37,800 --> 00:13:40,720
Speaker 2: And I have called you so many times and said,

267
00:13:41,280 --> 00:13:45,079
Speaker 2: did you watch the episode? No, I'll get to it. No,

268
00:13:45,280 --> 00:13:46,640
Speaker 2: the kids have to be asleep.

269
00:13:46,920 --> 00:13:49,640
Speaker 3: No I won't. No, I can't. I won't be able

270
00:13:49,679 --> 00:13:51,640
Speaker 3: to go to sleep if I watch it. I'm afraid

271
00:13:51,760 --> 00:13:54,880
Speaker 3: to watch it. All of it is true. True, and

272
00:13:54,960 --> 00:13:57,520
Speaker 3: I feel that way with Network notes. If they come

273
00:13:57,520 --> 00:13:59,439
Speaker 3: in after five o'clock and I see an email, I'm like,

274
00:13:59,600 --> 00:14:02,839
Speaker 3: I'm not I can't fall asleep, right, I'll ruin my

275
00:14:02,920 --> 00:14:06,360
Speaker 3: day tomorrow totally totally like I felt bad because I've

276
00:14:06,400 --> 00:14:10,559
Speaker 3: also I've called you and harassed you to imprint on you. Yes,

277
00:14:11,120 --> 00:14:13,080
Speaker 3: how special it.

278
00:14:12,960 --> 00:14:14,679
Speaker 1: Is, thank you, And I appreciate that.

279
00:14:14,720 --> 00:14:19,000
Speaker 3: I appreciate that lying you don't know, there's no purpose

280
00:14:19,120 --> 00:14:20,960
Speaker 3: of me calling, and I feel it.

281
00:14:21,400 --> 00:14:24,680
Speaker 2: And this episode is particularly brilliant.

282
00:14:24,720 --> 00:14:27,080
Speaker 1: I'm so glad you're here for this episode, right, because

283
00:14:28,040 --> 00:14:29,720
Speaker 1: this is what goes on with me. And I think

284
00:14:29,960 --> 00:14:32,880
Speaker 1: the joy many joys of this podcast one is that

285
00:14:32,920 --> 00:14:34,520
Speaker 1: I get to have you here to talk about it.

286
00:14:35,120 --> 00:14:38,000
Speaker 1: Joy to thank you. There's so many elements that like

287
00:14:38,080 --> 00:14:39,960
Speaker 1: we weren't able to talk about at the time because

288
00:14:39,960 --> 00:14:41,920
Speaker 1: we're just in it, right, and it was so all

289
00:14:42,000 --> 00:14:43,280
Speaker 1: encompassing distance.

290
00:14:43,720 --> 00:14:45,320
Speaker 2: Yes, to see it now, That's what.

291
00:14:45,280 --> 00:14:47,720
Speaker 3: I was going to say, Yeah this yesterday, because I

292
00:14:47,800 --> 00:14:49,040
Speaker 3: knew I was coming here, I.

293
00:14:48,920 --> 00:14:55,840
Speaker 2: Was like, bang, yeah, on all cylinders. Agreed.

294
00:14:56,040 --> 00:15:01,920
Speaker 3: There's jokes, there's pain, there's style. Beautifully filmed by David Frankel.

295
00:15:02,000 --> 00:15:03,000
Speaker 1: Oh my god, incredible.

296
00:15:06,400 --> 00:15:08,960
Speaker 2: Tell me it has an elegant film quality too.

297
00:15:09,200 --> 00:15:14,240
Speaker 3: It's very sure of itself yet surprising, definitely, And all

298
00:15:14,280 --> 00:15:16,880
Speaker 3: that time has gone by and I still go, wow.

299
00:15:16,920 --> 00:15:18,720
Speaker 1: Me too, me too. And that's what I was going

300
00:15:18,800 --> 00:15:20,960
Speaker 1: to say about watching myself, right, because at the time

301
00:15:21,040 --> 00:15:23,080
Speaker 1: we would get the VHS types, we would run home,

302
00:15:23,160 --> 00:15:26,120
Speaker 1: put them in nervously, nervously right, and there might be

303
00:15:26,160 --> 00:15:28,080
Speaker 1: a card, or there might be temp music or whatever,

304
00:15:28,120 --> 00:15:30,000
Speaker 1: but still it would be so thrilling. But also when

305
00:15:30,040 --> 00:15:31,680
Speaker 1: I'd come on, I'd be like, oh, I don't think

306
00:15:31,680 --> 00:15:34,000
Speaker 1: I'd nailed that. You know, you're just so critical, right,

307
00:15:34,080 --> 00:15:38,320
Speaker 1: I know. But now thirty years almost later, I'm like, wow,

308
00:15:39,320 --> 00:15:41,320
Speaker 1: I was so much better than I thought I was.

309
00:15:42,640 --> 00:15:46,560
Speaker 1: And then every one while I'm like, no, it's interesting,

310
00:15:46,920 --> 00:15:49,600
Speaker 1: and I wonder, I wonder I couldn't help, but wonder

311
00:15:49,800 --> 00:15:52,600
Speaker 1: exactly is that part of.

312
00:15:52,720 --> 00:15:58,160
Speaker 3: The important mix that when you're doing it, you don't

313
00:15:58,280 --> 00:15:59,000
Speaker 3: think you're good?

314
00:16:00,000 --> 00:16:03,240
Speaker 2: Would you feel good? Would you be different?

315
00:16:03,640 --> 00:16:06,760
Speaker 1: I think you'd be less vulnerable, you know what I mean? Yeah,

316
00:16:06,960 --> 00:16:07,440
Speaker 1: and that that.

317
00:16:07,600 --> 00:16:10,880
Speaker 2: Is sure, yeah, less unsure when you have.

318
00:16:11,120 --> 00:16:15,680
Speaker 1: Some unsure you especially it depends on your character obviously, right,

319
00:16:16,080 --> 00:16:19,280
Speaker 1: But like if there's no vulnerability, Like even if you

320
00:16:19,280 --> 00:16:22,240
Speaker 1: think about Meryl playing you know, whatever her name is

321
00:16:22,360 --> 00:16:26,280
Speaker 1: in the thank you, how could I forget weird that

322
00:16:26,320 --> 00:16:29,440
Speaker 1: it is Miranda? You know, if she weren't Meryl and

323
00:16:29,480 --> 00:16:33,800
Speaker 1: weren't playing all those layers, it wouldn't be as brilliant.

324
00:16:33,840 --> 00:16:36,040
Speaker 1: It would be hard, right, Like you have to keep

325
00:16:36,080 --> 00:16:42,040
Speaker 1: some kind of vulnerability, unsure, you know, off you're slightly

326
00:16:42,080 --> 00:16:44,640
Speaker 1: off balance, you know, depending on the character, of course.

