Hi, I'm Kristen Davis, and I want to know are you a Charlotte? Michael Patrick is here you guys, we've just jumped right in.
It's the glorious return of the case, the return of Are You a Charlotte?
And me?
That's right, we love it so much.
And he asked me how long we were going to go, and I said, as long as he wants to talk, because this whole season. As when I saw you, we talked that were in no like like a week ago or whatever you like, at the.
Human Rights beautiful time that we were honoring you at Human Rights Campaign.
So exciting the Human Rights Campaign.
Thank you so much.
You said that you were going to help me with my season four amnesia.
Yeah, yeah, like's start there.
Yeah, because I don't know why I have it.
I love season four. Oh, I love season four and the City season four. I love it too.
In my mind it was one with season three.
Yes, you know what I mean.
In my mind, people always say to me, oh, I want to do Sex in the City again. I love Sex in the City, and I always go, you love Sex in the City Season four. That's where it peaked, definitely of its clarity. Yes, one was like, what totally finding it? And then two and three, but four is like you you all are so strong and so vibrant, and the writing has gotten to such a place where there's so many exciting twists and turns and so many amount that we talked about.
So much, the changing of Charlotte, the change so much of Charlotte, so much changing of Miranda, the amount of bravery in the writing room.
Yes, oh, no, joke is incredible.
It is not.
It is like, what would really happen? Let's feel that and follow that.
This reminds me of something that I wanted to talk to you about when so what I remember and I know that most shows don't have this, and it was it was such a joy that you would.
Sit as down, Hi, darling, it's Michael Patrick King you guys, we're in.
Okay, we're in. Remember how you would call us and or have lunch with this, depending.
On for each season, I give you the out of town tryout exactly what I'm thinking for Charlotte, right, And it was.
Such a joy because most executive producer showrunners do not do that to their actors, for their actors, which is so insane to me.
You know, It's interesting because if you're on a show that is working or our show, so much of what we're doing is for you, the actress. So much is based on your version of Charlotte in seasons one, two, and three that I always felt I not only owed it to you, but I wanted a temperature check from you about whether you were going to be excited about where we're going. And also I loved bringing you surprise.
Yeah, I was so exciting.
Yeah, but it was really a tribute to you guys that I wanted you as partners emotionally in the arc of these characters that we create together. Yea. Yeah. But literally it wasn't like go to work do these lines? No, not on that show, because we were literally taking from you. What can you do? What can we do with that? What would be so great is if Charlotte couldn't get pregnant and Miranda did. I'm talking about could it would it should have?
Yeah.
The idea of.
That contrast is based on both your strengths as an actor and also your connection is people bind this point, Yeah, you all were sort of in love with each other, so it was really easy to play the hurt when the friendships didn't connect.
It, yeah, and always so scary. I remember just being so nervous about that if we ever had the disagreements, because we did have, it was threat felt threatening just personally because I did you know, we loved each other and.
We I think by season four, if it's going well, you believe your character, you believe it. So it's all very personal.
It's so personal.
Everything's personal totally. So when it's hard for me to remember the first time, like I feel like it would have been, I feel I don't remember pre season two a sit down, though maybe it happened and I don't remember it.
I don't know.
I remember season three when we were really having the long art conversations and long conversations about the long arcs, right.
I think it became important when we started to deviate from the log line YEP for sexy Singles in Manhattan. The minute we started going what would happen to Charlotte? And I said, Charlotte would get married. This is bush that she isn't going to just drive that car to wedding because it's time. And that's when we started having to say, I know what we started with, but here's what we're thinking and then I could see these like out of town tryouts in your eyes.
I could see the lighting up.
Which is necessary for me to keep going because it was always before they were.
Written, right, it was just the plan.
Each season.
And did you talk to HBO about that too, or did you wait and turn in the scripts?
