WEBVTT - Don't Cheat on Your Realtor with Caroline Aaron...

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<v Speaker 1>Hi, I'm Kristin Davis, and I want to know are

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<v Speaker 1>you a Charlotte? Hi? Everybody, welcome to Are you a Charlotte? Today?

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<v Speaker 1>We have a really fun guest is Caroline Aaron, who

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<v Speaker 1>was in the first season. She is an incredible actress

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<v Speaker 1>who has done Broadway film, She's worked with amazing directors

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<v Speaker 1>and so many incredible parts on television. She's incredible. We

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<v Speaker 1>have a great conversation. We talk about Michael Patrick King,

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<v Speaker 1>who she's known forever and loves. So please join us

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<v Speaker 1>for a fun talk with Caroline Erin. Welcome. Welcome, Caroline Aaron.

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<v Speaker 1>I'm so excited to have you, so exciting to you.

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<v Speaker 1>Oh you're so sweet. We I mean, first of all,

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<v Speaker 1>when they printed out your look at the number of

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<v Speaker 1>papers I have about your resume. My good lord, I

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<v Speaker 1>don't even know where to start, but we're going to

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<v Speaker 1>start with sex and the City because I swear were you.

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<v Speaker 1>But I mean, there's so many things I could talk

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<v Speaker 1>to you about. Your career is so amazing, which I

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<v Speaker 1>knew but now I really really know. And props. Okay,

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<v Speaker 1>thank you sweet are it's so so so nice. So

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<v Speaker 1>tell me. I love to ask people what they remember

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<v Speaker 1>this would have been what nineteen ninety eight?

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<v Speaker 2>Was that the first season?

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<v Speaker 1>Yep, you were on the first season.

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<v Speaker 2>Wait, you're wow? I know wow. And I'm only thirty

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<v Speaker 2>so that was twenty so I must have been three,

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<v Speaker 2>So I mus have been three years old.

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<v Speaker 1>Yeah. We were all little babies, all of us.

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<v Speaker 2>Much little babies. Yes, this is what I remember. Of

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<v Speaker 2>many things that I remember, I remember meeting Sarah. I

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<v Speaker 2>had never met her before. Okay, I think I said

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<v Speaker 2>to her, do you have all the same number of

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<v Speaker 2>organs that I have? Because I could. She was so

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<v Speaker 2>tiny that I thought she can't also have a gallbladder

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<v Speaker 2>and a pancreas that little ribcage.

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<v Speaker 1>She's tiny.

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<v Speaker 2>Yeah, she was itty bitty. So that was like really different.

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<v Speaker 2>And I knew all that, you know, I'd met Michael

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<v Speaker 2>Patrick King doing a play that he wrote. Oh which

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<v Speaker 2>one it was, I don't even know what the name

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<v Speaker 2>of this play was, but it was from a long

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<v Speaker 2>time ago before he was mattress Michael Patrick King, and

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<v Speaker 2>I was sitting on a white bench popping up and

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<v Speaker 2>down in Culver City. He'll wow. And then I knew

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<v Speaker 2>Darren and I knew Andrea King, who was a writer

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<v Speaker 2>during that first season, but I didn't know, if you

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<v Speaker 2>ladies right, it was sort of right at the beginning.

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<v Speaker 2>And I'm thinking when I first got there, I was

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<v Speaker 2>in New York City during my salad days in that

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<v Speaker 2>and I went, Wow, I wish I'd had the life

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<v Speaker 2>these girls had when I was in New York.

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<v Speaker 1>But listen, I felt the same way because I was

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<v Speaker 1>also in New York City when I was an actress waitress.

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<v Speaker 1>So I was like, this, this is the life, and

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<v Speaker 1>I'm just going to try to pretend like this is

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<v Speaker 1>my life because it felt very surreal. You know. So

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<v Speaker 1>you knew Michael Patrick years before.

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<v Speaker 2>Yes, years before, I knewhim, and I think I knew Darren.

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<v Speaker 2>I mean they just asked me. So it was hot

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<v Speaker 2>off the press, so nobody knew it was Sex and

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<v Speaker 2>the City.

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<v Speaker 1>Uh huh oh no, you just go, Okay.

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<v Speaker 2>I just want to be there for my friends that

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<v Speaker 2>are working on something new. It's got an incredible cast

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<v Speaker 2>with the four of you, and I don't think Evan

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<v Speaker 2>Handler was on it.

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<v Speaker 1>Then, No, not yet. Harry had not shown up. Yet.

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<v Speaker 2>Harry hadn't shown up. I did a Broadway show with it.

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<v Speaker 2>So now that you guys have been on for so

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<v Speaker 2>long and done so much. I probably know almost everybody

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<v Speaker 2>who's ever been on it.

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<v Speaker 1>Ah. I love that well you I think you have

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<v Speaker 1>worked with everyone in the industry for sure. What play

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<v Speaker 1>did you do with Evan?

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<v Speaker 2>A play called I Hate Hamlet?

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<v Speaker 1>Oh yeah, yeah, I heard of that. Yeah, oh wow, wow,

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<v Speaker 1>I'm going to talk to him about that. Now. This

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<v Speaker 1>is what I love so much about you. Like, as

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<v Speaker 1>much as you are a brilliant character actress, where you

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<v Speaker 1>can do Broadway film, Woody Allen, Mike Nichols, television, vintage

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<v Speaker 1>you know, period pieces, blah blah blah, everything, you are

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<v Speaker 1>also very specifically you like your voice alone is like

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<v Speaker 1>so evocative, Like I just hear your voice and it's

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<v Speaker 1>very powerful. So when Mazel came on, I was like,

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<v Speaker 1>this is like the best thing that's ever happened. We

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<v Speaker 1>just get so much Caroline, which I really love.

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<v Speaker 2>Right, I have to say that was the gift that

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<v Speaker 2>keeps on giving and so special, very special and very exciting.

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<v Speaker 2>And you know, because I'd worked with so many great,

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<v Speaker 2>great film directors who were all tours starting with I

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<v Speaker 2>think the very first Broadway play I ever did was

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<v Speaker 2>directed by Robert Altman one of the Wow filmmakers with

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<v Speaker 2>cher what Love It, and Chassy was always there and

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<v Speaker 2>that's Chaz now I understand share and Sandy Dennis and

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<v Speaker 2>Kiaren Black and directed it. So that was really exciting

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<v Speaker 2>because it was his first time sort of doing theater himself,

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<v Speaker 2>and because I've worked with so many iconic filmmakers, and

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<v Speaker 2>you know, I always say, like, tour filmmakers are different

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<v Speaker 2>because there's nothing being done by committee. It's all one vision.

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<v Speaker 2>You die on that hill or you succeed on that hill.

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<v Speaker 2>And then when I got in Mazel, I went, oh,

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<v Speaker 2>there's a tours in television too, and you are a

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<v Speaker 2>part of a show that has a television a tour,

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<v Speaker 2>and so was I.

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<v Speaker 1>Definitely, I'm doing.

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<v Speaker 2>A lot of TV. I remember one time years ago,

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<v Speaker 2>I auditioned for something and my agents called me and said,

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<v Speaker 2>you're their first choice. And I was excited and they went, unfortunately,

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<v Speaker 2>this time they're going with their second choice.

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<v Speaker 1>Oh my god, And I went.

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<v Speaker 2>Your kid what they said, because you think about it,

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<v Speaker 2>when something's being done by committee, not everybody's going to

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<v Speaker 2>have the same first choice. So you and I have

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<v Speaker 2>to agree, we're going to throw out our first choice.

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<v Speaker 2>Then we're gonna go to our second choice or our

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<v Speaker 2>third choice, whatever it is. So when you work on

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<v Speaker 2>a show like Sex and the City or Mazel or whatever,

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<v Speaker 2>it's one person's vision and that's pretty exciting.

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<v Speaker 1>I agree, I agree totally. And I don't know, I

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<v Speaker 1>don't know if people really realize that in a way.

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<v Speaker 1>I mean, I think true fans realize that, you know,

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<v Speaker 1>but I don't know if everyone does. And I sometimes

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<v Speaker 1>wonder if everyone realizes that. I mean, for us also,

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<v Speaker 1>it's been amazing to also have this length of time

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<v Speaker 1>working together. You know, it's very unusual obviously, and we

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<v Speaker 1>have a lot of input, which is great. But it

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<v Speaker 1>is still Michael Patrick's vision.

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<v Speaker 2>You know, Yes, you're dealing with one person who has this,

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<v Speaker 2>and you know, I love him and I tested for

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<v Speaker 2>a bunch of shows, you know, he did a bunch

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<v Speaker 2>of shows before you did your show. And but he

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<v Speaker 2>the reason he I think, once he became even like

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<v Speaker 2>mildly successfully, he either rented or bought this theater in

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<v Speaker 2>Culver City because he wanted doing work. He wanted to

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<v Speaker 2>keep turning over the soil of his own artistic imagination.

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<v Speaker 2>And then you guys snatched him up and kept him.

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<v Speaker 1>Ahha, we kept him. But then he did Two Broke Girls,

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<v Speaker 1>which you were also on.

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<v Speaker 2>Oh it's right, that was Michael's. Oh that's right, that

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<v Speaker 2>was right, right, right, right, right, so fun.

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<v Speaker 1>I mean, you do everything like you do multi cam.

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<v Speaker 1>It's very impressive. What is your favorite?