327
00:16:44,680 --> 00:16:45,360
Speaker 1: But but for me.

328
00:16:45,760 --> 00:16:47,840
Speaker 2: Yeah, well, now I've worked with you for so many.

329
00:16:47,720 --> 00:16:52,160
Speaker 3: Amazing vibrations storytelling.

330
00:16:52,360 --> 00:16:55,760
Speaker 2: Yes that in this one too. I love it.

331
00:16:56,680 --> 00:16:58,920
Speaker 3: You're you're gonna have to endure this, but I love

332
00:16:58,920 --> 00:17:05,600
Speaker 3: it when the emotion overwhelms your performance, like when you

333
00:17:05,680 --> 00:17:09,320
Speaker 3: pick in this episode, when you take out the result

334
00:17:09,440 --> 00:17:11,520
Speaker 3: and I want to point out something. You take out

335
00:17:11,520 --> 00:17:15,400
Speaker 3: the paper after you've coming from an infidelity moment. Yes,

336
00:17:15,480 --> 00:17:19,479
Speaker 3: good writing with the proof, and when you hold it

337
00:17:19,600 --> 00:17:23,359
Speaker 3: up to her, you the actor or you the Charlotte

338
00:17:23,680 --> 00:17:25,479
Speaker 3: knew it was upside down when you took it out

339
00:17:25,480 --> 00:17:27,320
Speaker 3: of your person and you corrected it. You're in your

340
00:17:27,320 --> 00:17:29,800
Speaker 3: moment you were, and then your voice cracked.

341
00:17:29,880 --> 00:17:32,440
Speaker 1: I love that part, that part. Yes, there are other

342
00:17:32,520 --> 00:17:34,040
Speaker 1: parts of that scene that I'm like, I could have

343
00:17:34,080 --> 00:17:40,840
Speaker 1: done better, okay, but the thing that also amazing, I mean,

344
00:17:40,960 --> 00:17:41,560
Speaker 1: and I think.

345
00:17:42,720 --> 00:17:44,920
Speaker 3: And the fact that we were able to swing that

346
00:17:46,400 --> 00:17:50,560
Speaker 3: storyline over to carry and have it be a carry.

347
00:17:50,280 --> 00:17:53,400
Speaker 2: Aiden thing forgotten and like how a moment of.

348
00:17:54,960 --> 00:17:59,320
Speaker 3: Shame which is always so important, Yes, when a character

349
00:17:59,400 --> 00:18:03,240
Speaker 3: suddenly real I'm ashamed of something, right, and then they

350
00:18:03,240 --> 00:18:06,800
Speaker 3: have to admit it, right, and then Corbett's so open,

351
00:18:06,920 --> 00:18:09,120
Speaker 3: and then the weird trick of don't tell.

352
00:18:09,520 --> 00:18:14,200
Speaker 2: There's a lot of great together, like great, get them apart,

353
00:18:14,240 --> 00:18:15,200
Speaker 2: They're all great.

354
00:18:15,280 --> 00:18:17,040
Speaker 1: Yes, it's so great. And the thing that I was

355
00:18:17,040 --> 00:18:18,840
Speaker 1: thinking about with that, which we've been you know, this

356
00:18:18,880 --> 00:18:20,800
Speaker 1: whole season, I'm like, what would Michael Patrick say about

357
00:18:20,880 --> 00:18:22,359
Speaker 1: X or Y or Z for your hair now? So

358
00:18:22,400 --> 00:18:24,520
Speaker 1: I'm gonna ask you when.

359
00:18:24,680 --> 00:18:26,280
Speaker 5: So with the Aiden in general, I have a lot

360
00:18:26,280 --> 00:18:28,280
Speaker 5: of feeling opinions about X Y and.

361
00:18:28,640 --> 00:18:31,840
Speaker 1: Thank God, that's why we love you so one of

362
00:18:31,880 --> 00:18:37,280
Speaker 1: the reasons when Aiden comes back, it is so fascinating,

363
00:18:37,359 --> 00:18:40,440
Speaker 1: right because like we've you know, I'm rewatching, I'm having

364
00:18:40,480 --> 00:18:43,320
Speaker 1: all different feelings about Big because it's time has passed

365
00:18:43,359 --> 00:18:45,639
Speaker 1: and whatnot, and I have a lot of different feelings

366
00:18:45,640 --> 00:18:49,040
Speaker 1: about Aiden. I love Aiden, and he's very complicated because

367
00:18:49,200 --> 00:18:52,919
Speaker 1: Corbett brings so much to him, right, and you guys

368
00:18:52,920 --> 00:18:55,600
Speaker 1: really open him up when he comes back, but he's

369
00:18:55,720 --> 00:18:58,840
Speaker 1: less like the anti Big, which is kind of how

370
00:18:58,840 --> 00:19:02,119
Speaker 1: he starts out right, But like in this particular episode too,

371
00:19:02,760 --> 00:19:06,800
Speaker 1: the complexities are just so much with He doesn't have

372
00:19:06,880 --> 00:19:11,040
Speaker 1: a lot, but it's but she's I feel her through

373
00:19:11,119 --> 00:19:14,639
Speaker 1: line in this particular season at least, is that she

374
00:19:14,840 --> 00:19:17,400
Speaker 1: feels like he wants something slightly different. You know. It's

375
00:19:17,400 --> 00:19:19,720
Speaker 1: like when she has to stop smoking the first time, right,

376
00:19:20,440 --> 00:19:22,679
Speaker 1: did you guys perceive it that way? Yes?

377
00:19:22,840 --> 00:19:23,159
Speaker 2: Got it?

378
00:19:23,240 --> 00:19:25,600
Speaker 3: He wanted a perfect image of her, got it? And

379
00:19:25,640 --> 00:19:28,600
Speaker 3: an abortion doesn't go in that so.

380
00:19:28,600 --> 00:19:31,560
Speaker 1: And would you connect it all back, like even from

381
00:19:31,600 --> 00:19:32,800
Speaker 1: the beginning when she's like, I.

382
00:19:33,040 --> 00:19:36,560
Speaker 3: Even wanted Carrie to be a certain way, and the

383
00:19:36,640 --> 00:19:39,680
Speaker 3: struggle was and it always it carried all the way

384
00:19:39,720 --> 00:19:42,439
Speaker 3: through to their eventual breakup on it just like that

385
00:19:42,680 --> 00:19:46,520
Speaker 3: that's really she wasn't ever going to be that way

386
00:19:46,800 --> 00:19:50,359
Speaker 3: interesting and he tried, and they both tried, and we

387
00:19:50,359 --> 00:19:51,920
Speaker 3: all love people, but there's.

