"Candor" (w/ Sarah Jessica Parker)

Episode Transcript
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Speaker 1 (00:01):
Look may oh, I see my own and look over
there is that culture.

Speaker 2 (00:06):
Yes, Gods loves culture.

Speaker 1 (00:10):
Ding Dong lost Culturista's calling. And like Carrie Bradshaw, we
have returned from Paris. We have returned from Paris to
New York and in the streets again.

Speaker 2 (00:19):
I mean, and we were in an expensive suite in
this lovely hotel and.

Speaker 1 (00:25):
We did not find love there.

Speaker 2 (00:26):
We did not find love there, thank you of Bianca
Mila of BC Travel Travel.

Speaker 1 (00:31):
We didn't really try to find love though. We didn't
make earnest attempts. We made half fast attempts.

Speaker 2 (00:35):
No, I think even first staying in the Marae, it
was still a pretty I would say, and I say
this with all love. During Pride Month, it was a
pretty pretty hetero sort of romance being sort of bandied
about and even sort of I don't know, like at
an allegedly gay club that we were supposed to go
to that we did end up going to.

Speaker 1 (00:55):
Oh, that didn't feel gay at all.

Speaker 2 (00:56):
The energy was kind of more black swan straight sort
of biomass. Then it was like an explicitly queer space
And that's okay, you just took.

Speaker 1 (01:07):
Me back to We were in ny U and I
walked on. It was Fourth Avenue and they were filming
a movie and I said, what are you guys filming?
And they said, we're filming a movie called Black Swan.
And years later I'd not years later, a year later,
I'd find out it was the iconic scene with Mila
Kunas and Natalie Portman where Mila goes, you've never rolled,
and then they do Molly and have a lesbian encounter,

(01:27):
much more successful homosexually than we were in Paris. But
you guys rock Natalie and Mila and come in the
pod together together that they're still connected. I'm sure they are.
Oh well, anyway, we're sort of doing that thing where
it's like it's a big gas we really can't believe it. Yeah,
And so no more of our bullshit, because this is

(01:47):
a no bullshit moment in lost cult history. It's one
of those days we were passing back and forth a
little phone, sort of going shot for shot on iconic moments,
moments and certain television sit is history and really just
like sitting in not just the impact but the talent
of our guests. Just an incredible actor as well as

(02:10):
being a true pop culture icon. One of the top
pop culture icons on our iconic four hundred, I believe number.

Speaker 2 (02:16):
Five, number five, and she was my first sort of
pop cultural Winifred I was like such a show Carrolbernet,
we love Oh. She would then play Agravain in her version.
Once un of a Mattress is like the big first
freshman year musical for me, huge window into the entire
This is could be an answer for me for the
culture that made me say culturess me one of them.

(02:37):
The Broadway revival of oneceon a Mattress that our guest
was the.

Speaker 1 (02:40):
Star up for me outside of the big one. I
think I knew a little bit who I was when
I watched hocus Pocus and I said, well, I'm that one. Yeah,
that's the one I owned. In a dark lip, a
dark lip and a distracted, bedazzled energy, I said, I
want to be that unbothered. Of course I strive for that.
They won't expect anything of me. No, of course you're
dancing idiotically in the background. You never forget bet come

(03:03):
on the pod, come on the pot anyway of course, Well,
of course, Kat.

Speaker 2 (03:08):
They keep in touch. But first, but first our guest. Well,
it's the mayoral primary in New York. I think she's
our mayor. Everyone, please welcome into your Jessica pardon.

Speaker 3 (03:20):
Oh my gosh. I feel it'd be best if I
just left now, like happy to be all those things.
Like one day perhaps I will actually be one or
two of those or that person you described, but perhaps
we just leave best, best left alone.

Speaker 4 (03:37):
That thank you so much for having me have a
great day.

Speaker 1 (03:39):
And honestly, though it does have to be I was
thinking about this, like this idea of you as the
woman who represents New York women, like when you are
you and you're not Carrie Bradshaw, that's a little bit
of a burden. But also I guess.

Speaker 4 (03:56):
Not, it's really not. None of it's a burden.

Speaker 3 (03:59):
I mean relative to burdens, do you know what I mean,
Like relative to like.

Speaker 4 (04:05):
Actual crosses to bear.

Speaker 3 (04:08):
It's really one of the great privileges of a lifetime.

Speaker 1 (04:13):
My question for you is, and I've always wondered this, so,
Carrie Bradshaw famous shoe game. Was your shoe game always
on point or did you have to kind of up
the shoe game as s JP because people see CB
oh interesting.

Speaker 3 (04:26):
I think there was a tandem relationship and but one
one went mad and the other stayed as like a civilian. Yeah,
like I really actually have always loved shoes. And I
will try to tell this story quickly, but I'm one
of eight kids. There was a period of time in
which I was one of six kids. But nonetheless, that's

(04:48):
a lot of kids to shoe every year. And so
at the top of the school year, my mother would
take us. And this was not an unusual experience for
people in this country. At a speci time, you'd go
to a shoe store before school started, you would be sized.
And we didn't have a lot of money, so we
weren't like just shopping for shoes. It was like a

(05:09):
utilitarian act in a way. It's just necessary.

Speaker 4 (05:13):
And we went.

Speaker 3 (05:14):
And I'm the fourth of the six and now eight
or that, you know, soon after eight, and so I
would just like walk around the shoe store smelling shoes
and what I loved about a shoe store. And I'm
much older than you, so I don't know if you
had this experience, but when you walk into the shoe
store in August, it's air conditioned. First of all, Like

(05:35):
I don't know if you guys grew up with an
air conditioner in your house. But we did not, like
that is a privilege, like in the Ohio summer August.
So we walk, you know, drive a good distance to
our shoe store that is a distributor of like Buster Brown,
you know, walk in and as my siblings were getting fitted,
I would like pick up shoes and smell them and

(05:55):
then turn them over and like really look at the
stitching on the bottom of the soul of a Buster
Brown shoe. So I really came to this experience of
playing someone who has a far more fevered relationship with shoes.

Speaker 4 (06:11):
With some like real affection.

Speaker 3 (06:13):
I just don't I didn't have the access or the
money or the the constitution to like be buying sure
like it would not have I would not have considered
that kind of indulgence.

Speaker 2 (06:27):
Yeah, seems like it seems like I'm relating this idea
to you talking in interviews about having access to books
in kind of a similar way. I mean, is that
I mean obviously different functions, But like I find it
interesting that you think that I think I mean planting.
I'm going to guess that you are the one who's

(06:49):
gone mad and carries the one who stayed a civilian
and yet it seems.

Speaker 3 (06:52):
Like it's reverse crazy with shoes, and I stayed. Got
it more real now, granted, perhaps not real too if
if you might work in an office in Omaha, you
might not like our versions of being civilians are not.