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<v Speaker 2>Well, I just closed in an off Broadway play here

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<v Speaker 2>and I had and it was just a two hander

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<v Speaker 2>and it was just me and this kid and for

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<v Speaker 2>two hours, and I loved it so and I went, wow,

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<v Speaker 2>I'm really working for a living now. I had no

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<v Speaker 2>when you're doing eight times a week and it's just you,

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<v Speaker 2>it's but you know, I loved it, and I would

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<v Speaker 2>have to say, it's not the what I would say,

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<v Speaker 2>the delivery system. Whether it's television single camera for camera

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<v Speaker 2>or film, indie or studio, or theater Broadway or off Broadway,

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<v Speaker 2>it's it's the part. Yeah, It's always about what is

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<v Speaker 2>the part? What are you communicating to people? And who

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<v Speaker 2>is this person? And that's always going to be my

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<v Speaker 2>favorite is whoever it is that I'm playing. If I'm

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<v Speaker 2>very turned on by that, and I like to do

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<v Speaker 2>a deep dive. I'm sort of a nuisance when you

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<v Speaker 2>work with me because I ask so many questions.

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<v Speaker 1>Haha. I love it. I love it.

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<v Speaker 2>I'm not difficult, but I'm curious.

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<v Speaker 1>Well, I think that you cannot be a good actor

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<v Speaker 1>and not be curious. I mean, that's I think possibly

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<v Speaker 1>number one.

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<v Speaker 2>I know.

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<v Speaker 1>Yeah, my question for you about choosing roles, if that's

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<v Speaker 1>the thing that's really driving you, because sometimes for me,

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<v Speaker 1>it's about the role, but sometimes it's also about who

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<v Speaker 1>you're working with, which sometimes I make a mistake that

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<v Speaker 1>way what I'm saying. But I love the like the collaboration.

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<v Speaker 1>You want to be with people that excite you creatively.

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<v Speaker 1>But also I feel sometimes when I look at different

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<v Speaker 1>things that I've done in the past, and maybe there's

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<v Speaker 1>a practical reason or whatever, but usually it's like some weird,

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<v Speaker 1>unconscious reason that I choose a role. Do you ever

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<v Speaker 1>feel that, like something in yourself that you need to

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<v Speaker 1>express or that hasn't gotten attention or light.

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<v Speaker 2>Yes, you know, I'm always going to be drawn to

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<v Speaker 2>not repeating myself, you know what I mean. It's like

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<v Speaker 2>if you were offered like in the next ten years. Charlotte, Charlotte, Charlotte, Charlotte,

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<v Speaker 2>Oh god, no, yeah, and you would go. You know what,

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<v Speaker 2>I've already played in this sandbox. I want to play

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<v Speaker 2>in another sandbox.

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<v Speaker 1>Oh for sure. Oh I've definitely taken parts just based

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<v Speaker 1>on that. It's not always a great thing, I know,

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<v Speaker 1>really yeah, no, I definitely have done that. Also because

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<v Speaker 1>I have now played Charlotte for almost thirty years, which

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<v Speaker 1>is really plenty. I love her. I would like to

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<v Speaker 1>keep going, but I don't need to do any other

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<v Speaker 1>versions of her.

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<v Speaker 2>And you get into the mountain, you know what I mean,

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<v Speaker 2>You've got to talk with this character. You don't need

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<v Speaker 2>to do that again.

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<v Speaker 1>You no, so in your mind, like with Mazel. I mean. Also,

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<v Speaker 1>part of the reason I talk about Mazel is that

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<v Speaker 1>we have a lot of the crew members from Mazel.

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<v Speaker 1>You love to remind us, do we have a lot

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<v Speaker 1>of the camera crew, and they're always like that time

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<v Speaker 1>on Mazel when we shot a three block with the

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<v Speaker 1>crane and we're like, we know, it was amazing, you

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<v Speaker 1>know what I mean, you're still you know, basking in

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<v Speaker 1>the glory basically, So I feel like we talk about it.

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<v Speaker 1>I mean also it was such a beautiful New York show,

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<v Speaker 1>you know, in a different way, in a different era.

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<v Speaker 1>But so for me like, I love that era so much.

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<v Speaker 2>I know it made me miss my mother every day.

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<v Speaker 2>I wrote that was published in a magazine. I think

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<v Speaker 2>the name of the article was called The mother Load.

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<v Speaker 2>And originally they were going to interview me about Mazel.

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<v Speaker 2>And then it's like, and I'm sure you feel this too,

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<v Speaker 2>I really am so sick of talking about myself when

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<v Speaker 2>you're doing that blot of press all at once, and

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<v Speaker 2>you just feel like, oh no, no, don't talk to

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<v Speaker 2>me about me. So then they said they offered for

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<v Speaker 2>me to write it. Well, right, So I wrote about

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<v Speaker 2>my mom, sang a mom. It was great where there

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<v Speaker 2>was an overlap between her mother ing and and Shirley

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<v Speaker 2>the character. It was putting on the clothes. It was

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<v Speaker 2>like and I kept thinking, why did I give away

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<v Speaker 2>all on my mother's clothes?

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<v Speaker 1>Oh my gosh. Yeah.

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<v Speaker 2>And you know, I don't remember it well enough. But

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<v Speaker 2>one of the sort of like iconic things about Shirley

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<v Speaker 2>was this white mank that she had all the time

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<v Speaker 2>with her, no matter if it was eighty degrees up seven,

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<v Speaker 2>and it was a real mink, and Amy wanted it

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<v Speaker 2>to be white as opposed to brown, and it went

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<v Speaker 2>fift decent they searched it out, and then a couple

0:11:31.520 --> 0:11:33.400
<v Speaker 2>of months after the show wrapped, they sent it to

0:11:33.440 --> 0:11:33.960
<v Speaker 2>me as a gift.

0:11:35.200 --> 0:11:36.120
<v Speaker 1>It's so sweet.

0:11:36.600 --> 0:11:38.280
<v Speaker 2>That's so sweet, and I go, what will I ever

0:11:38.400 --> 0:11:40.439
<v Speaker 2>do with it? But maybe it will come back in.

0:11:40.679 --> 0:11:43.760
<v Speaker 2>But it was those kinds of things, gloves, hats, all

0:11:43.800 --> 0:11:46.920
<v Speaker 2>those things that my mother always it was just her

0:11:46.960 --> 0:11:50.480
<v Speaker 2>everyday life, yeah, other things, and I think that made

0:11:50.480 --> 0:11:51.160
<v Speaker 2>me miss her.

0:11:51.840 --> 0:11:55.680
<v Speaker 1>Yeah, well, those details. I mean, that's such an interesting

0:11:55.760 --> 0:11:58.800
<v Speaker 1>thing to think about when you're playing a part, and

0:11:59.120 --> 0:12:02.680
<v Speaker 1>sometimes when you're doing something on stage. Also because I

0:12:02.679 --> 0:12:04.800
<v Speaker 1>feel like when you're doing something on stage, they really

0:12:04.800 --> 0:12:07.720
<v Speaker 1>build a costume from the ground up, you know, in

0:12:07.760 --> 0:12:10.480
<v Speaker 1>a wonderful way, which changes how you feel and how

0:12:10.480 --> 0:12:12.880
<v Speaker 1>you're moving and all of those things, which is also

0:12:13.080 --> 0:12:15.120
<v Speaker 1>true of modern clothes as well. We just kind of

0:12:15.120 --> 0:12:18.360
<v Speaker 1>take it for granted. But I feel like the details,

0:12:18.480 --> 0:12:21.640
<v Speaker 1>the details that went into those costumes amazing.

0:12:22.320 --> 0:12:26.160
<v Speaker 2>Are costume design genius. I would come in some days

0:12:26.160 --> 0:12:28.440
<v Speaker 2>and I'd go, do I have to put on the girdle?

0:12:28.520 --> 0:12:31.600
<v Speaker 2>You know, and the point you brought out because there'd

0:12:31.640 --> 0:12:33.080
<v Speaker 2>be a scene where I just be in my road

0:12:33.400 --> 0:12:34.880
<v Speaker 2>and she goes, yes, you have to put it on.

0:12:35.160 --> 0:12:36.959
<v Speaker 2>It makes you walk differently, it makes you talk to

0:12:37.240 --> 0:12:39.200
<v Speaker 2>you know what I mean. It's like, yeah, I cannot

0:12:39.240 --> 0:12:41.559
<v Speaker 2>believe that women in that aid and during that time

0:12:41.800 --> 0:12:43.719
<v Speaker 2>didn't have a lot of bladder infections. I can tell

0:12:43.720 --> 0:12:45.280
<v Speaker 2>you that because none of them I did to go

0:12:45.320 --> 0:12:46.920
<v Speaker 2>to the bathroom. There was a lot to take off.

0:12:47.320 --> 0:12:49.880
<v Speaker 1>Oh my god, I feel you. I mean I can

0:12:49.960 --> 0:12:52.920
<v Speaker 1>only imagine. Yeah, like even just for sex and the city,

0:12:52.920 --> 0:12:54.880
<v Speaker 1>there's a lot to take off. And sometimes we're in

0:12:54.920 --> 0:12:57.400
<v Speaker 1>locations and they don't have nice bathrooms and were like, you, guys,

0:12:58.200 --> 0:13:01.640
<v Speaker 1>you gotta sweep the floors because these clothes are going

0:13:01.720 --> 0:13:03.160
<v Speaker 1>to be a wreck because we got to take care

0:13:03.160 --> 0:13:05.719
<v Speaker 1>of all the layers anyway, and the belts and the

0:13:05.880 --> 0:13:09.760
<v Speaker 1>wh Yeah, yeah, but yes, I mean Mazel. But I'm sorry.