Talk to you guys first, and then I talked to them. Cool, but I wanted to have a strong emotional connection first. It starts in the writing room. We all sort of fall in love or fall out of love with the story that we were doing, and that is the first jury room. It's like we all put the stories on trial, and then when I feel really strong about that, I bring them to you and then I see you as an audience slash hybrid actor playing this part. React and
then that's everything, got it? And then I go and say, this is what we're doing. I don't audition the sea for the studio. God were always very very interesting, you know.
Yeah, yeah, yeah. Do you remember the time, and this would have been this would have been fourth season. See in my mind, I had crunched third season and fourth season into one. I think also because we were doing so many episodes, right, it was it was.
A lot of television.
Yeah, the olden d television exactly exactly, like eighteen was it eighteen? For each I feel like sometimes yeah, I feel like four was eighteen and three both eighteen?
Yeah?
Crazy right, right, so great, and they're just each one is packed, packed, packed with plot for each character, like it's so good.
Yeah, so and thirty minutes, I.
Mean insane, Like what you guys could accomplish.
Writing of all those storylines and with could it should have? Yeah, it was the ideal thing because we always tried to find a story where everybody could react based on who they are. Yes, So Miranda getting pregnant was both comic because of the Steve one ball runner and.
Unbelievable that we would risk that give the.
One who was the least maternal in our eyes, the mother, contrasting hard crash into Charlotte's inability to become pregnant, and then the very very ballsy thing, which is this episode's about abortion.
Right, and tell us about that? How did you talk about in the writer's room? How did you talk about it with HBO? Was their worry?
There was worry in the writing room, and there was a necessity in the writing room to tell the story and the journey really was about people's personal touches to their friends who had had abortions. Or I'm not saying anyone in the room had had abortions, right, everyone had a situation that they had touched their friendships or themselves about what would really happen and how people weren't talking
about that, right. And there's a line in the show that I remember being radical is Samantha saying I've had two?
How many have you had?
Right?
I remember that? I mean even rewatch, I'm like, oh, like, I don't remember every detail, but I was like, oh my god, we're so brave.
It was brave, right, I've had two?
How many of you had? And Carrie actually takes a mownent and goes one like, what am I you?
Right?
Right?
Right?
Right?
The idea of saying I've had two as a legitimate sentence in a show, right, could you even say that? Now?
I don't think so. That's the other thing I wanted to ask you, like, isn't it nutty? How I felt at the time that we were doing something different and that it was going to help shift things in our you know, TV landscape, cultural landscape. What was okay? To talk about, and I feel like it did for a while. And then TV is kind of or streaming whatever we're supposed to call it now has pulled pulled back from fear.
The trick with us is we got in with like the comedy of the sex, and that was the shocking thing. But it was not just sex. It was funny sex, sex with the laugh So we slid in. That was the calling card.
Got it? Yeah, yeah, you got funny.
Yeah, you're laughing, and we're not asking you to be aroused. In fact, if you are aroused, there's something wrong.
Yeah.
And then slowly we became to slip in other things that women were talking about and not talking about on television.
But still they're not talking about on television for sure, and.
Not walking down the street after Iermez with a kerchief on her head saying I've.
Had two what have you had?
You know, like the casual, sophisticated, grown up, real life, real life in a very stylized frame of course, real life.
And was anyone at HBoL worried, No, which is we just had such a.
I mean, we had a wonderful, wonderful experience that it was always be You don't even be TV Yeah, be HBO, yeah, don't be that be whatever that is. And they followed us, and they trusted us because we rarely went too far in any direction where it was the audience got pushed away.
Well that was the joy of having the different characters in the different perspectives.
Well, yes, right, this perspective makes the Miranda story tolerable for an enormous amount.
Of people, right, right, right, And also so okay, I remember that at one point it was at least floated to me that we were both going to get pregnant and then we were going to contrast our different mothering styles. And then at a certain point you called me and said,
I'm really sorry, Charlotte's not gonna get pregnant. I was like, what, like, because of course I wanted what Charlotte wanted, which was to get pregnant, right, And you said that because no one it was even really in relationships in the writer's room at that point, much less having children. Right at that point in our lives, you were like, we just don't have enough story material to be contrasting.