Speaker 1 (07:10):
Right.

Speaker 3 (07:11):
Pair of ball, I don't have the closet that she has.
I don't have the shoes she has. I don't have
the amount. Nor would I ever like that kind of
that kind of indulgence and decadence to marm Yes, maximalist,
I wouldn't, But I love shoes. So but books were

(07:34):
different in my house because we had a public library,
so we've always had books. We could always have books,
but you can't always have shoes.

Speaker 4 (07:42):
And so when you grow.

Speaker 3 (07:43):
Up, I think having a pair for the fall and
a pair for the spring and then hand me downs,
you have a different like the the the thing you're
reaching for remains like a far away distance, you know,
And books were much more at our like we we
thought of them, went to the library like fulfilled, you know.

(08:07):
So they kind of are different. I love books, yes
you can talk about that, but I've had a different
It's been different because those have been more within my reach.

Speaker 2 (08:15):
Sure, when I was younger. I mean, I am always
so curious about the sort of transitional time in your
life where you were in Ohio to sort of working
and probably being in New York for I guess many
months out of the year or was that like a

(08:35):
sudden quick like okay, we're picking like everyone.

Speaker 4 (08:39):
We moved to New York.

Speaker 3 (08:40):
I lived in Cincinnati until I was twelve. We my
brother and I the previous summer, in the summer of
seventy six, we'd worked in New York on a in
a play on Broadway. It had gone out of town
for out of town tryouts first, and that was my
only experience working in New York. My my real father
was born and raised in Brooklyn, but he wasn't living

(09:02):
in Brooklyn by the time he became a parent, so
we spent time in Brooklyn with his parents. But so
we had that experience, and on January first of nineteen
seventy seven, my parents put everything we owned into our
Volkswagen bus and we moved to New York City, the
entire family, and at that point there were six of us.
My mother was pregnant with my sister Legra.

Speaker 4 (09:26):
She was born.

Speaker 3 (09:27):
She came later because she couldn't. It wasn't a great
idea of for her to travel twelve miles in a car.

Speaker 4 (09:33):
But there was like literally like.

Speaker 3 (09:35):
I remember at one point my father kind of stopped
suddenly and there was a cast iron skill up behind
my head, and I just remember just like knowing that
it was there, like putting my hand back to hold
it so.

Speaker 4 (09:46):
That it wouldn't hit us all on the head.

Speaker 3 (09:48):
So then we moved to New York City, and we
didn't have a home yet. We were going to be
the first families that moved to Roosevelt Island.

Speaker 1 (09:54):
Oh wow.

Speaker 4 (09:55):
We came to New York to move to.

Speaker 3 (09:56):
Roosevelt Island because they had subsidized housings so we could
afford to live New York City. But they were ready yet.
So we moved to the Holiday Inn in Yonkers and
we lived there, and then my mom came and so
my sister was born in Yonkers, and then Roosevelt Island
was finally ready, I think in the spring of seventy
seven maybe, So then we moved to Roosevelt Island and we.

Speaker 4 (10:18):
Lived there was the train this is such a tram?
Was there?

Speaker 2 (10:22):
Yeah?

Speaker 3 (10:22):
I was there, So there was no there was a Park.
There was no subway service yet, it hadn't been built.

Speaker 4 (10:28):
It may have.

Speaker 3 (10:28):
Even just been like a dream. I don't think they
had started digging that subway line yet. And we only
knew about Roosevelt Island because there was an article in
New York magazine about it. My mom read the article,
and we applied through the Housing Urban Development Corporation and
got one of the apartments.

Speaker 1 (10:48):
Wo.

Speaker 4 (10:48):
So we lived there for a year. So we all.

Speaker 3 (10:51):
Moved, the entire family. My father started a trucking business.
He was a truck driver, and some of my other
siblings were acts and auditioning and and thus began, and.

Speaker 4 (11:03):
Thus began our time in the city.

Speaker 3 (11:05):
And I don't think I ever imagined at that point
that anyone would ever say, yeah, no, you're a New Yorker.
I was like keeping track the entire time, Like at
what point, Yeah, I get I belong, Yeah, yeah, I'm.

Speaker 4 (11:17):
A New Yorker.

Speaker 1 (11:18):
Yeah, I mean I have.

Speaker 3 (11:19):
I love Cincinnati so much, and it's an incredible city,
Like it's a really special city, and it's cultured and
interesting and such smart people and it's beautiful.

Speaker 4 (11:29):
But I love that.

Speaker 1 (11:30):
Yeah. Yeah, what year was? And he's been so on
the brain for me recently because they just did that
beautiful rendition of Tomorrow at the Tony Awards. Yeah, Sarah
Burrellis and Cynthia Rivo and Limorium, and I was just
I've now fallen into this wormhole of those songs as
the greatest Maybe and Tomorrow and just really everything even

(11:51):
not even just any songs, I mean across the board.
What age was that?

Speaker 3 (11:55):
So that was I joined the the cast. I was like,
I guess one of the first replacements. So what happened
is Kathy jo Kelly was July. She left to do
the first national tour and play Annie, so I was
her replacement. So I came in in January of nineteen
seventy eight having seen the show.

Speaker 4 (12:17):
Yeah, like I was like, you were obsessed. I don't
even know if.

Speaker 3 (12:22):
Like there's a word to describe the way I felt.

Speaker 4 (12:26):
About seeing that show.

Speaker 3 (12:27):
We saw it, but I think before it opened on Broadway,
and I've been working in an industrial with a bunch
of the kids that were in that cast, and one
of the original orphans was my understudy in the Innocence
on Broadway that I had done the year before.

Speaker 4 (12:42):
So all of us were very like.

Speaker 3 (12:46):
We were like devotees of Annie and that cast album
is so I came in as an orphan as July
as well. I was cast as the understudy to Annie,
which is mystifying because I didn't I never really sang professionally, really.

Speaker 1 (13:06):
Know was that? Is it? Just like loving it at
that age? And so you're pretending or like what do
you think made little you able to do that? Because
it's not easy?

Speaker 2 (13:16):
No?

Speaker 4 (13:16):
Yeah? And I still left thinking, well, I'm not really
a singer. I don't know. I think, you know, we
grew up listening to records.

Speaker 3 (13:25):
We didn't have a television, and we listened to cast
albums all the time. And you know, I think like
a lot of people in my family, and we don't
know why we have a musical ear, like we have
good you know, we have musicality, or we have good pitch,
like and I'm I'm an interpreter, like I'm an interpreter,

(13:48):
and I you know, I had a really good audition
song I will say was it? And it was kind
of controversial and no one else was doing it.

Speaker 4 (13:57):
So we're gonna is the path like it's not fine?

Speaker 2 (14:00):
Are yeah?

Speaker 4 (14:01):
Because it's gonna might hit.