0:13:09.800 --> 0:13:11.680
<v Speaker 1>I obviously I'm a big band, So I'm just gonna

0:13:11.720 --> 0:13:13.760
<v Speaker 1>talk about Mazel. But I'll get off Mazel.

0:13:14.320 --> 0:13:16.079
<v Speaker 2>For my whole life. I loved it so much.

0:13:16.200 --> 0:13:18.520
<v Speaker 1>I'm so glad. Isn't that just such a gift. It's

0:13:18.559 --> 0:13:20.640
<v Speaker 1>such a gift to have something you guys.

0:13:20.400 --> 0:13:22.840
<v Speaker 2>Have to is that we are all in touch with

0:13:22.880 --> 0:13:26.720
<v Speaker 2>each other all the time. We will never yah and

0:13:26.760 --> 0:13:28.640
<v Speaker 2>I kept thinking to myself. I even said to Amy

0:13:28.640 --> 0:13:31.360
<v Speaker 2>and Dan once and you should ask Michael this too,

0:13:31.360 --> 0:13:34.600
<v Speaker 2>because I don't know the answer. Did they cast chemistry

0:13:35.240 --> 0:13:38.040
<v Speaker 2>for us and all those people? I mean, it was

0:13:38.120 --> 0:13:39.720
<v Speaker 2>unbelievable and they didn't.

0:13:39.840 --> 0:13:41.240
<v Speaker 1>It was just so amazing.

0:13:41.760 --> 0:13:44.160
<v Speaker 2>They just looked out And we still are all very

0:13:44.240 --> 0:13:46.960
<v Speaker 2>much each other's family, creative.

0:13:46.520 --> 0:13:49.600
<v Speaker 1>Family, absolutely, I mean for us. They also we didn't

0:13:49.640 --> 0:13:52.880
<v Speaker 1>read together anything like that. I've never met Sarah Jessica,

0:13:52.960 --> 0:13:55.640
<v Speaker 1>I had never met Cynthia. I've met Kim briefly. But

0:13:56.920 --> 0:14:00.200
<v Speaker 1>it is just such a very very unusual situation and

0:14:00.240 --> 0:14:02.880
<v Speaker 1>where and I mean, this is our job, right, Like

0:14:02.920 --> 0:14:04.960
<v Speaker 1>our job is to go onto a set and to

0:14:05.000 --> 0:14:08.319
<v Speaker 1>make that work, you know, to connect, but it doesn't

0:14:08.320 --> 0:14:09.960
<v Speaker 1>always work the way you want it, to write, like

0:14:10.000 --> 0:14:11.920
<v Speaker 1>you can try and try and try, and sometimes you

0:14:12.000 --> 0:14:15.800
<v Speaker 1>still don't have that like kind of frision, you.

0:14:15.800 --> 0:14:19.240
<v Speaker 2>Know, doubt and yes you're right. I remember when I

0:14:19.280 --> 0:14:20.800
<v Speaker 2>was studying when I first came to New York, I

0:14:20.800 --> 0:14:22.920
<v Speaker 2>was studying with the great Uda Hagen, and one of

0:14:22.960 --> 0:14:27.480
<v Speaker 2>the big questions was, so I'm in a scene and

0:14:27.520 --> 0:14:29.520
<v Speaker 2>it's a love scene, and I hate the guy I'm with.

0:14:29.680 --> 0:14:32.480
<v Speaker 2>I just hate him. I hate what he's doing on Uda.

0:14:32.560 --> 0:14:36.480
<v Speaker 2>What do you do? She said, you know you use

0:14:36.560 --> 0:14:38.640
<v Speaker 2>the magic if it says if he's the love of

0:14:38.680 --> 0:14:40.800
<v Speaker 2>your life, it'says if you can't wait to get your

0:14:40.800 --> 0:14:44.560
<v Speaker 2>hands on him. Sometimes that works, sometimes that doesn't. And

0:14:44.600 --> 0:14:46.080
<v Speaker 2>if you can't make it work, you have to quit

0:14:46.680 --> 0:14:50.760
<v Speaker 2>because you can't let you can't legislate another actor's performance.

0:14:51.040 --> 0:14:54.040
<v Speaker 2>I'm sure you know urse you've tried to legislate what

0:14:54.080 --> 0:14:56.680
<v Speaker 2>you're doing. I would never do that to another actor.

0:14:56.720 --> 0:14:57.800
<v Speaker 2>It's certainly been done.

0:14:57.600 --> 0:15:00.840
<v Speaker 1>To me me too, right.

0:15:00.680 --> 0:15:03.760
<v Speaker 2>Haven't you been to it? Yeah? I'm like, okay, you know.

0:15:03.960 --> 0:15:07.040
<v Speaker 1>Usually by men, by me, by male actors.

0:15:06.840 --> 0:15:10.560
<v Speaker 2>Male actors saying things to me, I will be nameless.

0:15:10.560 --> 0:15:12.760
<v Speaker 2>But I was doing a movie and the actor came

0:15:12.840 --> 0:15:15.320
<v Speaker 2>up to me and said, you know, if you if

0:15:15.320 --> 0:15:18.360
<v Speaker 2>you make it very real, little be funnier, and I went, really,

0:15:18.560 --> 0:15:20.840
<v Speaker 2>thank you so much for that tip. I'm going to use.

0:15:20.880 --> 0:15:23.880
<v Speaker 1>My god. I was like, oh my god, I had this.

0:15:24.000 --> 0:15:27.480
<v Speaker 1>I've had two actors say this to me kind of early,

0:15:27.640 --> 0:15:31.160
<v Speaker 1>like like maybe the first week where you know you're

0:15:31.200 --> 0:15:33.920
<v Speaker 1>you've got some scene, and these were roles where I'm

0:15:33.960 --> 0:15:36.160
<v Speaker 1>like the mom right. So you're usually in a kitchen,

0:15:36.200 --> 0:15:38.920
<v Speaker 1>you know those kitchen scenes. We have all these props,

0:15:39.000 --> 0:15:42.760
<v Speaker 1>but you're you have like little kind of inconsequential dialogue

0:15:43.200 --> 0:15:46.040
<v Speaker 1>and the actor has the main he's driving the scene,

0:15:46.040 --> 0:15:48.160
<v Speaker 1>and so you're just trying to be real, as you said,

0:15:48.440 --> 0:15:50.160
<v Speaker 1>and do your best that you can do, and you're

0:15:50.200 --> 0:15:53.720
<v Speaker 1>actually rehearsing. So I was rehearsing the prop work and

0:15:53.800 --> 0:15:56.880
<v Speaker 1>the actor is standing maybe three feet from me in

0:15:56.920 --> 0:15:58.960
<v Speaker 1>terms of the director and says she's not going to

0:15:59.000 --> 0:15:59.880
<v Speaker 1>do it like that is she?

0:16:00.640 --> 0:16:01.480
<v Speaker 2>Oh my god?

0:16:02.160 --> 0:16:06.359
<v Speaker 1>And I'm just like, oh my god. I was like, ah,

0:16:06.400 --> 0:16:10.240
<v Speaker 1>I was rehearsing, Hello, I can hear you, and I

0:16:10.280 --> 0:16:13.720
<v Speaker 1>was rehearsing and we ended up getting along great. But

0:16:14.000 --> 0:16:15.840
<v Speaker 1>in the beginning, I mean, it does scare you, like,

0:16:15.920 --> 0:16:17.880
<v Speaker 1>oh God, Jesus, is the whole job going to be

0:16:17.960 --> 0:16:20.440
<v Speaker 1>like this? Yeah, but that's good to know.

0:16:21.240 --> 0:16:25.240
<v Speaker 2>I would never say anything to another actor. So we

0:16:25.240 --> 0:16:28.240
<v Speaker 2>were really really lucky on Mazel that the chemistry we

0:16:28.280 --> 0:16:31.600
<v Speaker 2>got for free we did it was just there. We

0:16:31.680 --> 0:16:34.520
<v Speaker 2>cared about each other and we see each other now

0:16:34.560 --> 0:16:37.520
<v Speaker 2>all the time. And the opening up the play I

0:16:37.560 --> 0:16:40.680
<v Speaker 2>just did off Broadway, my pretend son Michael Zigan was

0:16:40.680 --> 0:16:45.200
<v Speaker 2>there with my real the son of the play. So wow,

0:16:46.120 --> 0:16:48.560
<v Speaker 2>my three sons all standing there. It was really crazy.

0:16:48.640 --> 0:16:50.600
<v Speaker 1>Oh I love it. I love it so much. Rachel

0:16:50.720 --> 0:16:52.560
<v Speaker 1>is so nice. I see her at event. She's so

0:16:52.720 --> 0:16:55.200
<v Speaker 1>lovely and I'm so looking forward to Superman. I feel

0:16:55.200 --> 0:16:56.600
<v Speaker 1>like she is the star of Superman.

