Give Me Your Questions...

been happening since we started this podcast. So in my mind, I was like, yes, I'd love to rewatch Sex and the City because I haven't ever rewatched it, right, And that'll be super interesting because it was a long, long time ago, almost thirty years ago, and I really had no idea that people were going to be paying so

much attention to what I said. So there's been these crazy headlines and my mother has called me and asked me about them because her friends talked to her about them, and it's just been a little bit overwhelming, I have to say. And I just thought, you know what this is, like thirty years ago, I did not think anybody was going to care. I mean, I thought the fans would care, and you guys do care, thank goodness. And I feel like you guys know the truth of what I'm saying.

But sometimes I see these headlines and I do get a little concerned about people who maybe see the headlines but don't necessarily listen to the podcast, that they might not have the right understanding of what I was saying. So just some of the weird ones, you know what I said, I said the cult like rules. I don't know that I said rules, but I definitely said the word cult. And of course that, of course is a headline now that the producers forced us to do things.

This is so not the case, you guys, Oh my gosh. This was that pat Field have a very strong vision and that's what we love about pat Field, and that's why we hired pat Field. And my fashion sense was like, uh, nonexistent, right, So I was just really happy to be told what was cool and what was in It wasn't rules. The producers didn't care one way or the other. I mean, they cared that the show looked great, but I mean I don't think they cared about the specifics of you know,

how we made it look great or whatever. They were not involved, so there was no producers making us do any rules or whatever. Anyway. That's one. Then the other is you know, the whole you know, horrible mistake I made about saying the word forced when I was laughing about Michael Patrick and me having to flash my boob in the year two thousand, so I laugh. Now, I don't ever want one of my good friends to get

hurt because of something stupid that I said. And that's what I feel like happened because I said a word that they could take out of context, and they did, and you guys on the social media really cheered me up. But once I went on the Today Show because you were like took Kristin out of context, and I really appreciate that. And I don't know if you're aware, but sometimes when you look at comments, it can be dark, and sometimes it can really make you feel so much better.

And that's what you guys do for me on my Instagram page and on the podcast Instagram page, and think you keep it coming because sometimes I really really need it. And then also people still want to talk about this poor actor that I lend money to, and again I really really just wanted to say, don't lend money to people that you're involved with. That was my only point,

Like it just changes the dynamic. It makes it kind of weird, or it has the potential at least to make it kind of weird, and I never will say this person's name, and I feel really badly that I even opened that box up. So those are the ones that come to mind. But honestly, just in general, the whole idea that people are like, uh, creating these headlines is still I'm just trying to get my mind around it because I just thought we could just talk freely,

you know what I mean. And I do feel with you guys that are listening that I am just talking freely, and I'm really trying to keep that going. I just don't want any of my friends to get hurt, you know. Okay, So that's the end of that. Now we have some other questions from people on our I think from our instagram is that right?

So I think that Charlotte would want Carrie to have love, and if Carrie tells her that that's what Aiden, I think Charlotte is going to support that because that's the kind of friend that Charlotte is, and I support Charlotte being that kind of friend. Me personally, I feel like it's kind of complicated and I'm not sure, So let me just say, let me just say that I really love this season and I hope that everybody else does. And it's super interesting writing Like what they wrote I

think is very good. I really really looked forward every week to seeing what they wrote and watching Sarah Jessica at the read throughs, and I can't wait to see the finished product. I haven't seen anything yet. A little in the trailer interesting, yeah, I mean I've seen tiny bits and pieces when I had to go do adr, which is like, you know, the.

twenty right, do you know what I mean? It's like, why like five years.

blew me off my feet, you know. But then I thought, I've really got to make sure that everybody feels good about this, because I only want to do it if everyone feels good about this. So I think I which one did I go to first? I think I went to Sir Juska first, and she immediately was on board and really supportive and very cheerleadery. Then I went to

Michael Patrick. He had done last year the writer's podcast that was on the Max podcast exactly, the Companion podcast, which was very much about the writer's room and the writer's process, and it was great, but it was very compelling. Yeah, good, thank you. I mean I didn't want to like tread

on his area or whatever. He one percent was on it. Obviously, we're rewatching sex in the City, not and just like that that we do mention it obviously, but he came up with the title are you a Charlotte Like two sentences into my explanation, you know, very hardcore supporter and Cynthia was very low key. Cynthia and I almost did a podcast many years ago, whoa like right after I know, this is the third podcast that's been brought to me.