388
00:19:51,800 --> 00:19:52,680
Speaker 2: Something in him.

389
00:19:53,760 --> 00:19:56,840
Speaker 3: He says a line when he's there in the fountain

390
00:19:56,960 --> 00:19:59,520
Speaker 3: when they're going to get after the party, and he says,

391
00:20:00,080 --> 00:20:01,359
Speaker 3: I want to get a ring on it.

392
00:20:01,440 --> 00:20:02,760
Speaker 2: I want to lock this down.

393
00:20:02,880 --> 00:20:05,119
Speaker 3: Yes, And that was a very male line that I

394
00:20:05,200 --> 00:20:08,040
Speaker 3: heard from one of the crew members, and I was like, Oh,

395
00:20:08,040 --> 00:20:10,280
Speaker 3: that's so male and so straight. Guy, you got to

396
00:20:10,320 --> 00:20:12,840
Speaker 3: lock this down, you got to get a ring on it. Yes,

397
00:20:12,880 --> 00:20:15,200
Speaker 3: And Aiden has that quality. And the great thing about

398
00:20:15,240 --> 00:20:18,800
Speaker 3: Corbett is he it's not his main color. His main

399
00:20:18,880 --> 00:20:24,320
Speaker 3: color is love and playfulness, but he brought all that

400
00:20:24,560 --> 00:20:29,919
Speaker 3: and it's sort of added to the don't disappoint me guy, right,

401
00:20:31,200 --> 00:20:35,159
Speaker 3: So I couldn't date a smoker that everybody understands. And

402
00:20:35,200 --> 00:20:38,359
Speaker 3: then that puts in Carrie's mind, I can't be with

403
00:20:38,400 --> 00:20:41,440
Speaker 3: someone who had an abortion, even though he never said it, right,

404
00:20:41,480 --> 00:20:43,800
Speaker 3: and he accepts it and she actually says to him

405
00:20:43,800 --> 00:20:47,040
Speaker 3: at that scene, which I love. What I love about

406
00:20:47,280 --> 00:20:51,320
Speaker 3: being able to write a show for years and grow

407
00:20:51,359 --> 00:20:54,679
Speaker 3: the characters, and in a city you can put so

408
00:20:54,880 --> 00:20:58,520
Speaker 3: much of real life in it, Like the idea is

409
00:20:58,640 --> 00:21:02,399
Speaker 3: I've never seen another SCET show where characters have to

410
00:21:02,480 --> 00:21:04,879
Speaker 3: wait in line for a table. So good, but then

411
00:21:04,920 --> 00:21:07,720
Speaker 3: they have to wait in line for a bar, which

412
00:21:07,720 --> 00:21:11,960
Speaker 3: then gives us the opportunity to do a cool scene

413
00:21:12,240 --> 00:21:15,320
Speaker 3: where they're drinking beer out of bottles on the street.

414
00:21:15,600 --> 00:21:18,680
Speaker 3: That idea of being able to do like how many

415
00:21:18,680 --> 00:21:21,479
Speaker 3: times have I waited and just had to wait? And

416
00:21:21,520 --> 00:21:29,119
Speaker 3: that the odd non romance part of it, the casual,

417
00:21:29,440 --> 00:21:33,520
Speaker 3: big conversation rather than the big conversation, big scene.

418
00:21:33,680 --> 00:21:35,000
Speaker 2: Yeah, you know.

419
00:21:35,040 --> 00:21:39,479
Speaker 3: And the other thing that I love about writing is

420
00:21:40,119 --> 00:21:45,600
Speaker 3: I carries man that she got pregnant from.

421
00:21:45,800 --> 00:21:48,760
Speaker 1: Oh my God, at the saloon incredible.

422
00:21:49,400 --> 00:21:50,280
Speaker 2: I worked at the.

423
00:21:52,480 --> 00:21:56,520
Speaker 3: So in that era, I was one of those waiters

424
00:21:56,520 --> 00:22:01,879
Speaker 3: at the saloon. So it was still there, and my

425
00:22:02,000 --> 00:22:04,240
Speaker 3: biggest fear was that I would still be a waiter

426
00:22:04,480 --> 00:22:06,800
Speaker 3: twenty years later. And so then we wrote a character

427
00:22:06,800 --> 00:22:08,199
Speaker 3: who was still a waiter try now.

428
00:22:08,240 --> 00:22:10,360
Speaker 1: And I was like a knife to the gut.

429
00:22:10,600 --> 00:22:12,399
Speaker 2: And here's the big personal story.

430
00:22:12,440 --> 00:22:14,800
Speaker 3: When I worked at the saloon, I was in a

431
00:22:14,880 --> 00:22:18,600
Speaker 3: day waiter, which they called ams because you came into

432
00:22:18,600 --> 00:22:19,880
Speaker 3: eleven and you worked till.

433
00:22:19,760 --> 00:22:22,760
Speaker 1: Four, got it. You did not make the big money.

434
00:22:22,840 --> 00:22:27,000
Speaker 3: The night waiters were called pms okay, and they would

435
00:22:27,080 --> 00:22:30,520
Speaker 3: come in and dump attitude on the eighth like I

436
00:22:30,560 --> 00:22:33,439
Speaker 3: would be cleaning the cappuccino thing, hitting the thing, and

437
00:22:33,480 --> 00:22:36,040
Speaker 3: the pms would come by and they would go like hi,

438
00:22:36,480 --> 00:22:36,919
Speaker 3: and I'd.

439
00:22:36,800 --> 00:22:41,400
Speaker 2: Be like, you're a waiter too, Like you're a PM,

440
00:22:41,560 --> 00:22:44,320
Speaker 2: so you're better than me. We're all still waiting on tables.

441
00:22:44,960 --> 00:22:47,439
Speaker 3: So I had this and that the saloon was a

442
00:22:47,600 --> 00:22:50,840
Speaker 3: very notoriously rough place to work.

443
00:22:51,119 --> 00:22:52,240
Speaker 2: The manager was tough.

444
00:22:52,400 --> 00:22:56,639
Speaker 3: Oh and I actually quit that restaurant because they wouldn't

445
00:22:56,720 --> 00:22:59,960
Speaker 3: let any waiters get anyone to cover for them for Christmas.

446
00:23:00,400 --> 00:23:03,359
Speaker 3: What And they said that manager put a big sign

447
00:23:03,480 --> 00:23:08,040
Speaker 3: up that said anyone who doesn't work their Christmas shift

448
00:23:08,440 --> 00:23:14,120
Speaker 3: has the pleasure of firing themselves. Oh. I was like, hmm,

449
00:23:14,119 --> 00:23:19,720
Speaker 3: waiting Christmas. So I took the tables used to be

450
00:23:19,760 --> 00:23:22,800
Speaker 3: covering butcher paper. So I took a giant ream of

451
00:23:22,840 --> 00:23:25,040
Speaker 3: butcher paper and put up over the time clock.