Speaker 1 (14:02):
I love I think we can.

Speaker 2 (14:04):
I think we can dovetail into the question.

Speaker 1 (14:07):
Okay, but I don't want to know your auditions.

Speaker 2 (14:09):
I think it's a crack to crack. Which Okay, this
is the question, Sarah Parker, what was the culture that
made you say culture is for you?

Speaker 3 (14:16):
So my answer to that question, and I was delighted
to have one versus you know, heming and hind and
trying to come up with something. I have a very
clear and specific and the easiest. It took like twenty seconds.

Speaker 2 (14:29):
That's great.

Speaker 4 (14:30):
Okay.

Speaker 3 (14:31):
So in nineteen seventy six, when we came to New
York or nineteen seventy five, I can't remember, we came
to New York to audition for The Innocence on Broadway.
And that's another kind of amazing, crazy long story. But
as Bridget Everett, who I called gender says, short story long,

(14:52):
we came to New York and while we were in
New York City, one night we were spending time with
my paternal grandparents in Brooklyn, and my mother and father
went to see a show that was in previews called
a chorus Line at the Schubert Theater.

Speaker 4 (15:07):
And they actually summoned the dollars.

Speaker 3 (15:11):
Together in order to stay an extra day, because they
thought our children have to see the show, like they
have to see the show. So they stood back in
line and we got standing room, and we got two seats,
and we flipped like some of us for a while,
and some of us sat.

Speaker 4 (15:28):
And so I saw in.

Speaker 3 (15:30):
Previews at the Schubert Theater. I can't say that I
saw it down at the public theater. I saw a
course Line on Broadway before it opened, and I can
say without hesitation that it completely changed my life.

Speaker 4 (15:46):
And I think what's interesting.

Speaker 3 (15:48):
About good theater, or a good book, a musical, or
a straight play or a movie is that it is
not necessary. I don't have to have been a twenty
four year old. Course Line is famous for calling all
of them boys and girls. Yeah, but I was like

(16:11):
nine or ten years old, and I was from Ohio,
and I felt like the plates of the earth had
just shifted.

Speaker 4 (16:18):
And they shouldn't have it, really, except that.

Speaker 3 (16:22):
They were so good that cast, and that show was
so clearly about love. That show was so clearly about
a dream. And I think, you know, obviously what I
did for.

Speaker 1 (16:34):
Love is it's so.

Speaker 3 (16:37):
Because it just says everything and it applies to people
in a broad range of industries it applies to, But
there is something uniquely special about this desire to be
on stage. And it's hard to articulate because it's not necessary, it's.

Speaker 4 (16:57):
Not even rational if you don't have.

Speaker 3 (17:00):
Yet the language, like why, Sarah, Jessica, why do you
want to be on stage?

Speaker 4 (17:04):
You're eight or nine or ten. And I wasn't like
a show biz kid.

Speaker 3 (17:07):
It wasn't like I was tap dancing for my parents
and like putting on shows, put on shows, but that
show Priscilla Lopez singing nothing and music in the Mirror.

Speaker 1 (17:19):
I was going to say, I saw the Jimmy Awards
last night and one of the girls did Music in
the Mirror and she, of course went to the finals.
Because it's so winning, it is so sweeping, it is
such a journey, and you're just you're taking away. I remember,
I've told you Jane Krakowski did it on a monster.

(17:39):
She is so talented.

Speaker 4 (17:41):
It's just crazy, fantastic.

Speaker 1 (17:43):
I remember even back in the remember I was a
little watching over my aunt's shoulder.

Speaker 3 (17:47):
You ever watch have you ever pulled up on YouTube?
Do you have any clips in the original production?

Speaker 2 (17:51):
Oh, of course, it's it's some there's some shaky bootlegs, right, and.

Speaker 4 (17:54):
I thank God for all the bitch money.

Speaker 3 (17:56):
You're like, but you camera down, there's someone up in
the balcony, and you're like, why did all of us
make such a fuss?

Speaker 5 (18:04):
I remember that song in the Mirror is such a
winning song because and I think that probably what I
can relate to and what you're saying, and I'm sure
bowen Ken as well is it's like, You're right, what
is the question that I'm trying to answer within myself
that because I feel a certain emotion doing this, I
think what I experience was I want to express myself

(18:25):
like that, Yeah, do.

Speaker 1 (18:26):
You think that that's maybe what it is.

Speaker 3 (18:29):
I don't know if I understood that I wanted to
express myself. I guess I wanted to care. What I understood,
in the simplest terms, was this kind of unmatched necessity
to care, to be completely devoted, to flay yourself and

(18:52):
without any with total understanding of the very possible disappointment
and heartbreak. But that without the attempt, without the like
the exercise, like the real endeavor, then you would be
at a deficit, like you would be worse off for

(19:15):
not having been heartbroken than you would have been for
a path more comment.

Speaker 1 (19:21):
What I did for love? I mean, it's all about
putting yourself out there one hundred percent and saying this
is what I'm offering.

Speaker 2 (19:26):
What I did for love is this is and the
show are about. Not to get sort of collogy meta about.

Speaker 4 (19:34):
That's okay, I get it.

Speaker 2 (19:35):
It's about having a passion for a passion. It's about
being passionate about passion. Were you watching a chorus Lane
thinking in the context of how you had watched musicals
before that moment, or was that just like completely like

(19:56):
a first impression of what the form could be would
be because it felt pretty It was very groundbreaking at
the time.

Speaker 3 (20:01):
It was groundbreaking because it was so modern, and it
was without a fourth wall, and it was a person
in the house talking to the cast, and they were
dressed like nobody had ever dressed, No one ever been
costumed like that on Broadway. No one was wearing rehearsal
yet where and and it was such a kind of

(20:23):
candor about the language and the way they were talking,
and it was like ribald and dirty. Sometimes there were
inferences that were meant to be funny and sexual and
there was homosexuality, and you know, Paul, I think, is
you know, god, it would be amazing to play that part.

(20:44):
Oh that's a beautiful you know that part, that story
of his parents coming and seeing him still dressed as
a young woman. He's like in a you know, a
what do you call it? The shows Burlesque and Times Square.
You know, every single story was a so well thought out.
The book was the cleanest, most perfect, and like everything

(21:09):
not necessary.

Speaker 2 (21:10):
Was gone, and so.

Speaker 4 (21:13):
I think it was just like perfect. And the singing
and you know, uh, what's Maggie's song the greatest of all?
You know, every day was beautiful.

Speaker 3 (21:30):
At the ballet, I mean that her singing she did no, no,
we talked about her because her was I mean, but.

Speaker 1 (21:44):
You know that was actually my first experience actually when
I was watching and you're doing it, really I loved
that was whatever. I mean, give yourself credit. It affected me.
I was going to ask you this do you find
because I'm finding a link here between and you pointing
out in the book for the chorus line that there's
candor and that there's honesty, and that there's and then famously,

(22:08):
you know, you become synonymous with candor on television for
the first time. Is that something you're attracted to? Is
that something that you feel like you're seeking.