Yeah, Samesy's yeah, like oh your pregnance, this, my pregnance, this, it's so much more interesting for Charlotte to do her pregnancy through Miranda. Yeah, all the way to the baby shower. Oh yeah, you know, like how Charlotte would do the baby shower. So it's always better if you have one person experiencing something and everybody reacting to it. And we got Charlotte their events.
Definitely definite need to have a longer it was so much more authentic.
I agree, I agree totally.
This struggle was so good for you as an actor, definitely so good for Charlotte.
My Hondai hot take is going to have to go with the Miranda the Charlotte scene on the street because it is the first scene that Cynthia and I have just by ourselves, and I love it, and it's so beautifully written, and it's so beautifully filmed out there. I believe we're on Fifth Avenue with all kinds of people, and I love her performance so much. I love how she walks behind me, so it's really really sweet. That's going to be my Hyundaie hot take, celebrating iconic moments,
bold moves, and unforgettable style, just like Hyundai. It is interesting to watch because you know, at the time I was watching everything and micro you know, criticizing myself in my head, and now you know how I do that. Yeah, it's hard for us.
I feel bad for you. I know I feel bad for all actors.
I'm sure I get the joy of writing them stuff and watching them do it and editing in them and falling in love with them from a not inside them point of view. And I always say to actors, can you even see how good you are? But they don't know. They look away and they don't feel it. They don't
feel it. It's so much a part of my job is to feel so excited and happy for the work that people have done, like it's my favorite part of the job is to see people accomplish, even in the writing room, to see people accomplish something amazing.
You're an excellent mentor thank you? I am, yes.
But actors can't ever step outside themselves and feel it the way the audiences.
And I have called you so many times and said, did you watch the episode? No, I'll get to it. No, the kids have to be asleep.
No I won't. No, I can't. I won't be able to go to sleep if I watch it. I'm afraid to watch it. All of it is true. True, and I feel that way with Network notes. If they come in after five o'clock and I see an email, I'm like, I'm not I can't fall asleep, right, I'll ruin my day tomorrow totally totally like I felt bad because I've also I've called you and harassed you to imprint on you. Yes, how special it.
Is, thank you, And I appreciate that.
I appreciate that lying you don't know, there's no purpose of me calling, and I feel it.
And this episode is particularly brilliant.
I'm so glad you're here for this episode, right, because this is what goes on with me. And I think the joy many joys of this podcast one is that I get to have you here to talk about it. Joy to thank you. There's so many elements that like we weren't able to talk about at the time because we're just in it, right, and it was so all encompassing distance.
Yes, to see it now, That's what.
I was going to say, Yeah this yesterday, because I knew I was coming here, I.
Was like, bang, yeah, on all cylinders. Agreed.
There's jokes, there's pain, there's style. Beautifully filmed by David Frankel.
Oh my god, incredible.
Tell me it has an elegant film quality too.
It's very sure of itself yet surprising, definitely, And all that time has gone by and I still go, wow.
Me too, me too. And that's what I was going to say about watching myself, right, because at the time we would get the VHS types, we would run home, put them in nervously, nervously right, and there might be a card, or there might be temp music or whatever, but still it would be so thrilling. But also when I'd come on, I'd be like, oh, I don't think I'd nailed that. You know, you're just so critical, right,
I know. But now thirty years almost later, I'm like, wow, I was so much better than I thought I was. And then every one while I'm like, no, it's interesting, and I wonder, I wonder I couldn't help, but wonder exactly is that part of.
The important mix that when you're doing it, you don't think you're good?
Would you feel good? Would you be different?
I think you'd be less vulnerable, you know what I mean? Yeah, and that that.
Is sure, yeah, less unsure when you have.
Some unsure you especially it depends on your character obviously, right, But like if there's no vulnerability, Like even if you think about Meryl playing you know, whatever her name is in the thank you, how could I forget weird that it is Miranda? You know, if she weren't Meryl and weren't playing all those layers, it wouldn't be as brilliant.