452
00:23:26,480 --> 00:23:30,600
Speaker 2: I have had the pleasure of firing mycel Wow.

453
00:23:30,280 --> 00:23:33,600
Speaker 3: Worked out And to this day people say, I was

454
00:23:33,600 --> 00:23:35,639
Speaker 3: at the saloon when you had the pleasure of fucking findings.

455
00:23:36,359 --> 00:23:38,040
Speaker 3: But the story is how it relates to us. As

456
00:23:38,080 --> 00:23:41,240
Speaker 3: we filmed it the saloon and I was executive producing

457
00:23:41,520 --> 00:23:45,240
Speaker 3: and sitting with next to Frankel at a table where I.

458
00:23:45,320 --> 00:23:50,160
Speaker 2: Used to fold Napkins unbeliev for the am shift, unbelievable.

459
00:23:50,560 --> 00:23:54,480
Speaker 1: This is fantastic, fantastic, beyond belief. When that guy when

460
00:23:54,520 --> 00:23:58,879
Speaker 1: she goes, you know, because I had totally forgotten carry storyline, right,

461
00:23:58,920 --> 00:24:01,000
Speaker 1: which is the joy of the rewatch, you know, you

462
00:24:01,000 --> 00:24:02,800
Speaker 1: don't remember all of it. And I was like, oh

463
00:24:02,840 --> 00:24:04,960
Speaker 1: my god, this is so good that she lies and

464
00:24:05,000 --> 00:24:07,639
Speaker 1: then she's but she's talking to us, honestly, and then

465
00:24:07,680 --> 00:24:09,240
Speaker 1: she's trying to figure out how to tell him, but

466
00:24:09,280 --> 00:24:12,000
Speaker 1: he obviously has so many quiet judgments going on, right,

467
00:24:12,160 --> 00:24:14,040
Speaker 1: they should be telling Steve, they should be doing that,

468
00:24:14,800 --> 00:24:16,560
Speaker 1: which I feel for him too, he's stuck in the

469
00:24:16,600 --> 00:24:18,639
Speaker 1: middle of it all right. And then when she goes back.

470
00:24:18,480 --> 00:24:19,960
Speaker 2: To the slote, I'm like, I should go to this

471
00:24:20,080 --> 00:24:21,879
Speaker 2: l And then I mean because.

472
00:24:21,640 --> 00:24:24,960
Speaker 1: I was around, you know, in the later eighties, right, so,

473
00:24:25,040 --> 00:24:26,840
Speaker 1: and I didn't work there, but I was a waitress

474
00:24:26,880 --> 00:24:30,119
Speaker 1: in town. I mean it was a very specific time

475
00:24:30,240 --> 00:24:32,879
Speaker 1: of the culture, you know, and we would all go

476
00:24:32,920 --> 00:24:40,119
Speaker 1: to the odeon because you know, they talk about and

477
00:24:40,160 --> 00:24:42,080
Speaker 1: he's like, no, I didn't go. But when that guy

478
00:24:42,119 --> 00:24:46,919
Speaker 1: walks out because she sits down, and I mean, you

479
00:24:47,080 --> 00:24:51,000
Speaker 1: literally are just like, oh my god, excellent casting because

480
00:24:51,000 --> 00:24:55,199
Speaker 1: he looks so sad. He's got the hair definitely, but

481
00:24:55,240 --> 00:24:59,720
Speaker 1: the hair is still there, but he's definitely worn down

482
00:24:59,800 --> 00:25:00,800
Speaker 1: right because he doesn't.

483
00:25:00,560 --> 00:25:01,960
Speaker 2: Mean it was like literally.

484
00:25:02,040 --> 00:25:05,080
Speaker 3: That is the joy of being able to write Sex

485
00:25:05,119 --> 00:25:08,080
Speaker 3: in the City when it was on HBO. Because they

486
00:25:08,080 --> 00:25:11,160
Speaker 3: were thirty minutes, no commercials. You could get a lot

487
00:25:11,200 --> 00:25:14,480
Speaker 3: of story in. Everyone could have a story, and you

488
00:25:14,520 --> 00:25:17,040
Speaker 3: could have like these sort of epic morals.

489
00:25:17,880 --> 00:25:18,520
Speaker 2: The moral of.

490
00:25:18,480 --> 00:25:22,879
Speaker 3: The story is friends. Like when Charlotte shows up with

491
00:25:23,040 --> 00:25:33,440
Speaker 3: those beautiful white hydranges, Charlotte, yay, and she says these

492
00:25:33,800 --> 00:25:37,359
Speaker 3: flowers or for whatever flowers are supposed to do in

493
00:25:37,400 --> 00:25:43,240
Speaker 3: a situation like this, she does not approve, but she

494
00:25:43,480 --> 00:25:54,600
Speaker 3: shows up and loves.

495
00:25:56,720 --> 00:25:58,880
Speaker 1: Also, the thing that was so great because I didn't

496
00:25:58,920 --> 00:26:01,159
Speaker 1: really remember that. Of course, I remember the walking on

497
00:26:01,200 --> 00:26:03,840
Speaker 1: the street scene because I think I was predominantly worried

498
00:26:03,840 --> 00:26:06,480
Speaker 1: about that scene. As my producers point out, it's the

499
00:26:06,480 --> 00:26:08,520
Speaker 1: first time that Cynthia and I have had a scene

500
00:26:08,520 --> 00:26:09,240
Speaker 1: by ourselves.

501
00:26:09,480 --> 00:26:12,840
Speaker 2: Isn't that adorable? Yes, that's a very big deal right

502
00:26:12,960 --> 00:26:14,760
Speaker 2: by design, probably well chosen.

503
00:26:15,359 --> 00:26:16,400
Speaker 1: Couldn't be more perfect.

504
00:26:16,760 --> 00:26:19,560
Speaker 2: And I remember that it was also so unique.

505
00:26:19,560 --> 00:26:23,960
Speaker 5: So unique, unheard of don't walk right and the line

506
00:26:24,680 --> 00:26:30,159
Speaker 5: she knew she was there the voiceover really yeah, yeah.

507
00:26:29,800 --> 00:26:34,119
Speaker 3: But it's a really great it's really good. And then

508
00:26:34,160 --> 00:26:36,320
Speaker 3: Maranda says, I saw you and see me.