Speaker 4 (22:19):
I mean not, I don't think so.

Speaker 3 (22:21):
I don't think it's like a criteria. I think I
think I like that as a child because all the
musical all the musicals that I had heard before that
were really traditional, like big musicals like Hammers, you know,
like Partis and Hammerston and Learning Low and like Oklahoma
and Show Vowed, and so I think what struck me

(22:42):
so much and the rest of the world was that
a chorus line was so intimate and people were talking
about their lives on stage that were very different than
Shogun even.

Speaker 4 (22:57):
And I'm which I loved.

Speaker 3 (22:59):
So when I received the script, the pilot script for
Sex and City, I wasn't looking to play like, you know,
a sort of.

Speaker 4 (23:08):
A New Yorker, yes, who was curious.

Speaker 3 (23:11):
About sexual politics and wanted to have intimate convert Like
I didn't even realize that was a thing that could
be told or said. But I certainly was, like, found
it really compelling. I was I thought I never read
even in pilot form, because it's just so minimal. Really,
when you look back, you're like it was just this,
but it was really in plenty to convince me very easily,

(23:36):
without like any persuasion, that it was like, this is different,
this is I haven't heard anyone. I haven't heard people
have these kinds of conversations. And there were plenty of
women on television before Mary Richards and others, and Marla
Thomas and many others, who forgive me, I'm not remembering.

Speaker 4 (23:54):
It's not like women hadn't We weren't like the first women.

Speaker 3 (23:57):
But because I think of the because of our studio,
it was HBO, like the rules were very or didn't
apply at all.

Speaker 1 (24:05):
Yeah, I used to do. I used to wait till
my parents would leave the house and then I would
go to my We had HBO on demand, and I
would just mainline.

Speaker 4 (24:13):
Where are you from? Where you are? You're from?

Speaker 3 (24:16):
Long Island Dream wasn't even that far away, but it
could have felt far away.

Speaker 1 (24:21):
I guess one of my answers to one of my
answers to our own question is we went to go
see Hairspray and I just remember the three part harmony
on the the trio and they hit this insane three
three part harmony belt.

Speaker 4 (24:34):
When the girls the ladies were singing.

Speaker 1 (24:38):
Yeah, and I believe it was the Mama song. Yeah.
I just remember hearing those harmonies belted and how joyfully
it was and the response from the audience, and I
burst into tears and my mom was like, what is wrong?
And I was like, nothing. I don't know exactly, but
it was. It's nothing.

Speaker 4 (24:55):
I don't know. That would be a really good name
for your memoir.

Speaker 1 (24:58):
You know what, I'm going to call it for thing
because no, I'm serious.

Speaker 3 (25:04):
Interesting second book is called so the first one's called
not for nothing, and the second one is called nothing.

Speaker 4 (25:09):
I don't know because also nothing. I don't know. It
could be yeah, nothing, I don't know.

Speaker 1 (25:14):
Right, you know, it's it was very nothing. I don't know,
because it was.

Speaker 4 (25:19):
It was you couldn't, you didn't, there was no.

Speaker 1 (25:22):
That's why I asked you was it about expression? Because
the tables are turning? I asked you was it about expression?
Because certainly for me it was. I think I was like,
I I remember I saw those women and everyone up
there dancing and singing and giving it everything, and I
think they knew they were a part of something special. Yeah,
and I all I wanted to do was I think honestly,

(25:44):
I want when I talk about that belted harmony, it's
because of the volume. I wanted to express myself loudly.
And I think there's something about looking at people on
a stage and expressing, especially in the show that you
that you point out, it makes me emotional, like like
the freedom to express and that is that is what

(26:04):
you get on stage. And that's the Jimmy Awards last night.
It's just so emotional.

Speaker 4 (26:07):
Because about the Jimmy Awards, the.

Speaker 1 (26:09):
High School Musical Theater Awards, j y G y n
after James Neederland Jimmy, Yeah, wow, it's at the mince Goff.
But I saw you at the Nelander in Plaza.

Speaker 4 (26:24):
Suite and weird the Hudson.

Speaker 1 (26:28):
That's okay, That's okay, But I that was the last
time I guess that. Well, I guess we ran into
you at s n L fifty, but the last time
I had physically seen you.

Speaker 4 (26:35):
But another did I see it? Smash? Where did I
cost you? Guys? Was it?

Speaker 1 (26:45):
I just watched election.

Speaker 3 (26:47):
That's a perfectly fine thing to say to him.

Speaker 4 (26:50):
That's really nice.

Speaker 1 (26:52):
That's I said it twice in the night. So the
second time, by the way, put a great movie.

Speaker 3 (26:56):
I want to ask you a question a second, but
I do want to talk about SNL fifty because actually
I I I was moving past Lauren more recently, and
I tried to tell him we were at a party
and another party, a different party, and I tried to say,
you know, that was like a perfect night.

Speaker 4 (27:19):
That was that was like a perfect night.

Speaker 3 (27:22):
And I've been trying to fight figure out a way
of writing him a note to say thank you for
including us and that night and it started the weekend
with the shows and it was so much fun, and
I like, we don't even go out anywhere, like no, no,
it's okaya.

Speaker 4 (27:38):
But I try to tell Laurene how perfect it was.
And I can't imagine the feat of production, my god,
and what.

Speaker 3 (27:48):
Went into deciding which ones you were gonna do. How
hard it would be to be clear eyed enough to focus,
and everybody kind of already who rise all the time
anyway at eleven o'clock, like eleven thirty, like already that
that's so something you guys are all accustomed to. So

(28:09):
you were like taking like the most well oiled machine
and somehow making it like like a speed train in Kyoto,
or you know what, I mean like a bullet train,
a bullet train. So did you guys know that this
was like, oh, this is solid, Like were you like.

Speaker 2 (28:25):
It was all for sure in in Lorne's mind up
until like the two weeks before. So Lourene, I think,
was doing his kind of amazing beautiful mind esque like
the numbers are sort of like floating around his head.
But like for the better part of the of the fall,
I think for all of the first half of the

(28:46):
season of fifty, it was like, okay, like, what's the
show going to be? Like be out to like can
we we need to do like a veil checks as.

Speaker 3 (28:54):
If somebody would not cross like anywhere to get there,
and people.

Speaker 1 (29:00):
Hosted it that you think, right, it was the amazing
but there it is. It's also very nerve racking.

Speaker 3 (29:04):
But it's also like a night for legends, like it's
the night where you want to repeat, you want to
dip back.

Speaker 4 (29:11):
In like it's such a deep well.