It would be hard, right, Like you have to keep some kind of vulnerability, unsure, you know, off you're slightly off balance, you know, depending on the character, of course. But but for me.
Yeah, well, now I've worked with you for so many.
Amazing vibrations storytelling.
Yes that in this one too. I love it.
You're you're gonna have to endure this, but I love it when the emotion overwhelms your performance, like when you pick in this episode, when you take out the result and I want to point out something. You take out the paper after you've coming from an infidelity moment. Yes, good writing with the proof, and when you hold it up to her, you the actor or you the Charlotte knew it was upside down when you took it out
of your person and you corrected it. You're in your moment you were, and then your voice cracked.
I love that part, that part. Yes, there are other parts of that scene that I'm like, I could have done better, okay, but the thing that also amazing, I mean, and I think.
And the fact that we were able to swing that storyline over to carry and have it be a carry.
Aiden thing forgotten and like how a moment of.
Shame which is always so important, Yes, when a character suddenly real I'm ashamed of something, right, and then they have to admit it, right, and then Corbett's so open, and then the weird trick of don't tell.
There's a lot of great together, like great, get them apart, They're all great.
Yes, it's so great. And the thing that I was thinking about with that, which we've been you know, this whole season, I'm like, what would Michael Patrick say about X or Y or Z for your hair now? So I'm gonna ask you when.
So with the Aiden in general, I have a lot of feeling opinions about X Y and.
Thank God, that's why we love you so one of the reasons when Aiden comes back, it is so fascinating, right because like we've you know, I'm rewatching, I'm having all different feelings about Big because it's time has passed and whatnot, and I have a lot of different feelings
about Aiden. I love Aiden, and he's very complicated because Corbett brings so much to him, right, and you guys really open him up when he comes back, but he's less like the anti Big, which is kind of how he starts out right, But like in this particular episode too, the complexities are just so much with He doesn't have a lot, but it's but she's I feel her through line in this particular season at least, is that she
feels like he wants something slightly different. You know. It's like when she has to stop smoking the first time, right, did you guys perceive it that way? Yes?
Got it?
He wanted a perfect image of her, got it? And an abortion doesn't go in that so.
And would you connect it all back, like even from the beginning when she's like, I.
Even wanted Carrie to be a certain way, and the struggle was and it always it carried all the way through to their eventual breakup on it just like that that's really she wasn't ever going to be that way interesting and he tried, and they both tried, and we all love people, but there's.
Something in him.
He says a line when he's there in the fountain when they're going to get after the party, and he says, I want to get a ring on it.
I want to lock this down.
Yes, And that was a very male line that I heard from one of the crew members, and I was like, Oh, that's so male and so straight. Guy, you got to lock this down, you got to get a ring on it. Yes, And Aiden has that quality. And the great thing about Corbett is he it's not his main color. His main color is love and playfulness, but he brought all that and it's sort of added to the don't disappoint me guy, right,
So I couldn't date a smoker that everybody understands. And then that puts in Carrie's mind, I can't be with someone who had an abortion, even though he never said it, right, and he accepts it and she actually says to him at that scene, which I love. What I love about being able to write a show for years and grow the characters, and in a city you can put so much of real life in it, Like the idea is I've never seen another SCET show where characters have to
wait in line for a table. So good, but then they have to wait in line for a bar, which then gives us the opportunity to do a cool scene where they're drinking beer out of bottles on the street. That idea of being able to do like how many times have I waited and just had to wait? And that the odd non romance part of it, the casual, big conversation rather than the big conversation, big scene.
Yeah, you know.
And the other thing that I love about writing is I carries man that she got pregnant from.
Oh my God, at the saloon incredible.
I worked at the.
So in that era, I was one of those waiters at the saloon. So it was still there, and my biggest fear was that I would still be a waiter twenty years later. And so then we wrote a character who was still a waiter try now.
And I was like a knife to the gut.
And here's the big personal story.
When I worked at the saloon, I was in a day waiter, which they called ams because you came into eleven and you worked till.
Four, got it. You did not make the big money.