509
00:26:36,520 --> 00:26:38,600
Speaker 1: You know what the honesty of it all is, this

510
00:26:38,640 --> 00:26:40,919
Speaker 1: is what I see when I'm watching myself in that scene,

511
00:26:41,920 --> 00:26:44,119
Speaker 1: the way it begins. See the other thing I was

512
00:26:44,119 --> 00:26:45,880
Speaker 1: thinking about because of course I did watch it last

513
00:26:45,960 --> 00:26:47,720
Speaker 1: night before bed, so then I did lay bed and

514
00:26:47,760 --> 00:26:49,440
Speaker 1: think about it a lot, because it still is very

515
00:26:49,440 --> 00:26:52,440
Speaker 1: stimulating for me, like us in general. Part of why

516
00:26:52,480 --> 00:26:54,160
Speaker 1: I love us, part of why I want to work

517
00:26:54,200 --> 00:26:57,240
Speaker 1: together until we die, is because it's over stimulating. You

518
00:26:57,280 --> 00:27:01,320
Speaker 1: know what I'm saying. It's so much, you know, it's

519
00:27:01,359 --> 00:27:04,439
Speaker 1: like all the things. It's rich and exciting, and we

520
00:27:04,520 --> 00:27:07,639
Speaker 1: know each other and you guys right like with everything,

521
00:27:07,720 --> 00:27:11,040
Speaker 1: like everyone is laying it out there, right. I love that,

522
00:27:11,200 --> 00:27:13,040
Speaker 1: and then that's what we all want, right, But then

523
00:27:13,080 --> 00:27:15,080
Speaker 1: it's also over stimulating when you're just trying to live

524
00:27:15,080 --> 00:27:19,639
Speaker 1: your life and sleep. But when I watched it, it's true,

525
00:27:19,720 --> 00:27:22,199
Speaker 1: it's true, it's true. But then yes, yes, but of

526
00:27:22,200 --> 00:27:25,639
Speaker 1: course my child's exactly Yeah, it's true, but no, I

527
00:27:25,720 --> 00:27:28,000
Speaker 1: mean it's more about just trying to do the best

528
00:27:28,000 --> 00:27:29,600
Speaker 1: that you can do with all of it right, and

529
00:27:29,960 --> 00:27:31,920
Speaker 1: some of it is great to be over stimulated because

530
00:27:31,920 --> 00:27:34,240
Speaker 1: then you're processing and you're thinking about the things and

531
00:27:34,280 --> 00:27:36,240
Speaker 1: how did this happen? And what do I remember versus

532
00:27:36,480 --> 00:27:38,520
Speaker 1: what I see when I look at it right, And

533
00:27:38,560 --> 00:27:40,920
Speaker 1: what I remember was being nervous and feeling like Cynthia

534
00:27:40,920 --> 00:27:43,920
Speaker 1: was very very there for me. And I do one

535
00:27:44,040 --> 00:27:47,199
Speaker 1: hundred percent remember the paper situation because I think Frankel

536
00:27:47,280 --> 00:27:48,359
Speaker 1: was like, oh, I want you to get the paper,

537
00:27:48,359 --> 00:27:49,560
Speaker 1: but you have you know how you have to hold

538
00:27:49,560 --> 00:27:52,000
Speaker 1: things higher on film so that everyone can see them

539
00:27:52,000 --> 00:27:54,400
Speaker 1: in the take, higher than you feel comfortable or whatever.

540
00:27:54,440 --> 00:27:55,719
Speaker 1: So I had to get it up high. I had

541
00:27:55,720 --> 00:27:56,960
Speaker 1: to get it out of my bag and get it

542
00:27:57,000 --> 00:27:59,480
Speaker 1: up high. And unlike Sarah Jessica, I'm not the most

543
00:27:59,480 --> 00:28:01,679
Speaker 1: prop I love her person in the world.

544
00:28:01,840 --> 00:28:02,280
Speaker 2: Disagree.

545
00:28:03,000 --> 00:28:05,080
Speaker 1: Oh you're adorable, but you know she always will like,

546
00:28:05,280 --> 00:28:06,360
Speaker 1: give me more, you.

547
00:28:06,280 --> 00:28:08,240
Speaker 2: Know what I mean. I'm disagree.

548
00:28:08,359 --> 00:28:14,200
Speaker 1: I mean, okay, I love you. So I'm trying to

549
00:28:14,240 --> 00:28:15,960
Speaker 1: get it out. I can see myself trying to get

550
00:28:15,960 --> 00:28:17,760
Speaker 1: it out, and I can see that it's not going perfectly,

551
00:28:17,760 --> 00:28:19,720
Speaker 1: but it's also so perfect for the scene, right is

552
00:28:19,760 --> 00:28:23,040
Speaker 1: where like you are one with the character. Yeah, and

553
00:28:23,160 --> 00:28:27,720
Speaker 1: she is so real. But then what I feel, and

554
00:28:27,800 --> 00:28:29,960
Speaker 1: I also think I did talk to I think Jenny

555
00:28:29,960 --> 00:28:34,040
Speaker 1: who wrote this episode, that that episode, this episode, we

556
00:28:34,040 --> 00:28:35,880
Speaker 1: weren't at the place in our lives where we really

557
00:28:35,960 --> 00:28:38,800
Speaker 1: knew people going through this yet, you know. And I

558
00:28:38,800 --> 00:28:40,920
Speaker 1: had said to her, I don't know if I really

559
00:28:40,920 --> 00:28:43,840
Speaker 1: did justice or whatever, and she said, you did, you did,

560
00:28:43,840 --> 00:28:45,200
Speaker 1: you did? And I was like, I don't know, and

561
00:28:45,240 --> 00:28:47,880
Speaker 1: I do feel I when I look at it, what

562
00:28:48,000 --> 00:28:51,480
Speaker 1: I see is that you're deepening Charlotte, like little by

563
00:28:51,520 --> 00:28:54,840
Speaker 1: little by little, like third season all into where like

564
00:28:55,160 --> 00:28:57,520
Speaker 1: where we break up the first time when she's on

565
00:28:57,560 --> 00:28:59,760
Speaker 1: the tennis court, you know, and she's like, I think

566
00:28:59,800 --> 00:29:00,600
Speaker 1: we should separate.

567
00:29:00,680 --> 00:29:02,480
Speaker 2: I'm just like, what, I don't remember that? Oh my god?

568
00:29:02,760 --> 00:29:07,840
Speaker 1: Like you know, it's she's struggling to manage the fact

569
00:29:07,920 --> 00:29:11,600
Speaker 1: that her vision is not what she wanted, you know,

570
00:29:11,720 --> 00:29:12,280
Speaker 1: which is.

571
00:29:12,200 --> 00:29:15,520
Speaker 2: A big and these aren't little obstacles.