Speaker 3 (29:14):
So I thought, however, you came to these decisions whatever
the collective is. First of all, the opening with Paul Simon,
it's a carpenter, which is like perfect and so sentimental,
like already they already hit like a triple to know

(29:37):
she was perfect and she like held back just the
right like it was so elegant, and he was so
touching and it's so sentimental and it's so nostalgic, and
you know, my brothers grew up watching that show the
very first episode, like your show, like that show, but anyway,
so already you could tell like it was you know,

(29:59):
when you get off to start like that, you're like, sure,
you're so right.

Speaker 2 (30:02):
It's like, I think probably that that was the thought
that went into it from louren Zen. It was just like,
let's just make sure this is cozy and comfortable for
everyone in the room. Everyone at home were in good
hands all the way through. And then you come out
with you know, Steve Martin coming out, Mulaney Martin short,
it's like all these heavy hitters and then it's just

(30:24):
it was to me this like four dimensional photo mosaic
of like everyone who's who's had the same shared experience
of being on that show, and it meant everything that
like my closest friends were there, Matt was there, Sudi
was there, our best friend Suiti Celestar co writer who
we're working with now. I mean, it was just this

(30:47):
like complete tapestry of like the human experience and how
all of it has this optimistic sort of like encasing
around it, which is like it's gonna be okay, like
for all of like the like slings and arras that
people will suffer in the system and outside of it,
it's like, yeah, everyone's here, and they're telling you about
the kids that are that they have, the families that

(31:07):
they've grown, like the lives that they've had since they've
been at the show. And it was really hard and
the seventies, the eighties, the nineties of the Yats whatever,
like every air of the show is like not totally
unique because it's like, oh, it's all been set against
the backdrop of whatever political chaos was happening at the time,
and like it's our job to like bring some levity
in whatever way we can and whatever media environment that

(31:30):
is like out there. I mean, like I was like,
no one's gonna watch this, Like it's like no, everyone's
attentions are pulled in a million different directions.

Speaker 4 (31:39):
But every every so often there's a cultural event that.

Speaker 3 (31:45):
Is able to sit everybody down, yep, and you want
it to be in real time, like all of the
New and the ways in which I like have like
an allergy to watching television, Like that too was the thing.

Speaker 4 (32:01):
It's like, no, it's going you don't want to watch it.

Speaker 1 (32:04):
Tomorrow moment that is that is literally not.

Speaker 4 (32:09):
A sports event. Not a sports event.

Speaker 1 (32:11):
No, yeah right, but I remember, like this is odd,
but like I remember when we were little. I remember
watching Who Wants to Be Millionaire? When the first person
one a million dollars and it was like the world exploded,
Like I remember when Richard Hatch one Survivor right talking
about only reality. But like, you know, all these things
are That's what sn L fifty was recreating. And I

(32:33):
think it makes you proud to be a New Yorker too,
because obviously it's synonymous, and I think that must have
that must also give you.

Speaker 3 (32:40):
A synonymous There are great musicals that are about New
York and important choreography. But I think because this, this
is this contemporary thing keeps giving us this experience every
weekend and it is only could be home. And you know,

(33:02):
a show can go on the road and touch people
all over the country and the globe frankly, but New
York continues to be like this export, like we don't
get to send art as far in the ways we
used to like it was such a crisscrossing of the
ocean with such an effort, and now we were tossing stuff.

Speaker 4 (33:19):
But this is a New York show.

Speaker 3 (33:23):
It employs thousands and thousands and thousands of thousands of
New Yorkers. I'm sure generations have gone through that studio
of people on the crew side. You know, there's endless
stories of the way in which it is a New
York show.

Speaker 4 (33:40):
So you guys of the Deli.

Speaker 1 (33:41):
Show, are you like you.

Speaker 3 (33:45):
Know, there's a period when I started having children that
I didn't that I like tapped out of baseball and
I tapped out of anything that was late, because like,
I just didn't especially if I was shooting and being
a parent. It just all of a sudden it didn't
factor like I could didn't carve the time out.

Speaker 1 (34:01):
Ye.

Speaker 3 (34:02):
But it's really interesting when you have children after a while,
what their interests are and what they're talking about can
bring you back home. My son is a massive baseball fan,
and so it it came back into our life because
he became much more you know, he was dictating conversation

(34:22):
at the table and then of course they're all watching
SNL and they're talking about and then telling us and
re you know, and pulling stuff up on their phones
of scenes and instances and whatever. So the way in
which it kind of disappeared not entirely, but I wasn't
able to stay up. Of course, you know that that's
not so much the case anymore.

Speaker 2 (34:43):
Yeah, but for you to give the impromoter of New
York nois onto that show is meaningful. Just coming from
another New York show, I'm just so happy to hear
that you guys had a great time because it because
because you're right, fantastic. The people in the room were you, Matthew,
Lady God God Share for god, it was like and like,

(35:04):
you know, we couldn't believe.

Speaker 3 (35:05):
We were like, oh my god, like everyone was game.

Speaker 4 (35:09):
It was so crazy.

Speaker 3 (35:10):
And then like even the entrance and you know, getting
your ticket, and you know, Matthew was convinced we weren't
going to watch it in the room because to this
really lovely like cocktail.

Speaker 4 (35:23):
Areau the lounge.

Speaker 3 (35:25):
And then I felt Matthew's spirits slightly. He's like, I
think we're in the lounge to watch it, And I said,
that's okay. We're all it's we're on this floor. We're
on the eighth floor, right, the eighth floor floor. And
and then the woman was like, no, you're you.

Speaker 1 (35:50):
By the way, you know where I just saw Matthew
at the Mets game. He was there, he was was he?
Is he there all the time? The Yankees? And is
it a torn up household?

Speaker 3 (35:59):
That's such a complicated say, because we like our whole
courtship was like the late nineties Yankees because but everybody,
everybody was, everybody was a fan.

Speaker 1 (36:08):
Then you guys would not shut up.

Speaker 3 (36:11):
But we weren't that kind of Yankees fan, because that's
always been objectionable to me.

Speaker 4 (36:15):
But we did. We weren't a couple of ticker tape
parades though. Yeah.

Speaker 3 (36:21):
And we didn't have kids, and so like, you know,
we could. Our dream was we were going to travel.
We didn't get to go on a honeymoon because we
were both working, but our travel dream was we were
either going to go to Vietnam or we were going
to go to all the baseball stadiums across the country
before they were torn down, so many of them been
torn down, you know, yeah.

Speaker 1 (36:44):
Right, My dad used to ride his bike from Long
Island and hop Defense and he would just watch games
at Shade riding from Linden Matthew Mouth.

Speaker 3 (36:52):
He was sort of taught that, you like, he was
raised as a Met fan. His father took him to
Mets games, so it was always hard. And then when
they would have Subway series, it was it was really hard.
It's just that this this late nineties Yankee was just
heavenly and we you know, we love them, but I but.