0:16:56.880 --> 0:16:59.280
<v Speaker 2>It is and let me just say, you know, it

0:16:59.360 --> 0:17:01.440
<v Speaker 2>starts with the umber one on the call sheet, and

0:17:01.760 --> 0:17:03.560
<v Speaker 2>I kept thinking, why is this working so well? But

0:17:04.000 --> 0:17:06.560
<v Speaker 2>I'll tell you, and it was Rachel's that it was

0:17:06.600 --> 0:17:09.520
<v Speaker 2>all of our attitudes. The project was more important than

0:17:09.560 --> 0:17:13.400
<v Speaker 2>any single one of us. So everybody was bringing their

0:17:13.440 --> 0:17:16.760
<v Speaker 2>A game to the material and so that was the

0:17:16.800 --> 0:17:17.560
<v Speaker 2>star of the show.

0:17:17.680 --> 0:17:20.439
<v Speaker 1>The show, Well, that's what we wanted, that's what we

0:17:20.560 --> 0:17:22.240
<v Speaker 1>tried our best to do.

0:17:22.480 --> 0:17:25.560
<v Speaker 2>I mean, I think you did. Thank you by it

0:17:25.760 --> 0:17:29.040
<v Speaker 2>because where you are you're still going Massie.

0:17:28.920 --> 0:17:33.080
<v Speaker 1>That's right, which we're just so incredibly lucky. Like do

0:17:33.119 --> 0:17:35.800
<v Speaker 1>you ever think about your whole career and like when

0:17:35.840 --> 0:17:38.480
<v Speaker 1>you were starting, what was your biggest dream er? What

0:17:38.600 --> 0:17:41.159
<v Speaker 1>was your fantasy version of your career?

0:17:41.400 --> 0:17:44.399
<v Speaker 2>My fantasy version hasn't happened yet. Can't wait for it.

0:17:44.480 --> 0:17:46.840
<v Speaker 1>Oh, I love that, Okay, do you want to put

0:17:46.840 --> 0:17:47.840
<v Speaker 1>it out there? What is it?

0:17:47.920 --> 0:17:49.800
<v Speaker 2>I lived in La you know, for twenty four years,

0:17:49.800 --> 0:17:52.360
<v Speaker 2>and I said until I came back to New York

0:17:52.359 --> 0:17:55.000
<v Speaker 2>for Meson, what I used to say, what I want

0:17:55.040 --> 0:17:57.399
<v Speaker 2>for my career is to know where my parking place is.

0:17:57.840 --> 0:17:59.199
<v Speaker 2>So I just want, you know what I mean? It

0:17:59.280 --> 0:18:02.359
<v Speaker 2>was like, I just pray for them. I just pray

0:18:04.240 --> 0:18:08.800
<v Speaker 2>I would I think I would like to be on

0:18:08.920 --> 0:18:13.879
<v Speaker 2>a successful, important, interesting TV series for a number of

0:18:13.960 --> 0:18:16.840
<v Speaker 2>years I've never done. I mean, I did that with Masiel,

0:18:17.560 --> 0:18:19.440
<v Speaker 2>really great, and I would like to have that back

0:18:19.520 --> 0:18:21.680
<v Speaker 2>because it's like being a school teacher. You have three

0:18:21.680 --> 0:18:24.480
<v Speaker 2>months off in the summer. You can do other things

0:18:24.920 --> 0:18:28.400
<v Speaker 2>that you really really want to do. And although what's

0:18:28.440 --> 0:18:31.560
<v Speaker 2>going on in our business now is very complicated.

0:18:31.000 --> 0:18:33.280
<v Speaker 1>Oh my god, Yeah, this is chaos.

0:18:33.640 --> 0:18:36.560
<v Speaker 2>It's just unbelievable, and who knows where this is all

0:18:36.600 --> 0:18:39.480
<v Speaker 2>gonna land. But I just keep thinking, you know, artists

0:18:39.520 --> 0:18:42.280
<v Speaker 2>are the witnesses and it will be our footprints in

0:18:42.280 --> 0:18:44.520
<v Speaker 2>the snow that a one hundred years from now people

0:18:44.560 --> 0:18:47.280
<v Speaker 2>will follow and say they'll be watching your show to

0:18:47.320 --> 0:18:50.080
<v Speaker 2>try and put together what was it like to be

0:18:50.680 --> 0:18:51.280
<v Speaker 2>like then?

0:18:51.840 --> 0:18:54.400
<v Speaker 1>This is why I'm doing the podcast because I thought

0:18:54.440 --> 0:18:57.560
<v Speaker 1>to myself, you know, we've been incredibly lucky and blessed

0:18:57.560 --> 0:18:59.600
<v Speaker 1>to be a part of this thing. And many other

0:18:59.640 --> 0:19:02.480
<v Speaker 1>people have shared their thoughts about the show and the

0:19:02.520 --> 0:19:04.520
<v Speaker 1>people on the show and what they think went on

0:19:04.640 --> 0:19:06.760
<v Speaker 1>or didn't go on. But I thought, why shouldn't we

0:19:06.920 --> 0:19:09.760
<v Speaker 1>share our own thoughts and memories. So there's like a

0:19:09.800 --> 0:19:13.439
<v Speaker 1>time capsule because things are changing so rapidly, you know.

0:19:14.040 --> 0:19:17.720
<v Speaker 2>Funny because I was only in that one episode for

0:19:17.800 --> 0:19:22.120
<v Speaker 2>a minute in the first season, and like even very

0:19:22.160 --> 0:19:24.640
<v Speaker 2>early on in the first season, and then the show

0:19:24.680 --> 0:19:27.200
<v Speaker 2>grew up to be it will go down in history,

0:19:27.320 --> 0:19:29.800
<v Speaker 2>right obviously. And I went to see it Bucks County.

0:19:29.840 --> 0:19:34.040
<v Speaker 2>I saw the original material from Kandas Bush.

0:19:34.359 --> 0:19:35.320
<v Speaker 1>Oh you saw her show?

0:19:35.720 --> 0:19:39.280
<v Speaker 2>Yes? I saw her show How Great, which was so interesting.

0:19:39.520 --> 0:19:41.080
<v Speaker 2>Did you ever see it? No?

0:19:41.359 --> 0:19:43.320
<v Speaker 1>She I just started on the podcast. She talked a

0:19:43.320 --> 0:19:45.640
<v Speaker 1>lot about it. I mean, she's a fascinating person.

0:19:45.640 --> 0:19:47.560
<v Speaker 2>So fascinating. And you know what the set was. Did

0:19:47.640 --> 0:19:50.000
<v Speaker 2>you tell you what the set was? No? Imagine a

0:19:50.119 --> 0:19:52.560
<v Speaker 2>set like a stage, and it was all of these

0:19:52.600 --> 0:19:55.360
<v Speaker 2>different platforms made out of blue sight and on every

0:19:55.400 --> 0:19:58.880
<v Speaker 2>platform was just a pair of shoes, a hundred pair

0:19:58.960 --> 0:19:59.399
<v Speaker 2>of shoes.

0:19:59.720 --> 0:20:02.120
<v Speaker 1>Wow, Oh that's a great idea.

0:20:02.200 --> 0:20:05.080
<v Speaker 2>It's a great idea. And yeah, our shoes. I mean

0:20:05.200 --> 0:20:06.879
<v Speaker 2>I thought about it like we could probably all do

0:20:06.920 --> 0:20:09.080
<v Speaker 2>that with our own closets, you know what I mean,

0:20:09.560 --> 0:20:11.359
<v Speaker 2>pair of shoes or that pair of shoes or you know.

0:20:11.440 --> 0:20:13.639
<v Speaker 2>It's like I did Nora Front's play Love Lost in

0:20:13.760 --> 0:20:17.240
<v Speaker 2>what Yeah, the same idea, which is I don't know

0:20:17.240 --> 0:20:19.520
<v Speaker 2>if it's true for men, but it's certainly true for women.

0:20:19.920 --> 0:20:25.520
<v Speaker 2>Clothes are like electricity. They're conductors of things and events

0:20:25.600 --> 0:20:29.280
<v Speaker 2>and memories, yeah, that we have in our lives. Like

0:20:29.440 --> 0:20:31.000
<v Speaker 2>when I went back and looks at the episode, I went,

0:20:31.080 --> 0:20:33.320
<v Speaker 2>I know that jacket. I know that you know what

0:20:33.359 --> 0:20:35.840
<v Speaker 2>I mean? It was like, yeah, oh I remember all

0:20:35.880 --> 0:20:38.480
<v Speaker 2>of that and why I had that on and.

0:20:39.000 --> 0:20:41.840
<v Speaker 1>So great, so great, and the thing that I love

0:20:41.840 --> 0:20:43.320
<v Speaker 1>about you, and I mean, this is true in all

0:20:43.320 --> 0:20:45.720
<v Speaker 1>the roles that you do. But when also I don't

0:20:45.760 --> 0:20:48.680
<v Speaker 1>always remember. Part of what's interesting looking back on the

0:20:48.720 --> 0:20:50.399
<v Speaker 1>show is like I would never have thought that you

0:20:50.400 --> 0:20:53.080
<v Speaker 1>were in first season. I remember you so vividly being

0:20:53.119 --> 0:20:55.560
<v Speaker 1>on because you're such a presence, but I would have

0:20:55.560 --> 0:20:57.760
<v Speaker 1>thought it was later but first season, we hadn't even

0:20:57.800 --> 0:21:00.399
<v Speaker 1>been on the air, right, so you definitely.