The night waiters were called pms okay, and they would come in and dump attitude on the eighth like I would be cleaning the cappuccino thing, hitting the thing, and the pms would come by and they would go like hi, and I'd.
Be like, you're a waiter too, Like you're a PM, so you're better than me. We're all still waiting on tables.
So I had this and that the saloon was a very notoriously rough place to work.
The manager was tough.
Oh and I actually quit that restaurant because they wouldn't let any waiters get anyone to cover for them for Christmas. What And they said that manager put a big sign up that said anyone who doesn't work their Christmas shift has the pleasure of firing themselves. Oh. I was like, hmm, waiting Christmas. So I took the tables used to be covering butcher paper. So I took a giant ream of butcher paper and put up over the time clock.
I have had the pleasure of firing mycel Wow.
Worked out And to this day people say, I was at the saloon when you had the pleasure of fucking findings. But the story is how it relates to us. As we filmed it the saloon and I was executive producing and sitting with next to Frankel at a table where I.
Used to fold Napkins unbeliev for the am shift, unbelievable.
This is fantastic, fantastic, beyond belief. When that guy when she goes, you know, because I had totally forgotten carry storyline, right, which is the joy of the rewatch, you know, you
don't remember all of it. And I was like, oh my god, this is so good that she lies and then she's but she's talking to us, honestly, and then she's trying to figure out how to tell him, but he obviously has so many quiet judgments going on, right, they should be telling Steve, they should be doing that, which I feel for him too, he's stuck in the middle of it all right. And then when she goes back.
To the slote, I'm like, I should go to this l And then I mean because.
I was around, you know, in the later eighties, right, so, and I didn't work there, but I was a waitress in town. I mean it was a very specific time of the culture, you know, and we would all go to the odeon because you know, they talk about and he's like, no, I didn't go. But when that guy walks out because she sits down, and I mean, you literally are just like, oh my god, excellent casting because
he looks so sad. He's got the hair definitely, but the hair is still there, but he's definitely worn down right because he doesn't.
Mean it was like literally.
That is the joy of being able to write Sex in the City when it was on HBO. Because they were thirty minutes, no commercials. You could get a lot of story in. Everyone could have a story, and you could have like these sort of epic morals.
The moral of.
The story is friends. Like when Charlotte shows up with those beautiful white hydranges, Charlotte, yay, and she says these flowers or for whatever flowers are supposed to do in a situation like this, she does not approve, but she shows up and loves.
Also, the thing that was so great because I didn't really remember that. Of course, I remember the walking on the street scene because I think I was predominantly worried about that scene. As my producers point out, it's the first time that Cynthia and I have had a scene by ourselves.
Isn't that adorable? Yes, that's a very big deal right by design, probably well chosen.
Couldn't be more perfect.
And I remember that it was also so unique.
So unique, unheard of don't walk right and the line she knew she was there the voiceover really yeah, yeah.
But it's a really great it's really good. And then Maranda says, I saw you and see me.
You know what the honesty of it all is, this is what I see when I'm watching myself in that scene, the way it begins. See the other thing I was thinking about because of course I did watch it last night before bed, so then I did lay bed and think about it a lot, because it still is very stimulating for me, like us in general. Part of why I love us, part of why I want to work together until we die, is because it's over stimulating. You know what I'm saying. It's so much, you know, it's
like all the things. It's rich and exciting, and we know each other and you guys right like with everything, like everyone is laying it out there, right. I love that, and then that's what we all want, right, But then it's also over stimulating when you're just trying to live your life and sleep. But when I watched it, it's true,
it's true, it's true. But then yes, yes, but of course my child's exactly Yeah, it's true, but no, I mean it's more about just trying to do the best that you can do with all of it right, and some of it is great to be over stimulated because then you're processing and you're thinking about the things and how did this happen? And what do I remember versus what I see when I look at it right, And what I remember was being nervous and feeling like Cynthia
was very very there for me. And I do one hundred percent remember the paper situation because I think Frankel was like, oh, I want you to get the paper, but you have you know how you have to hold things higher on film so that everyone can see them in the take, higher than you feel comfortable or whatever. So I had to get it up high. I had to get it out of my bag and get it up high. And unlike Sarah Jessica, I'm not the most prop I love her person in the world.