And it was just weird timing too, I think, and like, in some ways I just didn't have my mind back around it. The podcast this Cynthia and I were going to do, then Willie and I were going to do, which was all before and just like that got Greenlitz.

really interesting. So we were towards the end, we were almost done, and I just went to them and they were immediately on board. So then I was like, okay, goo let's go.

I don't know how to write for that character. I mean, we've gotten a lot of interesting confirmations of what I was feeling at the time, which was that she didn't have kind of the same fleshed out storylines that the others had, and I had a lot of anxiety about that.

And now I have a lot less anxiety. Obviously it's thirty years later, but also because now I know that no that was all actually real and they just created me as we went Which what a lucky person I am, you know what I'm saying, Like, what a fantastic situation

to find yourself in. Slightly scary at the time, because when you've been an out of work actor for like roughly a decade, you know, a little bit less than a decade, you know, you're very vulnerable about it, all right, and you want to make sure you have a place a place in this thing that you want to be a part of, which I did feel on the set, right, But when I would go home and think about, like, who is Charlotte, I don't know, because they didn't know,

you know, so you know, you're kind of making it up as you go. And then as we found out from Jenny Biks, Jenny Bicks grew up on the Upper East Side, So when Jenny Bicks came, I feel like Charlotte got a lot more kind of depth and grounding in the world that we were in because Jenny brought that.

think she did that. But I think that Sarah Jessica already because she was in New Yorker and she really was an it girl. She was a downtown it girl, which was a little bit different than Candace's version of the it girl. But she knew kind of the vibe. You don't know, I'm saying she knew who these people were just from being in the Manhattan like nightlife, you know, the I don't know if she would describe it that way, but you don't. We'll ask her when we see her

next week. But I think that she already had such a grounded sense of who they were and how they dressed and what they did. I so didn't have any of that. Like I had lived in New York already, but I was an out of work actor waitress, very very different life, very very different life. So part of me I was just like, how do I do this? What do I do? What do I do? And in my mind and this is what you do as an actor. You create the backstory that you need that helps you

to understand who they were. So as I think I've said, I would just go up to the Upper east Side and I would just walk around the shops, walk up and down Madison Avenue and look at the women and look at their hair. Most of them had baby carriages, some of them didn't. I'd look at their coats, I'd look at their bags and try to look at how they walked and talked and if they were talking to somebody. You know, you're trying to pick up details and then you're making the facts up in your mind to back

up those details. Did that make sense? Yes?

I mean, I think it's possible, right, I don't know that or not to be true, but I do think that a lot of these people came from generational wealth and were thus at a certain point in New York society that would come with generational wealth. But we don't really say that in the show either.

a tough kind of a job. But yet there are there are still gorgeous young people, men and women who are doing that and I don't know how that we should call them up. We should. I should go to some art collaries next time in New York. Yes, them should do some research. But yeah, I think that that there is a assumption that parents were helping, or there

was trust funds or something. Yeah, but only does never mention a trust fund, which I find interesting because I always thought there was like some money, but not a lot of money. Because once we get to the trade era, you know, obviously she wants that apartment, like there's things about him that he has that she really loves.

to be attached and wants affirmation of that. Yeah, I think it hard to be objective sometimes.

many designers lending us things, which was great. The only the only downside is that we spend a lot of times in fittings, like like a lot, like a lot, a lot, a lot like hours and hours. I don't know, like I think I've had an eight hour fitting. Yeah, it's fine. I mean it's part of the job. And you know, luckily they really make it fun. I mean, if you were trying to do eight hours of like suits because you were a lawyer, that would be super boring.

But because we have this like full fantasy world that we're creating, I mean, I am my own character within that fancy world, right, so sometimes I walk in the other character. They do it by areas, right, so they'll like, there'll be an LTW character aisle, and I'll walk down that aisle. I'll be like, I want all this stuff. I can't have that stuff. I can't even pull that stuff off. I mean, she does it, and she does it so beautifully, but it's really fun to walk down there.