Speaker 4 (37:14):
We love the Mets too. And there's been many times
when it's been really hard.

Speaker 1 (37:19):
Sure because the Mets is they're either really good or
really bad.

Speaker 3 (37:25):
I know, but man, being watching watching the Mets fan
like our house, like I'm like, we believe, oh my god,
believe what is the temperature going to be? Like when
Matthew I walked in them and the other day and
I was like.

Speaker 4 (37:36):
What what what? Like I was scared of like.

Speaker 3 (37:40):
Some horrible news that had just arrived over the wire,
and He's like, they just blew a you know, they
just they just blew a seven run And I.

Speaker 1 (37:49):
Was part of being a Mets fan.

Speaker 4 (37:50):
I know.

Speaker 3 (37:51):
It's just really no I know, I know, but you
got to be true blue.

Speaker 4 (37:56):
I go gentlemen, come.

Speaker 2 (37:57):
On, boys, device the how us along what line?

Speaker 3 (38:00):
Well, meaning, it doesn't really divide the house, except that
there are times when there were times when both were
playing that we I was like, I felt kind of
course bad about I didn't know where to put my
I didn't know where to ligne because I love both teams.
It's very hard you have to choose to have two
great hometown teams. Now, Matt Matthew wouldn't be quite as equivocating.

Speaker 1 (38:24):
Right, So is it because you think of like the Yankees,
you think of the New York grandeur, and then there's
that underdog like union spirit almost.

Speaker 4 (38:34):
I think whole attitude is like the Mets.

Speaker 3 (38:37):
Well, in the old days, the Yankees had all the
money to you know, hire players, and the Mets were
a scrappy like that was the feeling. That was kind
of like the color of the tone of the sentiment
around and you know, Yankee fans were wealthy. This was
not necessarily true. This was kind of you know, I mean,
my nails white for you guys, just white nails in

(39:00):
my whole life, and they're gonna come off the second again.

Speaker 4 (39:04):
But anyway, I was like, I better.

Speaker 3 (39:08):
Explain why these nails are white, but I feel like
that was always the feeling. I don't know if that's
true or if that's based with reality. And I know
a lot of his regional I know that Queens tends
to obviously are Mets fans and Upper New York or
you know, Yankees fans. Like all the geography makes sense,
but I don't know how you pick a team.

Speaker 1 (39:29):
Well. I think it's like it really is, like your
spirit can be very broken when you are when you
are the underdog team again and again and again. But
I also think it's more fun.

Speaker 4 (39:39):
Wins.

Speaker 1 (39:40):
Mean, you know, it's fun to win all the time,
but not but you can. It can do something to
you come to expect glory and victory in this way
and almost given entitlement. And I think that's what I
resented about Yankee fans that were around me, is that.

Speaker 4 (39:57):
They were entitled.

Speaker 1 (39:58):
They felt they were better than Yes, you know what
I mean, that's what it was. And I remember maybe
this happened in your family at some point. But one
day I think I was just like wanted to test
the waters. And I walked into my dad and I
was like, I'm a Yankees fan, and I bought all
this Jeter Merch. I think I thought maybe you.

Speaker 3 (40:17):
Really were a Yankees fan, if you know what I'm saying.

Speaker 1 (40:19):
No, I was a big fan of was Mariah Carey
and they were dadd.

Speaker 4 (40:22):
Was as you like Tina Martinez too.

Speaker 1 (40:24):
Oh my god, I love Tina Martinez first place. When
he would he so he would wear he would wear
a batter's helmet while he played in the field. He
was one of the only ones. So this is like
deep in remember what.

Speaker 4 (40:35):
Did your father what was his?

Speaker 1 (40:37):
Was he just like my dad? It? You know what's
funny is he reacts now to the TV when Trump
is on the way. He used to react when things
would go down with the team, and I thought over
the years he had calmed down, but then let but
you know it's now, it's politics. But last year when
the Mets were really in it again, he was yelling
at the TV again, and I was like, you know

(40:58):
what kind of you know, Oh, it's great, but I
I remember, like, yeah, that was before theater for me,
like sports.

Speaker 4 (41:08):
And sports is theater.

Speaker 3 (41:09):
I mean, my god, the drama in our house and
we can move on. Honestly, in our house, you'll hear
like through the house.

Speaker 4 (41:16):
I don't know if you guys do this. There's a
thing about clapping when you get runs. It's not like
golf clapping.

Speaker 1 (41:21):
It's like the spirited class.

Speaker 3 (41:23):
Yeah, it's like this kind of clap that I'm like, ah, like, oh,
that's better for all of us.

Speaker 1 (41:29):
It's whatever happens is good.

Speaker 3 (41:31):
Yeah, we we did skip over. So you you talked
about hairspray, But what was your mom asked about to
talk about your your hairspray experience? I don't know, and
maybe I should sorry, but.

Speaker 2 (41:46):
I mean, no, no, no, why should you know? I mean,
what was as it relates to theater.

Speaker 4 (41:50):
You're no that cultural.

Speaker 2 (41:53):
It's a lot of different answers every day.

Speaker 4 (41:55):
That's okay.

Speaker 2 (41:56):
I will say today probably a propos of you being here,
you are on the top of at the top of
the show, I was kind of unlocking all these Once
Upon a Mattress memories for myself, and I wasn't going
to the library and picking up your recording of Brought
Once Upon a Mattress as well as because this was
two thousand and three, as well as the Wicked Soundtrap,

(42:18):
the Wicked recording, and both of those figure very heavily
into my life. But but but just it was hearing
you sing shy, I was hearing you saying you know,
like Spanish Panic or doing like the you know, all
those things, all those songs. But I mean it's a
musical that I love funny.

Speaker 4 (42:36):
Not everybody loves that music.

Speaker 2 (42:38):
It's jazzy and fun funny, and it's actually way funny.

Speaker 1 (42:43):
We went. I took my ants to go see that.

Speaker 4 (42:44):
You get almost it's like a sketch company.

Speaker 1 (42:48):
And the new one that Amy Sherman Palladino did, the
new book for talking about.

Speaker 4 (42:52):
With a sudden Yeah, I didn't get to It was.

Speaker 1 (42:56):
Really much funnier than I thought it was going to be,
and because you know, had been modernized and I had
been punched up for a modern audience. But I left
with a big smile. It really, it really was great,
and it actually made me excited about reviving stuff like
that because there's a little part of me that really
is excited about where theater is going. I'm sure you've

(43:17):
everything but Sunset Boulevard, and I mean, you know, whatever
is happening with Avida right now with Rachel and I
love the.

Speaker 3 (43:25):
Choice, Jalloyd, that's what you like?