Disagree.
Oh you're adorable, but you know she always will like, give me more, you.
Know what I mean. I'm disagree.
I mean, okay, I love you. So I'm trying to get it out. I can see myself trying to get it out, and I can see that it's not going perfectly, but it's also so perfect for the scene, right is where like you are one with the character. Yeah, and she is so real. But then what I feel, and I also think I did talk to I think Jenny who wrote this episode, that that episode, this episode, we weren't at the place in our lives where we really
knew people going through this yet, you know. And I had said to her, I don't know if I really did justice or whatever, and she said, you did, you did, you did? And I was like, I don't know, and I do feel I when I look at it, what I see is that you're deepening Charlotte, like little by little by little, like third season all into where like where we break up the first time when she's on the tennis court, you know, and she's like, I think we should separate.
I'm just like, what, I don't remember that? Oh my god?
Like you know, it's she's struggling to manage the fact that her vision is not what she wanted, you know, which is.
A big and these aren't little obstacles.
No, they're huge obstacles. But she's going to try to keep it together, and so she doesn't have her feelings that was her job, exactly. And that's what I see in the show exactly. And that's what I see in this scene, right, is like she's walking along looking kind of depressed but not devastated. And I'm thinking, why did I make that choice? And I'm sure that no one really wanted me to look devastated walking down the street, right, And also, is it Charlotte to look at what?
Okay, excellent, it looked like you.
Came from a plane crash but survived.
Excellent. Okay, that's great, Michael. This is why I need you around.
Okay, thank god? Why because we have the ability to alter the reea. No, because I have.
The ability to alter my mind with your insights you shocked.
It's almost like a emotional zombie.
Okay, great, Great, that's helpful. Thank you so much, Because I'm wondering to myself, like because I do say to Miranda, I knew it. I knew it would be, you know, and I say it earlier too, like I've got to make an appointment to find out because I just know it's me, right, So.
I was like, am I playing that?
This is just you know, giving credence to my fear?
What am I playing? There, but I'm going to go with showing everything. Here's the reality.
Tell me it was a very hard scene because you have to break in it, and when you have an expectation that you have to break, I don't know how you do it.
That's the hardest part. I've seen so many moments.
Where the actor gets there and they might have had it at rehearsal right, or and it's dried up.
Oh, it's the worst.
Yes, that's the word goes away totally.
And so you have the expectation of I'm walking into this right, and probably you're thinking, I hope this goes well, and Charlotte's thinking, I hope this all goes.
Well totally When there is yes, yes, all of it all in.
And then you play the surprise of seeing Miranda in the embarrassment of being caught right, and then the anger.
Did do you feel angered?
Yes, it's okay.
See, this is what I think is happening too. Do you remember the seasons, which I feel like would have been season two, where you guys, not you personally, the writers in general, like Jenny I remember specifically telling me like Charlotte does not get mad. Do you remember this?
No, I don't think of anybody as not getting.
Mad, right, that would be insane. Right. So then it was kind of like Darren maybe Jenny, and and it was more like when we were beginning and kind of really starting from the more archetypal real archetype. Yes, yes, and as it went we deepen deep and deepened.
Right.
And remember how many guys I went through in season two? Fantastic, so many fantastic for sure. Definitely, Yes, that would be the.
One, because I know you're still he's still have done your work on that.
It's true, I have not.
I'm still madam you.
You still have to work through that.
I know, because Charlotte didn't get to have her feelings about it. That's why I have not worked through it. Because everyone told me you cannot be mad. Charlotte doesn't get mad, Okay, I know, it's crazy crazy.
She gets overwhelmed, she gets shut down, she can't derailed, definitely humiliated, Definitely, she carries all of that, Yes, But the funny thing is that she doesn't know what to do with it.