0:21:00.119 --> 0:21:02.639
<v Speaker 2>Knew that it was the city exactly, you know what

0:21:02.680 --> 0:21:04.639
<v Speaker 2>I mean. It was like and I, yeah, wonder what

0:21:04.760 --> 0:21:06.600
<v Speaker 2>people are going to like this? You know, it's oh,

0:21:06.800 --> 0:21:09.440
<v Speaker 2>it's you know. I when people would interview me about

0:21:09.480 --> 0:21:12.160
<v Speaker 2>Maisiel and they'd go, why do you think it's a hit?

0:21:12.240 --> 0:21:15.280
<v Speaker 2>And I would go and it was a When they

0:21:15.320 --> 0:21:18.199
<v Speaker 2>first sent it to me, I was like, Okay, this

0:21:18.359 --> 0:21:20.600
<v Speaker 2>is great. Jews will like it. New Yorkers will like it.

0:21:20.640 --> 0:21:22.760
<v Speaker 2>I guess that's a lot of people. And then it

0:21:22.880 --> 0:21:25.560
<v Speaker 2>turned out that it blew up internationally and we did

0:21:25.640 --> 0:21:28.480
<v Speaker 2>press all over the world, and I would ask people

0:21:29.040 --> 0:21:31.840
<v Speaker 2>all the time, like we were in Milan doing press

0:21:31.840 --> 0:21:34.680
<v Speaker 2>and there were all these journalists that came in from

0:21:34.720 --> 0:21:37.119
<v Speaker 2>like Sweeten and Brazil and this place, and I'm like,

0:21:37.280 --> 0:21:39.840
<v Speaker 2>why do they like? Where do they line up?

0:21:40.359 --> 0:21:40.639
<v Speaker 1>Yeah?

0:21:40.880 --> 0:21:45.320
<v Speaker 2>Find find a place to relate to. And it was

0:21:45.920 --> 0:21:48.479
<v Speaker 2>one of the most interesting things that I heard was

0:21:48.760 --> 0:21:50.520
<v Speaker 2>there was a young woman, a young journalist, I think

0:21:50.600 --> 0:21:52.960
<v Speaker 2>she was from Sweden, and she said, we see a

0:21:52.960 --> 0:21:57.040
<v Speaker 2>lot of young women on television, but we don't see

0:21:57.119 --> 0:22:01.800
<v Speaker 2>confident women our age. Wow, Oh, she's you know, most

0:22:01.840 --> 0:22:04.119
<v Speaker 2>of the women they were seeing on television, you know,

0:22:04.200 --> 0:22:07.040
<v Speaker 2>they had boyfriend problems or parent problems or job problems

0:22:07.119 --> 0:22:09.840
<v Speaker 2>or whatever. They didn't see confident women. And it was

0:22:10.119 --> 0:22:13.080
<v Speaker 2>so meaningful to her to see a woman who was

0:22:13.160 --> 0:22:17.920
<v Speaker 2>ambitious and confident in her thirties. And I, wow, isn't

0:22:17.920 --> 0:22:22.040
<v Speaker 2>that interesting? I thought that was interesting. And also it's

0:22:22.080 --> 0:22:26.000
<v Speaker 2>about family and everything else, even if it's not even

0:22:26.040 --> 0:22:29.560
<v Speaker 2>if your specifics are not their specifics, I think. And

0:22:29.600 --> 0:22:35.600
<v Speaker 2>it's about dreamers dream and I think people like really

0:22:35.840 --> 0:22:40.280
<v Speaker 2>really responded to that, and so it was a big mystery.

0:22:40.440 --> 0:22:43.480
<v Speaker 2>And I felt the same way when my friends all

0:22:43.520 --> 0:22:45.320
<v Speaker 2>started on Sex and the City because I knew Dark,

0:22:45.400 --> 0:22:47.440
<v Speaker 2>I knew Michael, and I knew one of your writers

0:22:47.480 --> 0:22:50.560
<v Speaker 2>at that time, this woman Andrea King, who's a wonderful writer.

0:22:50.680 --> 0:22:54.480
<v Speaker 2>And I think we had become friendly. She was like

0:22:54.520 --> 0:22:56.600
<v Speaker 2>the editor of the Hollywood Reporter or she'd been in

0:22:56.680 --> 0:22:57.800
<v Speaker 2>journalism in some way.

0:22:57.840 --> 0:22:59.760
<v Speaker 1>Wow. Oh, I didn't know that, yeah.

0:22:59.560 --> 0:23:02.480
<v Speaker 2>And was like one of her best friends. He asked her,

0:23:02.800 --> 0:23:07.080
<v Speaker 2>you know, to come to the party, and I remember wondering, people,

0:23:07.119 --> 0:23:08.040
<v Speaker 2>I don't like this.

0:23:08.400 --> 0:23:09.960
<v Speaker 1>I mean, we wondered as well.

0:23:10.080 --> 0:23:13.040
<v Speaker 2>We were staring to know from you you didn't the scripture,

0:23:13.080 --> 0:23:15.000
<v Speaker 2>cheating a pilot, you go, I don't know.

0:23:15.480 --> 0:23:18.679
<v Speaker 1>I mean, we knew that we loved it, you know,

0:23:18.760 --> 0:23:21.240
<v Speaker 1>I think that we had I mean, I know, for myself,

0:23:21.320 --> 0:23:24.040
<v Speaker 1>I had a sense of how special and different it was.

0:23:24.200 --> 0:23:26.480
<v Speaker 1>You know, certainly I had been I had been my

0:23:26.600 --> 0:23:28.240
<v Speaker 1>out of work afterself in New York, and then I

0:23:28.320 --> 0:23:30.120
<v Speaker 1>had gone to LA because there was more work, right,

0:23:30.480 --> 0:23:35.400
<v Speaker 1>and then in LA everything was much more you know, soundstagey.

0:23:36.000 --> 0:23:38.400
<v Speaker 1>The guys are the leads, the girls or the girlfriends,

0:23:38.480 --> 0:23:40.679
<v Speaker 1>you know, all of that kind of thing. So for me,

0:23:41.040 --> 0:23:44.320
<v Speaker 1>it was something where I thought that this is like

0:23:44.640 --> 0:23:47.960
<v Speaker 1>shocking basically that four of us are here, you know,

0:23:48.040 --> 0:23:51.680
<v Speaker 1>with our own storylines walking around Manhattan at night time,

0:23:51.840 --> 0:23:56.040
<v Speaker 1>like yay. But I didn't know if it would resonate

0:23:56.119 --> 0:23:59.120
<v Speaker 1>out in the world, and we all really thought that

0:23:59.240 --> 0:24:01.840
<v Speaker 1>it might just well, Sirjisca says that she didn't even

0:24:01.880 --> 0:24:05.480
<v Speaker 1>really think about the success part, which is super interesting.

0:24:05.520 --> 0:24:07.960
<v Speaker 1>But I do think she's very you know, kind of

0:24:08.000 --> 0:24:10.760
<v Speaker 1>what you're saying about the part. She's kind of project focused,

0:24:10.840 --> 0:24:14.320
<v Speaker 1>you know, she's not big picture focused. I myself, I

0:24:14.359 --> 0:24:16.600
<v Speaker 1>felt like I want this to keep going, and I

0:24:16.640 --> 0:24:19.080
<v Speaker 1>hope we can get at least a niche type following,

0:24:19.160 --> 0:24:20.840
<v Speaker 1>you know, and wouldn't that be great?

0:24:21.000 --> 0:24:21.160
<v Speaker 2>Right?

0:24:21.280 --> 0:24:26.120
<v Speaker 1>And obviously it unfolded in a very different and fantastic way,

0:24:26.320 --> 0:24:28.720
<v Speaker 1>but we none of us saw that coming. You could

0:24:28.720 --> 0:24:29.600
<v Speaker 1>never see that coming.

0:24:29.920 --> 0:24:31.520
<v Speaker 2>You know. It was really interesting when I went back

0:24:31.600 --> 0:24:35.200
<v Speaker 2>and watched this episode. So we are saying it was, well.

0:24:35.080 --> 0:24:36.840
<v Speaker 1>Here did you say the first season ninety eight?

0:24:37.320 --> 0:24:40.560
<v Speaker 2>Okay, so it's ninety eight and there was all of

0:24:40.600 --> 0:24:43.960
<v Speaker 2>this talk about oral sex for women, and I like,

0:24:44.040 --> 0:24:48.399
<v Speaker 2>I'm rewatching it now and going that was radical. Yeah,

0:24:48.520 --> 0:24:52.040
<v Speaker 2>it's radical. It doesn't feel radical right now to revisit it,

0:24:52.359 --> 0:24:55.800
<v Speaker 2>you know, to have that conversation with your character about

0:24:56.160 --> 0:24:57.879
<v Speaker 2>when you said I don't like it, and even a

0:24:57.880 --> 0:24:59.639
<v Speaker 2>woman saying I don't like it, I don't want to

0:24:59.680 --> 0:25:02.560
<v Speaker 2>do it. It's not for me, and I'm like, going, wow,

0:25:02.800 --> 0:25:04.000
<v Speaker 2>this is pretty brave.

0:25:04.440 --> 0:25:05.840
<v Speaker 1>Oh, I know, we were scared.

0:25:06.440 --> 0:25:08.679
<v Speaker 2>Yeah, this was really brave. I don't think people can

0:25:09.040 --> 0:25:11.399
<v Speaker 2>for now can even realize how brave it was.