Speaker 1 (43:30):
Well, you know where we're going tomorrow, We're going to
see a gypsy. Second try Audre is she's just giving everything,
and I don't think, well, yes, I don't think I
had really understood and appreciated the choice to take Rose's

(43:53):
turn up, which took it out of her comfort zone
purposefully to show the anguish, because I really feel like
this gypsy is exploring Rose as mentally ill, and I
think that's such an interesting and fascinating way to go
to go about it. And so I guess that's what
I mean about like this stuff coming back and you're
kind of like, you know, you hear about something's going

(44:14):
on stage or some person wrote being a part of
some revival, and you're like why and then you see it?
Do you give the opportunity? And you see why? Right?
And once upon a Mattress is just it's fun to last.
The jokes were hard, yeah, which is I find rare,
but you know it was. It was great.

Speaker 2 (44:33):
I mean, it just opened my eyes too, because because
growing up Colorado and suburbs.

Speaker 3 (44:38):
It's funny that you grew up in Colorado. It's like,
I don't why is that weird?

Speaker 4 (44:42):
Why is that?

Speaker 3 (44:43):
Like?

Speaker 4 (44:43):
Why not?

Speaker 1 (44:44):
But why not?

Speaker 3 (44:44):
I think because I feel like you are such a
urban person, yeah and urbane and no.

Speaker 4 (44:54):
Because I think you know, I didn't. I didn't get
to see you as you are, right of course.

Speaker 1 (45:01):
Four.

Speaker 3 (45:03):
Always like maybe I bet you were, but you know,
you take on a little bit of something else. I
just it's so funny because I that's just silly.

Speaker 4 (45:12):
And small of me.

Speaker 3 (45:13):
I'm not at all suggesting that that won't exist in
other parts of that.

Speaker 4 (45:17):
I just think of you very sidified.

Speaker 2 (45:20):
But between the three of us, it's like our essences
have kind of like merged with the city, you know
what I mean.

Speaker 4 (45:26):
It's which probably happens wherever you go and stay.

Speaker 2 (45:30):
Yeah, I mean absolutely, But I've hit a milestone recently
and that I'm still not totally sure how I feel about,
which is thirty four years old, officially hitting seventeen years
in the city. So wow, wow, I'm like, oh, yeah,
this is and you know what this is like a
conversation like Josh Sharp and I our friend Josh and
Coles Goal that I have had like a few years ago,

(45:50):
were just like gosh, are we just because our friends?
There's this big exodus to ask.

Speaker 3 (45:56):
You guys next, like how is it that we've kept
you in New York is that.

Speaker 2 (46:00):
It's been work for me. But then, but then, but then,
like our friends are just like are we just like
the lifers here? Are we just like the welcoming committee
for any like new people who come and like we're
we're there with like the greeting package or something. And
now Matt's fully a New Yorker again, which I'm very
very happy about.

Speaker 4 (46:17):
What neighborhood you You are? Oh interesting.

Speaker 3 (46:21):
You don't hear that as much lately, you know what
it's nice to hear. So you're on the receiving end
of the Elizabeth Gardens being saved.

Speaker 1 (46:29):
I just found out about it today. To tell you,
I did get a little emotional because I thought, like
it's a little Carrie because I'm single and I'm feeling
good about that again. Yeah, and I'm good and I
feel like I'm do you have I.

Speaker 4 (46:46):
Think I'm a property apartment? Is it pretty?

Speaker 1 (46:48):
You know what it's like Carrie's wise? Is it really charming?
And it's comfortable?

Speaker 3 (46:54):
And I am are you walking up? You know I'm
not walking up because you have an elevator. There is
one l that's amazing on those streets. Yeah, yeah, see
because those are smaller buildings.

Speaker 4 (47:04):
It is.

Speaker 1 (47:05):
It is my dream come true. So I'm still exploring. Okay,
so you might need to write some things down.

Speaker 3 (47:11):
That would it is if I'm correct, because I know
it is on the the one that goes east West.
I know it's on that street, the cross street I
feel less confident about. But if I'm right, that is
a sandwich shop is not it's not.

Speaker 4 (47:27):
It's just as well like it's not. It's a nothing.
Yeah that's not true.

Speaker 3 (47:31):
Everything is, but not like I don't think people are
lining up with their cameras and shooting it.

Speaker 4 (47:36):
I think it's just the real deal.

Speaker 1 (47:38):
It's a breeze, you know what I mean.

Speaker 2 (47:39):
Like it.

Speaker 1 (47:40):
It feels exciting, and I think honestly, I got chased
out of New York for a lot of like you know,
reasons for in here, and then all of a sudden,
I felt like I was called home. And I will
say it is harder day to day, but it is
so worth it. Like I find that New York it
does toss those challenges your way, just like well I

(48:01):
asked for this. It's hot as hell. Yeah, there is
no easy way to get places. But I will say
you're compelled and like that's all I ever really, It's
like when I was little watching that show, I was compelled.
New York compels and.

Speaker 4 (48:19):
A lot of sorry, I keep like being forced.

Speaker 1 (48:23):
To be away. I remember I came back and like
I walked the streets even though it was raining, and
I literally was having like it as if we said
goodbye moment, and I was just like God, and I
was emotional because memories everywhere and you're only really ever
going to have one home like that.

Speaker 3 (48:39):
Yeah, No, it's pretty it's pretty special. I wish it
were more hospitable to those who feel that kind of
dream because it's just right now. It's just it's very
it's just prohibitive financially, and I would love for others
to be able to try to make it their home

(48:59):
and and have it be a real possibility. And maybe
we will, maybe we will find more voltable housing for
our you know, our communities, and you know, like maybe
that is not insane, because I think so. I guess
I feel like I want to go back for a

(49:20):
second and just say it's amazing that people are moving
back to New York. So somebody else I know, just
is moving back to back to New York. I feel
like it's such a that is such an that's it's
an usual thing to be hearing. So I feel as
if we're not losing people in the same way we
I think, well, I felt we were. That there is

(49:41):
a kind of buoyancy. Maybe again, if not, if we're
not one hundred percent, at least we don't seem like
this forbidding place. Sure, so some somewhere people are still
thinking you can maybe make it.

Speaker 4 (49:55):
Absolutely happen there.

Speaker 2 (49:56):
And I'm sure, just to go back to what we're
talking at the beginning of this episode, I'm sure what
a lot of the projection that people throw it. People
must when they see you, when they get excited, they
must dump a lot of that ambition and that like
just that the way that they wish the city was hot.

Speaker 1 (50:14):
You you know what I mean.

Speaker 3 (50:16):
I'm happy to be on like the repository for the dumping.

Speaker 4 (50:20):
That's all right, Yes, that's all right.

Speaker 2 (50:21):
That's a huge role. But speaking of New York, how
and you brought Bridget Everett earlier, how how did you
get to know those people like Bridget, like Amy Sedaris,
like all like Andy, like like that is such a
fun downtown crowd and like always been curious about like.