572
00:29:15,000 --> 00:29:17,160
Speaker 1: No, they're huge obstacles. But she's going to try to

573
00:29:17,240 --> 00:29:19,440
Speaker 1: keep it together, and so she doesn't have her feelings

574
00:29:19,440 --> 00:29:22,160
Speaker 1: that was her job, exactly. And that's what I see

575
00:29:22,200 --> 00:29:24,600
Speaker 1: in the show exactly. And that's what I see in

576
00:29:24,640 --> 00:29:27,680
Speaker 1: this scene, right, is like she's walking along looking kind

577
00:29:27,720 --> 00:29:30,880
Speaker 1: of depressed but not devastated. And I'm thinking, why did

578
00:29:30,920 --> 00:29:32,640
Speaker 1: I make that choice? And I'm sure that no one

579
00:29:32,680 --> 00:29:34,960
Speaker 1: really wanted me to look devastated walking down the street, right,

580
00:29:35,000 --> 00:29:37,960
Speaker 1: And also, is it Charlotte to look at what?

581
00:29:38,040 --> 00:29:39,400
Speaker 2: Okay, excellent, it looked like you.

582
00:29:39,400 --> 00:29:42,800
Speaker 3: Came from a plane crash but survived.

583
00:29:42,960 --> 00:29:45,400
Speaker 1: Excellent. Okay, that's great, Michael. This is why I need

584
00:29:45,440 --> 00:29:46,120
Speaker 1: you around.

585
00:29:45,960 --> 00:29:48,440
Speaker 2: Okay, thank god? Why because we have the ability to

586
00:29:48,480 --> 00:29:50,480
Speaker 2: alter the reea. No, because I have.

587
00:29:50,440 --> 00:29:54,440
Speaker 1: The ability to alter my mind with your insights you shocked.

588
00:29:54,640 --> 00:29:58,760
Speaker 2: It's almost like a emotional zombie.

589
00:29:58,880 --> 00:30:01,840
Speaker 1: Okay, great, Great, that's helpful. Thank you so much, Because

590
00:30:01,840 --> 00:30:06,760
Speaker 1: I'm wondering to myself, like because I do say to Miranda,

591
00:30:06,960 --> 00:30:08,920
Speaker 1: I knew it. I knew it would be, you know,

592
00:30:08,920 --> 00:30:10,360
Speaker 1: and I say it earlier too, like I've got to

593
00:30:10,360 --> 00:30:11,960
Speaker 1: make an appointment to find out because I just know

594
00:30:12,040 --> 00:30:13,160
Speaker 1: it's me, right, So.

595
00:30:13,120 --> 00:30:14,320
Speaker 2: I was like, am I playing that?

596
00:30:14,560 --> 00:30:19,840
Speaker 1: This is just you know, giving credence to my fear?

597
00:30:19,960 --> 00:30:21,480
Speaker 2: What am I playing? There, but I'm going to go

598
00:30:21,520 --> 00:30:23,360
Speaker 2: with showing everything. Here's the reality.

599
00:30:23,440 --> 00:30:26,840
Speaker 3: Tell me it was a very hard scene because you

600
00:30:27,080 --> 00:30:29,479
Speaker 3: have to break in it, and when you have an

601
00:30:29,520 --> 00:30:32,840
Speaker 3: expectation that you have to break, I don't know how

602
00:30:32,880 --> 00:30:33,360
Speaker 3: you do it.

603
00:30:33,600 --> 00:30:38,200
Speaker 2: That's the hardest part. I've seen so many moments.

604
00:30:37,760 --> 00:30:40,480
Speaker 3: Where the actor gets there and they might have had

605
00:30:40,480 --> 00:30:43,600
Speaker 3: it at rehearsal right, or and it's dried up.

606
00:30:43,720 --> 00:30:44,400
Speaker 1: Oh, it's the worst.

607
00:30:44,480 --> 00:30:46,400
Speaker 2: Yes, that's the word goes away totally.

608
00:30:46,600 --> 00:30:49,760
Speaker 3: And so you have the expectation of I'm walking into

609
00:30:49,840 --> 00:30:53,320
Speaker 3: this right, and probably you're thinking, I hope this goes well,

610
00:30:53,360 --> 00:30:55,920
Speaker 3: and Charlotte's thinking, I hope this all goes.

611
00:30:55,720 --> 00:30:59,480
Speaker 1: Well totally When there is yes, yes, all of it

612
00:30:59,600 --> 00:30:59,880
Speaker 1: all in.

613
00:31:00,040 --> 00:31:03,120
Speaker 3: And then you play the surprise of seeing Miranda in

614
00:31:03,160 --> 00:31:06,920
Speaker 3: the embarrassment of being caught right, and then the anger.

615
00:31:07,360 --> 00:31:09,080
Speaker 1: Did do you feel angered?

616
00:31:09,160 --> 00:31:10,120
Speaker 2: Yes, it's okay.

617
00:31:10,160 --> 00:31:12,280
Speaker 1: See, this is what I think is happening too. Do

618
00:31:12,320 --> 00:31:14,320
Speaker 1: you remember the seasons, which I feel like would have

619
00:31:14,320 --> 00:31:16,960
Speaker 1: been season two, where you guys, not you personally, the

620
00:31:17,000 --> 00:31:19,920
Speaker 1: writers in general, like Jenny I remember specifically telling me

621
00:31:19,960 --> 00:31:22,520
Speaker 1: like Charlotte does not get mad. Do you remember this?

622
00:31:22,840 --> 00:31:25,360
Speaker 2: No, I don't think of anybody as not getting.

623
00:31:25,040 --> 00:31:27,560
Speaker 1: Mad, right, that would be insane. Right. So then it

624
00:31:27,600 --> 00:31:30,760
Speaker 1: was kind of like Darren maybe Jenny, and and it

625
00:31:30,840 --> 00:31:34,200
Speaker 1: was more like when we were beginning and kind of

626
00:31:34,240 --> 00:31:40,320
Speaker 1: really starting from the more archetypal real archetype. Yes, yes,

627
00:31:40,960 --> 00:31:43,680
Speaker 1: and as it went we deepen deep and deepened.

628
00:31:43,800 --> 00:31:44,000
Speaker 2: Right.

629
00:31:44,160 --> 00:31:47,400
Speaker 1: And remember how many guys I went through in season two? Fantastic,

630
00:31:47,560 --> 00:31:53,160
Speaker 1: so many fantastic for sure. Definitely, Yes, that would be the.

631
00:31:53,120 --> 00:31:59,280
Speaker 3: One, because I know you're still he's still have done

632
00:31:59,320 --> 00:31:59,920
Speaker 3: your work on that.

633
00:32:00,120 --> 00:32:01,120
Speaker 2: It's true, I have not.

634
00:32:01,440 --> 00:32:05,280
Speaker 3: I'm still madam you.