0:25:11.600 --> 0:25:16.320
<v Speaker 1>Absolutely. Yeah, things have changed in some ways so much,

0:25:16.359 --> 0:25:19.520
<v Speaker 1>and then other things have not changed, which is really

0:25:19.560 --> 0:25:33.560
<v Speaker 1>interesting to look at. I remember being nervous about so

0:25:33.720 --> 0:25:36.119
<v Speaker 1>many elements of it and thinking like, are people just

0:25:36.119 --> 0:25:39.359
<v Speaker 1>going to be outraged, like, oh my god, turn this off,

0:25:39.440 --> 0:25:39.680
<v Speaker 1>you know.

0:25:39.680 --> 0:25:44.080
<v Speaker 2>Exactly, nobody should see this. It was like, yeah, yeah, yeah,

0:25:44.160 --> 0:25:46.160
<v Speaker 2>it would have been you know, you would have thought

0:25:46.160 --> 0:25:47.440
<v Speaker 2>it was late night cable.

0:25:49.119 --> 0:25:51.439
<v Speaker 1>Right because it did have that element. It did have

0:25:51.480 --> 0:25:54.280
<v Speaker 1>that element, and there were I remember the press that

0:25:54.320 --> 0:25:56.720
<v Speaker 1>came out in the beginning, and a lot of it

0:25:56.800 --> 0:25:59.920
<v Speaker 1>that was kind of male driven reviewers kind of snow,

0:26:00.359 --> 0:26:04.640
<v Speaker 1>you know, reviewers was very negative, very negative, and part

0:26:04.720 --> 0:26:07.320
<v Speaker 1>of us was I remember, I'm not a big review

0:26:07.400 --> 0:26:11.639
<v Speaker 1>person anyway, but it trickled down to me generally speaking,

0:26:11.720 --> 0:26:13.320
<v Speaker 1>and we were just like, we're not gonna be That's

0:26:13.359 --> 0:26:15.160
<v Speaker 1>not who we're making the show for. We're just gonna

0:26:15.160 --> 0:26:17.440
<v Speaker 1>block it out. We're not making the show for these

0:26:17.600 --> 0:26:21.639
<v Speaker 1>white guys who write for papers, you know. Yeah, And

0:26:21.680 --> 0:26:24.639
<v Speaker 1>that is a good skill to have anyway, because you

0:26:24.720 --> 0:26:27.359
<v Speaker 1>can't really do your job if you're worrying about them.

0:26:27.640 --> 0:26:29.800
<v Speaker 2>My daughter told me when she first discovered it, she's

0:26:29.800 --> 0:26:33.160
<v Speaker 2>twenty at out care. So let's say, you know, she's

0:26:33.200 --> 0:26:36.000
<v Speaker 2>the second round of audience members for Sex.

0:26:35.840 --> 0:26:38.440
<v Speaker 1>In the City, second or third, Yeah, second or third.

0:26:38.520 --> 0:26:40.840
<v Speaker 2>So she started like, let's say five years ago or

0:26:40.920 --> 0:26:43.600
<v Speaker 2>whatever it was. So I kept saying to her, so said,

0:26:43.760 --> 0:26:47.360
<v Speaker 2>why do you like it? What's in it for you said,

0:26:47.720 --> 0:26:52.000
<v Speaker 2>because it's women talking about sex. We don't ever get

0:26:52.040 --> 0:26:54.919
<v Speaker 2>to see that. And that was say, that was a

0:26:54.920 --> 0:26:55.720
<v Speaker 2>couple of years ago.

0:26:56.000 --> 0:26:56.840
<v Speaker 1>That's incredible.

0:26:57.280 --> 0:27:00.760
<v Speaker 2>So that has not happened, you know, like it's it

0:27:00.920 --> 0:27:06.119
<v Speaker 2>still occupies that own the loan territory, which is crazy.

0:27:06.600 --> 0:27:10.000
<v Speaker 2>Is that crazy? Yeah, it's crazy, said, some things have

0:27:10.119 --> 0:27:13.399
<v Speaker 2>stayed the same. Yeah, for young women who want to

0:27:13.440 --> 0:27:17.800
<v Speaker 2>have that conversation or see that conversation, it was very

0:27:19.760 --> 0:27:23.120
<v Speaker 2>She felt very much like it was a source for her.

0:27:23.680 --> 0:27:26.399
<v Speaker 1>Yay, I like that. I mean, younger women say that

0:27:26.440 --> 0:27:29.159
<v Speaker 1>to me, and I'm pretty sure. I'm happy. Like sometimes

0:27:29.200 --> 0:27:31.359
<v Speaker 1>I feel a little nervous, like, oh my god, I

0:27:31.359 --> 0:27:33.880
<v Speaker 1>don't know, uh, you know, because we were trying. We're

0:27:33.880 --> 0:27:36.600
<v Speaker 1>playing very flawed characters obviously, you know, or it wouldn't

0:27:36.600 --> 0:27:38.680
<v Speaker 1>be interesting. But then on the other hand, I think, no,

0:27:38.800 --> 0:27:42.080
<v Speaker 1>I think that the main message is, you know, we're

0:27:42.119 --> 0:27:45.520
<v Speaker 1>representing so many different viewpoints and we're all together in it.

0:27:45.960 --> 0:27:48.120
<v Speaker 1>That's right, you know, the friends And I think that's

0:27:48.160 --> 0:27:49.840
<v Speaker 1>a powerful message.

0:27:49.440 --> 0:27:55.399
<v Speaker 2>And for each other. And you're also imperfect and you

0:27:55.760 --> 0:28:01.200
<v Speaker 2>remember in their Internet Instagram generation, perfection is always being

0:28:01.280 --> 0:28:05.240
<v Speaker 2>put in front of them and making them feel really insecure.

0:28:05.560 --> 0:28:08.200
<v Speaker 2>And then they watched this show and it's not about perfection.

0:28:08.640 --> 0:28:12.520
<v Speaker 2>It's about insuality for women. And I think that's a comfort.

0:28:12.680 --> 0:28:15.919
<v Speaker 1>Really absolutely, thank god, you know, I'm just so so

0:28:16.040 --> 0:28:18.160
<v Speaker 1>happy to be a part of it. Yeah, it's amazing.

0:28:18.200 --> 0:28:20.160
<v Speaker 1>I have a pressing, pressing question for you.

0:28:20.359 --> 0:28:22.679
<v Speaker 2>Oh good, I'm excited. I love pressing.

0:28:23.280 --> 0:28:24.359
<v Speaker 1>Are you a Charlotte?

0:28:24.480 --> 0:28:29.320
<v Speaker 2>I don't think so. I mean, let's see, Am I

0:28:29.400 --> 0:28:30.679
<v Speaker 2>a Charlotte? I don't think so.

0:28:31.080 --> 0:28:32.000
<v Speaker 1>No, what are you?

0:28:32.720 --> 0:28:35.200
<v Speaker 2>I don't know. Let's think. The reason I was saying

0:28:35.200 --> 0:28:37.680
<v Speaker 2>that I wasn't a Charlotte is I feel like Charlotte

0:28:37.720 --> 0:28:39.720
<v Speaker 2>stays in the lines of the coloring book, or she

0:28:39.840 --> 0:28:42.920
<v Speaker 2>used to, and that's where her comfort is is. And

0:28:43.040 --> 0:28:47.280
<v Speaker 2>I don't think. I think I always felt very other. Oh,

0:28:47.800 --> 0:28:50.640
<v Speaker 2>and I don't think Charlotte is the character on that

0:28:50.720 --> 0:28:51.920
<v Speaker 2>show that's other.

0:28:52.640 --> 0:28:54.560
<v Speaker 1>You're so right. Yeah, you're so right.

0:28:55.120 --> 0:29:00.520
<v Speaker 2>And I don't think probably if I had to be

0:29:00.560 --> 0:29:01.240
<v Speaker 2>one of the four, i'd be.

0:29:01.280 --> 0:29:05.280
<v Speaker 1>Cynthia yeah, Miranda. Yeah, Miranda, you seem like a Miranda

0:29:05.320 --> 0:29:07.960
<v Speaker 1>to me. She's very intellectual, but she's also like says

0:29:07.960 --> 0:29:10.720
<v Speaker 1>it like she sees it, you know. Yeah, yeah, I like.

0:29:10.720 --> 0:29:17.920
<v Speaker 2>That, and she's kind of she's willing to go into

0:29:17.960 --> 0:29:22.000
<v Speaker 2>uncharted territory certainly now in her character. But yeah, four,

0:29:22.440 --> 0:29:24.440
<v Speaker 2>you know what I mean, she's yeah to go out

0:29:24.480 --> 0:29:25.960
<v Speaker 2>there and say, Okay, I don't know if this is

0:29:25.960 --> 0:29:28.200
<v Speaker 2>going to work out for beer or not. Charlotte seems

0:29:28.200 --> 0:29:29.200
<v Speaker 2>a little risk at first.

0:29:29.960 --> 0:29:32.720
<v Speaker 1>Well, I have to say the funny thing, I totally agree.

0:29:32.720 --> 0:29:34.520
<v Speaker 1>And I know why you're saying that, because she was

0:29:34.600 --> 0:29:37.480
<v Speaker 1>so focused on her goal of marriage and whatnot. But

0:29:37.600 --> 0:29:41.240
<v Speaker 1>when you actually look back when we finished the series,

0:29:41.840 --> 0:29:44.640
<v Speaker 1>the first series, they did a book called Kiss and Tell,

0:29:45.040 --> 0:29:47.960
<v Speaker 1>and in the back of the book they put all

0:29:48.160 --> 0:29:50.480
<v Speaker 1>the guys that each character had been with, and guess

0:29:50.480 --> 0:29:51.800
<v Speaker 1>who had been with the most guys.