I guess that's that's a good point. And that's that if someone had said that to me that way, it might have helped, because at the time, I was just like, well, I'm just going to try to shove these feelings down, which I guess is what she's doing right right, right right now.
Maybe you should let go of those feelings.
I mean, I'm not believe me, this is not what's going through in my mind.
And when I'm.
Laying maybe I don't know.
I know that you still feel so protect have had that moment. It's like a real X. It's a rare combination of also made him thinking should I have spoken up for myself like that?
There's like a that's the no, it's true, and Cynthia told me not to.
That's why I didn't.
He's right after yourself.
I did not know. Shouldn't You thought it was hysterical and that I should not say a word, and so I didn't, but I wanted to.
And then that guy himself may be.
Met so it all?
Or did he he did?
I'll tell you what he did.
This is what he did.
He you're trying to save him that he was.
Just trying to say he did his job.
Oh, he did his job, but what he did he didn't.
Here on this guy, we are because you better get it together.
I don't even know his name.
Hold on to a bridge.
We should find out that dear act should find out, since he is now your nemesis.
There's one of them. He wanted.
He that Nicole was directing that Nicole hol Offtner. She did his side first, irritating Okay. Then it was lunch, so he had shouted at me. She kept telling him to shout louder and to be closer to my face. So those were the two directions she gave him, which I was like.
Nicole, okay, Like, let's talk about the evolution of you. I'm not jumping, I'm jumping forward so many years, okay, great, to the evolution of you feeling that you can't express yourself about a thing to the.
Day on in just like that where.
Harry was maybe going to get hard after the whole thing and he couldn't get hard. He still wasn't hard and you had to give him a hand job.
Final season or was the season okay.
Had to give a hand job? Not written that way, Oh it was. They make love and then we don't know how. We know that it didn't happen because, to be quite frank, he's inside of her.
We don't know what.
Yes, this was a little bit.
We had a new uh our. Our intimacy coordinator was unpregnant.
Adam. Yes, we had a new one who was from.
England and very concerned about her actress and through the lens anyway. I came in as the director at five am and realized, oh, no, that's not going to be funny. It's just going to be another scene. It has to be a hand job, and you have to be fully clothed and giving a hand job.
And I came up to you first thing.
In the set where about the rivers, said Kristen, I've been thinking I think you're giving him a hand job instead of making love. And she was like what what, wait what? And I was like it's a hand job. And you're like, wait, what does that mean? What are you showing? And I was like, I'm showing from here up your arm? And okay, all right, good?
Did I do it?
Yeah, big dialogue. I said to you, this is how it goes. I think it'll be funnier. You go, it will be okay. And then the woman said, I don't have the paperwork for a hand job, and you said we're fine, and she goes, no, I need to have the paperwork, so you were fine, and we don't need the paperwork, so then we had to do a quick paperwork and you had to sign off. But it's a long way feeling in a box that you couldn't have your feelings.
That's true, but you know what that is about. That is about you and our incredible long relationship.
True, true, and also about you understanding what's better for the scene.
For sure, for sure, just because I trust you, you know, so it's about trust and de filop.
I trust you.
That's why I can say with this, let's do this.
If it doesn't work, I won't use it for people.
And it was great, it was funny, and it was the thing we do better, which is comedy, sex.
Whatever. Totally simulated, definitely, definitely, definitely, and I do totally. I don't need to see that again or acted again, you know what I'm saying, Not for you, for anyone, So like, well.
It's important maybe in something, maybe you'll do have to do it, but the reality is h never say she's open, all your writers, directors, She's still open. She's a wonderful person to work with in simulated sex situations.
You're so sweet thinking about my career that's so sweet, so.
Sweet, But yeah, I just wanted to draw a line from you know.
You're absolutely right, You're absolutely.
Right, which is what happens when the series really is allowed. I agree to exist and the people are there for each other and love each other. And that's what's so great about this episode. It just screams of growth.
Yes, all right everyone, thanks for joining us, and are you a Charlotte. We are going to be back with more Michael Patrick King because when he's here, we could really talk for a long time. So please join us again later this week. Thanks everybody,