635
00:32:05,280 --> 00:32:06,720
Speaker 2: You still have to work through that.

636
00:32:07,120 --> 00:32:10,840
Speaker 1: I know, because Charlotte didn't get to have her feelings

637
00:32:10,840 --> 00:32:12,840
Speaker 1: about it. That's why I have not worked through it.

638
00:32:12,880 --> 00:32:15,440
Speaker 1: Because everyone told me you cannot be mad. Charlotte doesn't

639
00:32:15,440 --> 00:32:20,040
Speaker 1: get mad, Okay, I know, it's crazy crazy.

640
00:32:20,080 --> 00:32:25,160
Speaker 3: She gets overwhelmed, she gets shut down, she can't derailed,

641
00:32:25,440 --> 00:32:30,080
Speaker 3: definitely humiliated, Definitely, she carries all of that, Yes, But

642
00:32:30,400 --> 00:32:33,160
Speaker 3: the funny thing is that she doesn't know what to

643
00:32:33,200 --> 00:32:33,720
Speaker 3: do with it.

644
00:32:33,960 --> 00:32:35,880
Speaker 1: I guess that's that's a good point. And that's that

645
00:32:36,000 --> 00:32:38,000
Speaker 1: if someone had said that to me that way, it

646
00:32:38,080 --> 00:32:40,520
Speaker 1: might have helped, because at the time, I was just like, well,

647
00:32:40,760 --> 00:32:42,760
Speaker 1: I'm just going to try to shove these feelings down,

648
00:32:43,520 --> 00:32:45,959
Speaker 1: which I guess is what she's doing right right, right

649
00:32:46,040 --> 00:32:46,640
Speaker 1: right now.

650
00:32:46,680 --> 00:32:48,520
Speaker 2: Maybe you should let go of those feelings.

651
00:32:50,200 --> 00:32:52,720
Speaker 1: I mean, I'm not believe me, this is not what's

652
00:32:52,800 --> 00:32:53,920
Speaker 1: going through in my mind.

653
00:32:53,920 --> 00:32:54,520
Speaker 2: And when I'm.

654
00:32:54,400 --> 00:32:57,880
Speaker 1: Laying maybe I don't know.

655
00:32:58,000 --> 00:33:00,360
Speaker 3: I know that you still feel so protect have had

656
00:33:00,400 --> 00:33:05,520
Speaker 3: that moment. It's like a real X. It's a rare

657
00:33:05,680 --> 00:33:11,400
Speaker 3: combination of also made him thinking should I have spoken

658
00:33:11,480 --> 00:33:12,640
Speaker 3: up for myself like that?

659
00:33:13,080 --> 00:33:16,800
Speaker 2: There's like a that's the no, it's true, and Cynthia

660
00:33:16,840 --> 00:33:17,360
Speaker 2: told me not to.

661
00:33:17,520 --> 00:33:18,240
Speaker 1: That's why I didn't.

662
00:33:18,640 --> 00:33:19,800
Speaker 2: He's right after yourself.

663
00:33:19,840 --> 00:33:23,680
Speaker 1: I did not know. Shouldn't You thought it was hysterical

664
00:33:23,960 --> 00:33:26,280
Speaker 1: and that I should not say a word, and so

665
00:33:26,360 --> 00:33:27,800
Speaker 1: I didn't, but I wanted to.

666
00:33:28,440 --> 00:33:29,880
Speaker 2: And then that guy himself may be.

667
00:33:29,960 --> 00:33:31,520
Speaker 1: Met so it all?

668
00:33:32,400 --> 00:33:33,920
Speaker 2: Or did he he did?

669
00:33:34,000 --> 00:33:35,000
Speaker 1: I'll tell you what he did.

670
00:33:35,320 --> 00:33:36,040
Speaker 2: This is what he did.

671
00:33:36,320 --> 00:33:38,000
Speaker 1: He you're trying to save him that he was.

672
00:33:38,040 --> 00:33:39,320
Speaker 2: Just trying to say he did his job.

673
00:33:39,600 --> 00:33:42,000
Speaker 1: Oh, he did his job, but what he did he didn't.

674
00:33:42,320 --> 00:33:44,280
Speaker 2: Here on this guy, we are because you better get

675
00:33:44,280 --> 00:33:44,720
Speaker 2: it together.

676
00:33:44,880 --> 00:33:45,920
Speaker 1: I don't even know his name.

677
00:33:48,040 --> 00:33:48,960
Speaker 2: Hold on to a bridge.

678
00:33:49,000 --> 00:33:51,600
Speaker 3: We should find out that dear act should find out,

679
00:33:52,680 --> 00:33:55,080
Speaker 3: since he is now your nemesis.

680
00:33:55,160 --> 00:33:59,720
Speaker 2: There's one of them. He wanted.

681
00:33:59,720 --> 00:34:02,320
Speaker 1: He that Nicole was directing that Nicole hol Offtner. She

682
00:34:02,360 --> 00:34:07,360
Speaker 1: did his side first, irritating Okay. Then it was lunch,

683
00:34:07,680 --> 00:34:10,279
Speaker 1: so he had shouted at me. She kept telling him

684
00:34:10,280 --> 00:34:12,680
Speaker 1: to shout louder and to be closer to my face.

685
00:34:13,200 --> 00:34:15,719
Speaker 1: So those were the two directions she gave him, which

686
00:34:15,760 --> 00:34:16,080
Speaker 1: I was like.

687
00:34:16,160 --> 00:34:19,439
Speaker 3: Nicole, okay, Like, let's talk about the evolution of you.

688
00:34:20,000 --> 00:34:24,240
Speaker 3: I'm not jumping, I'm jumping forward so many years, okay, great,

689
00:34:24,400 --> 00:34:28,160
Speaker 3: to the evolution of you feeling that you can't express

690
00:34:28,200 --> 00:34:30,640
Speaker 3: yourself about a thing to the.

691
00:34:30,719 --> 00:34:34,840
Speaker 2: Day on in just like that where.

692
00:34:37,120 --> 00:34:42,280
Speaker 3: Harry was maybe going to get hard after the whole

693
00:34:42,320 --> 00:34:45,399
Speaker 3: thing and he couldn't get hard. He still wasn't hard

694
00:34:45,800 --> 00:34:47,160
Speaker 3: and you had to give him a hand job.

695
00:34:47,239 --> 00:34:49,960
Speaker 1: Final season or was the season okay.

696
00:34:50,320 --> 00:34:52,640
Speaker 3: Had to give a hand job? Not written that way,

697
00:34:52,960 --> 00:34:57,200
Speaker 3: Oh it was. They make love and then we don't

698
00:34:57,239 --> 00:35:01,440
Speaker 3: know how. We know that it didn't happen because, to

699
00:35:01,520 --> 00:35:04,200
Speaker 3: be quite frank, he's inside of her.