Or sometimes I'll go and carry's asle because we have the same size put Oh yes, I'll be like, oh does she have these slotted for an outfit?

And I do remember I might have mentioned this with Molly that one time when I wrapped at two am, they said, you have to go to your fitting and I was like ha ha, and they're like, no, no, you have to go to your fitting. And I was like, you got guys, Oh the pain. But there was just no other time to do it, so we did it. We did it.

with us and say what do you think? Like he did not have to do that, and he did that, which is part of the reason that we have the relationship that we do is that I really felt that we were respected and considered all the time. But with the clothes, I think so pat was very strong, right, like, she was very strong, and occasionally she would try to talk me into things that I was like, I just do not think Charlotte would wear this, and she would try for weeks. Okay, sometimes she'd go over my head

to Darren. I'd be like, Darren, she can't wear it. It just doesn't make sense, you know, because Pat's very fanciful and doesn't really care about real life, you know, and that's kind of the joy. But also sometimes if you're playing Charlotte, you kind of gotta care about real life a little bit, a little bit. But often sometimes too she'd try, she'd say like look at this, and you look at it me and be like, god, I don't know, and then like over time she'd wear you down,

you know what I mean. But it's always a group decision. In the fittings. Now we also photograph everything, and we also, you know, we're going in the script order, so like this is true for all production. I think you have the script. Someone in the costume department has done a breakdown,

so every scene is listed with the description. You know, they're at the coffee shop, Charlotte says she's come from work, something like that, something very practical, like so that you know, if there's something that affects her clothing in the scene, right then you know they will have already thought about

let's say it's a coffee shop scene. Those are the hardest because everyone's in it, right yea, So they have to think about the colors and the textures and the daytime or the nighttime, or the cold or the heat. Theoretically it might not match the actual real cold and the heat and the real temperatures out in the world, right, but in the story, what season is it? And so

they'll have an idea. Maybe they've done Cynthia's spinning already, but they haven't done Sir Jessica's spinning, and they haven't done nicoles, and they maybe have done so Rita's right, they can show you a picture. Oh, Soerita's wearing, you know, cream silk. Cynthia's wearing these bold stripes, so we were thinking for you. They'll have pre thought out ideas. So they'll have maybe like ten things. They're like separates. There

were dress or pants or whatever. They'll say like, oh, this might be a great time to wear some pants. You know, Sharlotte doesn't wear a ton of pants, right, Oh, this might be a great time we wear some pants because blah blah blah whatever reason, or we found this amazing jumpsuit or whatever it is. Right, So they have some ideas and then you pick the one you like the best. You try it on. It might not fit.

It might be a color that doesn't work on you. Whatever, you move on to the next or maybe you think, oh, this is so amazing. Let's put it at this dinner scene, which is a little bit more glamorous, and this outfit is a little you know, it's like this. And then eventually, once you get your picks for each thing slotted in, they've photographed everything, They've listed everything. Usually almost everything gets to be altered, which you know, I think is an

important point or super spoiled. But like, that's why it all fits us. It's not like if we went to the store and pulled things off the shelves that they would fit us like that. It would not be true, at least for me. I can only speak for myself. But our tailoring department is unbelievably talented. Like they do so much work, Adrian, thank you. So then their pictures

slotted in and they make a book. So for each scene, let's say that all four of us are five of us are in a scene, they'll be every one's picture, so you see them together. And then let's say it's like Harry and Charlotte. They'll have a picture of Emma and I in the outfits. Then Michael Patrick or whoever's directing, and Michael Patrick also because he's executive producer, will look at it and approve it because maybe the director had a vision. Like when Cynthia directed, Cynthia directed, and I

can't remember if we talked about this or not. Cynthia directed, I want to say the second season when she directed, and the really funny thing where I was in my fitting and she just walked by the door because our production offices are upstairs and our fittings in the second floor. She walked by the door and she was like, oh, you're in here, and I was like yes. So she was like, let's see. Let's see it, and I was like okay. And she said, you know, in this particular scene,

I just really pictured you like a fawn. And I was like, you mean like like a deer. Yes, Like you know, like a doied fawn. I was like okay, Oh my god. Then we're like what does that mean? What does that mean? When she left the room and we got out like a kind of a faun card and I pulled my hair back and I kind of put on really long eyelashes.