0:29:52.200 --> 0:30:00.720
<v Speaker 2>Now, Charlotte is the slut, so a study girl. I know.

0:30:00.960 --> 0:30:04.040
<v Speaker 1>I also was a little shocked. I was like wow,

0:30:04.360 --> 0:30:06.840
<v Speaker 1>But I mean, in some way, so in some ways

0:30:06.840 --> 0:30:11.320
<v Speaker 1>she's got this kind of more traditional picture she's trying

0:30:11.360 --> 0:30:14.360
<v Speaker 1>to create, right, but she was pretty adventurous in terms

0:30:14.400 --> 0:30:16.800
<v Speaker 1>of how she was going to get there, which is interesting.

0:30:17.320 --> 0:30:18.240
<v Speaker 2>Isn't that interesting?

0:30:18.440 --> 0:30:21.479
<v Speaker 1>I know, yeah, it's also surprising when I watched, when

0:30:21.520 --> 0:30:23.800
<v Speaker 1>I rewatched back to the early days, I'm like, wow,

0:30:24.000 --> 0:30:27.480
<v Speaker 1>I am all over the place, man. I mean, it's fun,

0:30:27.600 --> 0:30:29.640
<v Speaker 1>it's fun to watch, and I don't I don't always

0:30:29.680 --> 0:30:32.440
<v Speaker 1>remember those parts, you know, because I think her through

0:30:32.480 --> 0:30:35.520
<v Speaker 1>line was always this much more traditional thing, which was

0:30:35.680 --> 0:30:38.280
<v Speaker 1>kind of my role right on the in the mix,

0:30:38.560 --> 0:30:40.560
<v Speaker 1>and that was it's not really my life. So I

0:30:40.600 --> 0:30:45.600
<v Speaker 1>had to work hard on making that, you know, grounded. Yeah,

0:30:45.640 --> 0:30:47.480
<v Speaker 1>but it is interesting to think about it. I mean, yeah,

0:30:47.480 --> 0:30:49.840
<v Speaker 1>she's she's done some slightly crazy things, but that's okay.

0:30:49.880 --> 0:30:52.760
<v Speaker 1>It's fun, you know, why not? She has friends with Samantha,

0:30:52.920 --> 0:30:54.200
<v Speaker 1>so you know, show.

0:30:54.960 --> 0:30:57.560
<v Speaker 2>Going off the air, Sex in the City. How many

0:30:57.600 --> 0:30:59.800
<v Speaker 2>years was it until just like that? When did that?

0:31:00.520 --> 0:31:03.280
<v Speaker 1>Well, the movies were in between, right, So like for me,

0:31:03.520 --> 0:31:06.600
<v Speaker 1>it all blends like I have to remind myself of

0:31:06.680 --> 0:31:10.760
<v Speaker 1>the actual shifts and breaks that happened because obviously, like

0:31:10.920 --> 0:31:14.160
<v Speaker 1>we're there together still, right, so it still feels like

0:31:14.200 --> 0:31:17.080
<v Speaker 1>the show, except that we're getting ready to air season

0:31:17.120 --> 0:31:18.600
<v Speaker 1>three of it, just like that, and I watched the

0:31:18.680 --> 0:31:21.120
<v Speaker 1>first one. I'm like, oh no, these shows are very different.

0:31:21.120 --> 0:31:25.040
<v Speaker 1>They're very different. It's so fascinating. You know, same characters,

0:31:25.080 --> 0:31:28.480
<v Speaker 1>but the vibe, like the way that we shooted and

0:31:28.880 --> 0:31:33.040
<v Speaker 1>the pattern and the timing and kind of the subject matter,

0:31:33.080 --> 0:31:35.080
<v Speaker 1>all of it very different. It's super interesting.

0:31:35.440 --> 0:31:37.040
<v Speaker 2>That's so great. That's so great.

0:31:37.160 --> 0:31:40.120
<v Speaker 1>It is it's a very rare situation. But in between,

0:31:40.160 --> 0:31:43.280
<v Speaker 1>to answer your question, we did the first film I

0:31:43.280 --> 0:31:45.400
<v Speaker 1>think was released in two thousand and eight. I think

0:31:45.440 --> 0:31:48.640
<v Speaker 1>we went off the air in like oh four, I

0:31:48.680 --> 0:31:51.720
<v Speaker 1>feel like wow. And then so then the movie, the

0:31:51.760 --> 0:31:55.720
<v Speaker 1>second movie would have been roughly twenty ten, twenty eleven,

0:31:55.760 --> 0:31:57.640
<v Speaker 1>something like that. Then we took a kind of a

0:31:57.640 --> 0:32:01.440
<v Speaker 1>long break, but we saw everyone we're saying with your cab,

0:32:02.080 --> 0:32:05.600
<v Speaker 1>So you had a through line, you know personally.

0:32:05.840 --> 0:32:08.480
<v Speaker 2>Right right, and what you guys have, what your own

0:32:08.520 --> 0:32:11.680
<v Speaker 2>personal lives have evolved. You became mothers, you became wives,

0:32:11.720 --> 0:32:14.160
<v Speaker 2>you know, all those things happened to you guys along

0:32:14.160 --> 0:32:17.760
<v Speaker 2>the way, which is which is also very exciting because

0:32:17.800 --> 0:32:22.280
<v Speaker 2>you do bring that whenever you know, the great director

0:32:22.280 --> 0:32:25.400
<v Speaker 2>Peter Brooks said, you know that which is truly personal

0:32:25.440 --> 0:32:30.800
<v Speaker 2>as universal, and we're bringing our personal selves to whatever

0:32:30.880 --> 0:32:34.560
<v Speaker 2>we are doing as actors. And I think that's really exciting.

0:32:35.040 --> 0:32:36.760
<v Speaker 2>I agree, gotten to do that through time.

0:32:37.480 --> 0:32:38.520
<v Speaker 1>I agree, you're a.

0:32:38.520 --> 0:32:40.320
<v Speaker 2>Different woman than when you started this show.

0:32:40.600 --> 0:32:43.480
<v Speaker 1>I mean yes, like we were a little children when

0:32:43.520 --> 0:32:46.640
<v Speaker 1>we started this show. Really, you know, we lived lives

0:32:46.800 --> 0:32:51.080
<v Speaker 1>like lives multiple It's really fascinating.

0:32:51.360 --> 0:32:52.120
<v Speaker 2>Are you in La?

0:32:52.720 --> 0:32:54.800
<v Speaker 1>I am. I'm in La right now, getting ready to

0:32:54.840 --> 0:32:56.680
<v Speaker 1>go back to New York. We're back and forth still,

0:32:56.800 --> 0:32:59.160
<v Speaker 1>which is great. I love to be back and forth. Yeah,

0:33:00.000 --> 0:33:01.920
<v Speaker 1>I aint't ready to do the press for and just

0:33:01.960 --> 0:33:04.440
<v Speaker 1>like that, which is fun but also stressful in this

0:33:04.520 --> 0:33:07.160
<v Speaker 1>new streaming world, you know, because it's just like a blast,

0:33:07.240 --> 0:33:09.320
<v Speaker 1>like you just blasted out there, you know what I mean.

0:33:09.680 --> 0:33:12.480
<v Speaker 2>I took a picture of all of the underwear I

0:33:12.520 --> 0:33:14.680
<v Speaker 2>had on the years we were going to you know,

0:33:14.720 --> 0:33:16.680
<v Speaker 2>when you're going through the Emmys and the Golden Globes

0:33:18.040 --> 0:33:20.720
<v Speaker 2>campaign problems I understand.

0:33:20.160 --> 0:33:22.280
<v Speaker 1>But yeah, yeah, yeah, the shoes and.

0:33:22.200 --> 0:33:25.040
<v Speaker 2>The clothes and the underwear. And I was like, oh

0:33:25.040 --> 0:33:26.800
<v Speaker 2>my god, I'm doing a show about feminism and look

0:33:26.840 --> 0:33:27.680
<v Speaker 2>what I have to put on.

0:33:28.680 --> 0:33:30.920
<v Speaker 1>No joke, no joke.

0:33:31.160 --> 0:33:31.400
<v Speaker 2>I know.

0:33:31.680 --> 0:33:35.000
<v Speaker 1>It's really an interesting thing and sometimes you can go like,

0:33:35.400 --> 0:33:36.800
<v Speaker 1>I'm not going to do this. I mean, certainly in

0:33:36.800 --> 0:33:39.200
<v Speaker 1>my regular life, I just wore my jeans and my

0:33:39.280 --> 0:33:42.080
<v Speaker 1>Adidas and I'm not going to be bothered. But that

0:33:42.240 --> 0:33:43.640
<v Speaker 1>is the joy of what we do in a way,

0:33:43.640 --> 0:33:46.120
<v Speaker 1>too write, because if you don't do it for a while,

0:33:46.160 --> 0:33:49.720
<v Speaker 1>don't you kind of crave the costumes? Yes, exactly, Yeah,

0:33:49.800 --> 0:33:50.520
<v Speaker 1>I mean too.