700
00:35:04,719 --> 00:35:05,360
Speaker 2: We don't know what.

701
00:35:05,800 --> 00:35:06,799
Speaker 1: Yes, this was a little bit.

702
00:35:07,680 --> 00:35:13,600
Speaker 3: We had a new uh our. Our intimacy coordinator was unpregnant.

703
00:35:13,680 --> 00:35:17,759
Speaker 2: Adam. Yes, we had a new one who was from.

704
00:35:17,640 --> 00:35:23,279
Speaker 3: England and very concerned about her actress and through the

705
00:35:23,360 --> 00:35:26,040
Speaker 3: lens anyway. I came in as the director at five

706
00:35:26,160 --> 00:35:29,880
Speaker 3: am and realized, oh, no, that's not going to be funny.

707
00:35:30,040 --> 00:35:32,279
Speaker 3: It's just going to be another scene. It has to

708
00:35:32,320 --> 00:35:35,560
Speaker 3: be a hand job, and you have to be fully

709
00:35:35,560 --> 00:35:36,680
Speaker 3: clothed and giving a hand job.

710
00:35:36,719 --> 00:35:37,959
Speaker 2: And I came up to you first thing.

711
00:35:37,880 --> 00:35:42,120
Speaker 3: In the set where about the rivers, said Kristen, I've

712
00:35:42,120 --> 00:35:45,200
Speaker 3: been thinking I think you're giving him a hand job

713
00:35:45,239 --> 00:35:48,279
Speaker 3: instead of making love. And she was like what what,

714
00:35:48,800 --> 00:35:52,359
Speaker 3: wait what? And I was like it's a hand job.

715
00:35:52,480 --> 00:35:54,440
Speaker 3: And you're like, wait, what does that mean? What are

716
00:35:54,480 --> 00:35:57,439
Speaker 3: you showing? And I was like, I'm showing from here

717
00:35:57,560 --> 00:36:04,280
Speaker 3: up your arm? And okay, all right, good?

718
00:36:04,719 --> 00:36:05,319
Speaker 1: Did I do it?

719
00:36:05,440 --> 00:36:08,319
Speaker 3: Yeah, big dialogue. I said to you, this is how

720
00:36:08,360 --> 00:36:10,799
Speaker 3: it goes. I think it'll be funnier. You go, it

721
00:36:10,840 --> 00:36:14,640
Speaker 3: will be okay. And then the woman said, I don't

722
00:36:14,680 --> 00:36:19,279
Speaker 3: have the paperwork for a hand job, and you said

723
00:36:19,480 --> 00:36:21,319
Speaker 3: we're fine, and she goes, no, I need to have

724
00:36:21,360 --> 00:36:25,560
Speaker 3: the paperwork, so you were fine, and we don't need

725
00:36:25,560 --> 00:36:27,919
Speaker 3: the paperwork, so then we had to do a quick

726
00:36:27,960 --> 00:36:30,880
Speaker 3: paperwork and you had to sign off. But it's a

727
00:36:31,239 --> 00:36:34,960
Speaker 3: long way feeling in a box that you couldn't have

728
00:36:35,000 --> 00:36:35,640
Speaker 3: your feelings.

729
00:36:35,719 --> 00:36:38,160
Speaker 1: That's true, but you know what that is about. That

730
00:36:38,360 --> 00:36:43,600
Speaker 1: is about you and our incredible long relationship.

731
00:36:43,920 --> 00:36:52,719
Speaker 2: True, true, and also about you understanding what's better for

732
00:36:52,760 --> 00:36:53,520
Speaker 2: the scene.

733
00:36:53,760 --> 00:36:57,480
Speaker 1: For sure, for sure, just because I trust you, you know,

734
00:36:57,520 --> 00:36:59,880
Speaker 1: so it's about trust and de filop.

735
00:37:00,160 --> 00:37:00,600
Speaker 2: I trust you.

736
00:37:00,680 --> 00:37:04,040
Speaker 1: That's why I can say with this, let's do this.

737
00:37:04,080 --> 00:37:05,719
Speaker 2: If it doesn't work, I won't use it for people.

738
00:37:05,800 --> 00:37:07,239
Speaker 3: And it was great, it was funny, and it was

739
00:37:07,280 --> 00:37:10,640
Speaker 3: the thing we do better, which is comedy, sex.

740
00:37:12,680 --> 00:37:18,000
Speaker 1: Whatever. Totally simulated, definitely, definitely, definitely, and I do totally.

741
00:37:18,000 --> 00:37:20,560
Speaker 1: I don't need to see that again or acted again,

742
00:37:20,920 --> 00:37:22,520
Speaker 1: you know what I'm saying, Not for you, for anyone,

743
00:37:22,800 --> 00:37:24,239
Speaker 1: So like, well.

744
00:37:24,200 --> 00:37:26,360
Speaker 3: It's important maybe in something, maybe you'll do have to

745
00:37:26,400 --> 00:37:30,960
Speaker 3: do it, but the reality is h never say she's open,

746
00:37:32,640 --> 00:37:35,400
Speaker 3: all your writers, directors, She's still open. She's a wonderful

747
00:37:35,440 --> 00:37:38,480
Speaker 3: person to work with in simulated sex situations.

748
00:37:39,000 --> 00:37:42,280
Speaker 1: You're so sweet thinking about my career that's so sweet, so.

749
00:37:42,160 --> 00:37:45,160
Speaker 3: Sweet, But yeah, I just wanted to draw a line

750
00:37:45,200 --> 00:37:46,520
Speaker 3: from you know.

751
00:37:46,520 --> 00:37:48,400
Speaker 1: You're absolutely right, You're absolutely.

752
00:37:48,040 --> 00:37:51,520
Speaker 3: Right, which is what happens when the series really is allowed.

753
00:37:51,960 --> 00:37:54,319
Speaker 3: I agree to exist and the people are there for

754
00:37:54,360 --> 00:37:57,040
Speaker 3: each other and love each other. And that's what's so

755
00:37:57,080 --> 00:38:00,640
Speaker 3: great about this episode. It just screams of growth.

756
00:38:01,280 --> 00:38:05,400
Speaker 1: Yes, all right everyone, thanks for joining us, and are

757
00:38:05,440 --> 00:38:07,640
Speaker 1: you a Charlotte. We are going to be back with

758
00:38:07,840 --> 00:38:10,239
Speaker 1: more Michael Patrick King because when he's here, we could

759
00:38:10,239 --> 00:38:12,920
Speaker 1: really talk for a long time. So please join us

760
00:38:12,960 --> 00:38:18,680
Speaker 1: again later this week. Thanks everybody,