0:33:50.920 --> 0:33:53.520
<v Speaker 2>And I a lot. And you know, because Sex and

0:33:53.520 --> 0:33:56.040
<v Speaker 2>the City has also been about fashion, and I didn't

0:33:56.040 --> 0:33:58.000
<v Speaker 2>know anything about fashion until I did Masel and I

0:33:58.040 --> 0:34:01.680
<v Speaker 2>was like, wow, it's quite a subject and it's really interesting.

0:34:02.080 --> 0:34:02.520
<v Speaker 1>I agree.

0:34:02.640 --> 0:34:05.200
<v Speaker 2>I do think that fashion is the breadcrumbs of the

0:34:05.200 --> 0:34:08.319
<v Speaker 2>times we live in. Yeah, I can know a lot

0:34:08.360 --> 0:34:10.280
<v Speaker 2>about us from fashion.

0:34:10.719 --> 0:34:14.960
<v Speaker 1>Absolutely, that's a really valid point. And I think our issue,

0:34:15.000 --> 0:34:17.399
<v Speaker 1>I think sometimes with Sex and the City is that

0:34:17.800 --> 0:34:22.600
<v Speaker 1>it almost seemed like fashion overtook the actual stories, you know,

0:34:22.640 --> 0:34:26.239
<v Speaker 1>the actual storylines, and we felt some stress, like it

0:34:26.280 --> 0:34:28.200
<v Speaker 1>seemed like we were just trying to sell shoes, which

0:34:28.239 --> 0:34:31.160
<v Speaker 1>was really never our intention. It just grew, you know,

0:34:31.560 --> 0:34:34.279
<v Speaker 1>and then I think we felt this this this pull

0:34:34.320 --> 0:34:37.120
<v Speaker 1>away from that when we came back for just like

0:34:37.160 --> 0:34:40.160
<v Speaker 1>that partly based on the stories. Also, like we you know,

0:34:40.200 --> 0:34:43.319
<v Speaker 1>there was mourning and death and whatnot. We didn't want

0:34:43.320 --> 0:34:45.120
<v Speaker 1>to be like running around and head to toe gucci,

0:34:45.400 --> 0:34:48.239
<v Speaker 1>you know, necessarily. So it's interesting because you want to

0:34:48.239 --> 0:34:50.080
<v Speaker 1>have the through line be there, but at the same

0:34:50.120 --> 0:34:52.560
<v Speaker 1>time we're going through different things, so that's going to

0:34:52.560 --> 0:34:55.560
<v Speaker 1>be reflected and what we're wearing. It's always super interesting.

0:34:55.640 --> 0:34:57.520
<v Speaker 1>It's always super interesting to think about it.

0:34:57.600 --> 0:35:00.319
<v Speaker 2>It's really funny about on MASL which I never said

0:35:00.320 --> 0:35:03.920
<v Speaker 2>in any interviews was and this never has happened, is

0:35:03.960 --> 0:35:11.480
<v Speaker 2>that four of the seven regulars were over fifty. Amazing,

0:35:12.080 --> 0:35:15.319
<v Speaker 2>amazing and amazing. I'm on a TV show. It's like,

0:35:15.360 --> 0:35:17.120
<v Speaker 2>who am I gonna have lunch with? I'm the only

0:35:17.200 --> 0:35:18.320
<v Speaker 2>one who's over fifty?

0:35:18.600 --> 0:35:21.239
<v Speaker 1>I understand, Yeah, we're in the same boat over there.

0:35:21.520 --> 0:35:22.640
<v Speaker 1>And then just like that.

0:35:22.680 --> 0:35:25.560
<v Speaker 2>Exactly, you're the only one. Then I go, wow, take

0:35:25.600 --> 0:35:27.680
<v Speaker 2>a note, you know what I mean? Like this, Yes,

0:35:27.840 --> 0:35:30.040
<v Speaker 2>this could take a note. And it wasn't about being

0:35:30.080 --> 0:35:33.719
<v Speaker 2>over fifty. No, that it's okay. You could put characters

0:35:33.760 --> 0:35:36.719
<v Speaker 2>on the air all different ages, and you don't you know,

0:35:37.080 --> 0:35:39.840
<v Speaker 2>there is this feeling that you know, the thirty and

0:35:39.960 --> 0:35:42.759
<v Speaker 2>under is where where the pot of gold is. But

0:35:42.920 --> 0:35:45.239
<v Speaker 2>maybe fairly maybe.

0:35:45.000 --> 0:35:48.960
<v Speaker 1>And also why can't all the stories get told right exactly?

0:35:49.000 --> 0:35:51.440
<v Speaker 1>Why not? You know? I mean, I know, we're so

0:35:51.600 --> 0:35:53.840
<v Speaker 1>lucky that we get to do our show. I fully,

0:35:53.880 --> 0:35:57.239
<v Speaker 1>fully understand that. But sometimes when people are like, you know,

0:35:57.320 --> 0:36:01.480
<v Speaker 1>are you shocked that you know, you ladies who are

0:36:01.560 --> 0:36:05.080
<v Speaker 1>over fifty are getting to be on the television, I mean, like,

0:36:05.360 --> 0:36:08.080
<v Speaker 1>it's hard not to be offended, like, why wouldn't we

0:36:08.080 --> 0:36:09.200
<v Speaker 1>get to be on the television?

0:36:09.440 --> 0:36:13.319
<v Speaker 2>Well? Why because there it hasn't happened for you know what.

0:36:13.320 --> 0:36:15.759
<v Speaker 1>It is messed up. It's just so messed.

0:36:15.480 --> 0:36:19.960
<v Speaker 2>Up, it's so wrong. I remember I actually sold a

0:36:20.000 --> 0:36:23.160
<v Speaker 2>television pitch many years ago. I'd never done it before,

0:36:23.440 --> 0:36:25.280
<v Speaker 2>for a show that I wanted to see about women.

0:36:25.400 --> 0:36:27.919
<v Speaker 2>And we got to the point of having auditions, and

0:36:28.160 --> 0:36:31.160
<v Speaker 2>I don't know if you remember this company, Carcy Warner.

0:36:30.840 --> 0:36:32.480
<v Speaker 1>But Marcia, yeah, of course.

0:36:32.480 --> 0:36:34.600
<v Speaker 2>I put a friend of mine down on the list

0:36:34.880 --> 0:36:36.840
<v Speaker 2>to come in an audition, and after she had she's

0:36:36.840 --> 0:36:38.840
<v Speaker 2>a brilliant actress, and Marcy went like this to me,

0:36:39.520 --> 0:36:43.600
<v Speaker 2>what is she thirty? Like that? And I went, no,

0:36:43.760 --> 0:36:46.600
<v Speaker 2>she's not, But I said, because I played my daughter

0:36:46.640 --> 0:36:48.759
<v Speaker 2>in a play and so I know her, and I went,

0:36:48.840 --> 0:36:51.120
<v Speaker 2>but I said, so is the moral of the story

0:36:51.280 --> 0:36:52.879
<v Speaker 2>that when you get your period you shed just cut

0:36:52.920 --> 0:36:56.239
<v Speaker 2>up your sad card? And she said pretty much that's

0:36:56.239 --> 0:36:56.800
<v Speaker 2>what she said.

0:36:57.000 --> 0:37:00.560
<v Speaker 1>Oh my god. I mean it's so I'm saying. But

0:37:00.600 --> 0:37:04.640
<v Speaker 1>I do remember as a young actor being so worried

0:37:04.680 --> 0:37:07.600
<v Speaker 1>that I wasn't successful. I wasn't successful until I was thirty,

0:37:07.640 --> 0:37:08.960
<v Speaker 1>and I was like, well, I'm only going to have

0:37:09.040 --> 0:37:12.320
<v Speaker 1>ten more years and it's going to be over. That's it, right,

0:37:12.440 --> 0:37:15.440
<v Speaker 1>because that was how we were brandwashed, and.

0:37:16.000 --> 0:37:19.160
<v Speaker 2>Everybody seemed to accept it as a truth exactly. Every

0:37:19.160 --> 0:37:21.520
<v Speaker 2>time that truth gets disproved, like by your show or

0:37:21.520 --> 0:37:25.040
<v Speaker 2>our show or whatever. Yeah, like so relieved. Not no,

0:37:25.600 --> 0:37:27.400
<v Speaker 2>not that they catch up to that truth.

0:37:27.520 --> 0:37:29.480
<v Speaker 1>No, no, I know they forget immediately.

0:37:29.800 --> 0:37:32.319
<v Speaker 2>They forget immediately. But it's like, that's what I want

0:37:32.360 --> 0:37:35.120
<v Speaker 2>to see, is like I want to see everybody. I'm

0:37:35.120 --> 0:37:37.279
<v Speaker 2>we too. I want to see it all. I want

0:37:37.320 --> 0:37:39.680
<v Speaker 2>to see young people and older people and old old

0:37:39.719 --> 0:37:42.759
<v Speaker 2>people and yes, the human ex yes, what our.

0:37:42.719 --> 0:37:46.480
<v Speaker 1>Job, yes, yes, yes, God, yes, all right, you're a joy.

0:37:47.080 --> 0:37:48.600
<v Speaker 1>Thank you for joining us.

0:37:49.080 --> 0:37:50.880
<v Speaker 2>So great, give my love to everybody.

0:37:51.000 --> 0:37:52.560
<v Speaker 1>Thank you. I will, I will, I will I talked

0:37:52.560 --> 0:37:57.960
<v Speaker 1>to Michael soon. Okay, bye, k bye, honey,