Speaker 4 (50:37):
Okay, I'm trying to remember the order.

Speaker 3 (50:38):
Amy and I met Matthew, and I worshiped Amy Syaris.
We saw her, you know, on Letterman basically, which is
she was like a regular you know, cancel.

Speaker 4 (50:48):
She was like she was the greatest. So this was
in the late nineties and then so we really like together.

Speaker 3 (50:56):
It was like the things we loved were the Yankees,
ab Fab and Amy Sidaris and of course David but
he wasn't making as many appearances on commercial television as
Amy was, but.

Speaker 4 (51:10):
She was still nichey.

Speaker 3 (51:11):
Like it wasn't like you could walk the streets and
talk about Amy Sedaris. It was a it was much
more value like things. So then yes, so then Amy
and I came to know each other because I was
going to do a play off Broadway at MTC main Stage.

(51:33):
I was going to do a play that David Lindsay,
a Bear play, and it was his follow up to
Fuddy Mers, which is one of my most favorite shows ever,
plays ever. And we were supposed to start rehearsals on
September eleventh, two thousand and one, and we had made contact.

Speaker 4 (51:50):
You know, I basically did it because.

Speaker 3 (51:52):
Amy and and I love David Lindsay Bear, and so
we that morning, I was up early to be on
time for rehearsal and get to the subway, and I
was downstairs. Matthew and I lived Low Low Manhattan, so
we lived south of Houston, and I was watching the
Today Show getting ready for my first day of school,

(52:15):
and I was screaming at him and then I said,
I have to go.

Speaker 4 (52:22):
I'm going to be late for rehearsal.

Speaker 3 (52:25):
And he said, I don't think there is going to
be rehearsal today. So I called Amy, who I didn't
really yet know, and I said, I'm worried about being late,
and she said, I don't think there's going to be rehearsal.
So anyway, we became friends and we took the subway
home together every day, and we shared a dressing room
and she very graciously just allowed us to infiltrate and

(52:47):
she became a big part of our lives. And I
always said, and I repeated, you know that, I always thought, like,
she always says that she's a wedge in our marriage.
But I was like, but they really have great chemistry
and he really loves her so much, like he admires
her so much. And then Scottie Whitman used to do
a bunch of plays he directed at Le Mama, and

(53:08):
Paul was always in them, and Bridget was or Ginger
as I call her, And so then and then Ginger
would come out east all the time and stay and
then she ended up just staying at our house for
I think she lived at our house for And you know,
the world is the social circles are, and you just
keep bumping into people. If you're lucky and if you

(53:31):
are behaving basically as a decent person, you can stick around.

Speaker 1 (53:37):
So did you? Did you ever?

Speaker 3 (53:39):
Like it's pretty amazing cold, I mean, is there a
better story in the world?

Speaker 4 (53:44):
Can you think of?

Speaker 1 (53:45):
Why you're not? I mean, like it's it's one of
those things too where I got to say, it's always
been like that. We've always said that they were our hero,
Like I remember, that goes all the way back. I mean,
that's why people don't really know. And I think they're
knowing it now because there's a lot of press about call.
But you know, truly always thinking like no one else Yes,
And that was what was so inspiring, And it was funny,

(54:06):
like we had to answer some interview questions earlier, and
it was like, who is your mentor? And I was like,
I just gotta say, I don't really have mentors, but
I do have these like influences, and he was one
of them. And I just wonder for you, like when
you come to New York, were you seeing a lot
of experimental stuff? Like were you seeing all of it?

(54:26):
Like did you know Liz Suedos.

Speaker 4 (54:28):
My brother was in the My brother was in Runaways,
the first.

Speaker 1 (54:32):
Original mentor no Way Adam Yu.

Speaker 4 (54:35):
Yeah, oh that's right because so she taught there.

Speaker 3 (54:38):
Okay, So when I was doing Annie on Broadway, my
brother was in Runaways down about four blocks down south.

Speaker 4 (54:44):
Not even he was in the original company.

Speaker 3 (54:47):
He was a public and on Broadway, I auditioned from
Runaways too.

Speaker 4 (54:51):
Did not get it, nor should I have gotten it.
But so we met at.

Speaker 3 (54:56):
Forty ninth Street because we were had to take the
end and R to the tram every night.

Speaker 4 (55:01):
So I loved Live Squados. That show. Make sure your listeners.

Speaker 3 (55:07):
Pull up that cast album. That cast album is incredible.

Speaker 1 (55:12):
There was an episode you know it. I don't know.
He almost worked with many many times. I was very close.
Oh no, it's fine, honestly, like, I love honoring her
on this podcast, and she actually came up earlier today
and is she really well just because we were answering
those questions and I asked me that that mentor question

(55:32):
and I was like, you know, trying to find it,
and I was a little frustrated with myself, and then
I realized that's who it was. It was Liz, because
she just explored all these sides of me and like
like the way she let me see myself, and I
think that's what like great I think she was though
she had a real energy and she I remember she
just when I first auditioned for her, it was but

(55:55):
I wasn't an acting student. I was, I don't want
to make this about me, no, go, go go. I
was very very closeted, but like I said, very passionate
kid that wanted to do this. And I think that she,
more than anyone else in my life, like allowed me
to see myself as limitless. And I do think that

(56:17):
that's such a gift to give someone who's a young performer,
is to like the knowledge that you can be anything. Yeah,
And she really took away my fear and emboldened creativity
in me and like made me aware of my stage presence.
And it was a way it was like she would
look you in the eyes and gave you a gift
even in just doing that, and gave you fearlessness. And

(56:40):
that is like, that's why I ask is because we're
talking about these people that energetically really.

Speaker 4 (56:47):
Have her spirit.

Speaker 1 (56:48):
Yeah, and so I felt compelled to ask.

Speaker 4 (56:49):
You, you know, because I probably wouldn't otherwise.

Speaker 3 (56:53):
She was really talented. She's really really talented and very
you know, if anyone can find their way to run
Aways and just really watch that show, it's it's a
pretty freaking extraordinary show and it's brutal.

Speaker 4 (57:09):
And what Josie de Guzman Diane.

Speaker 1 (57:15):
Diane was young.

Speaker 3 (57:16):
Toby, my brother Toby who went on to do the original.

Speaker 4 (57:19):
He was in the original Rent as well.

Speaker 3 (57:21):
He did all of Jonathan shows from Naked Angels and
Tiktic Boom.

Speaker 1 (57:25):
Like what I'm talking about. Like, and I loved the
Tic Tak Boom movie that lin Manwel did so much too,
because it got that spirit. I remember like when he
showed those rehearsal rooms, I felt like I could smell them,
like the light coming in the window on those third
floor studios. You know what I'm saying. It just brought
me so back in it. It's hard, and I wonder, like,
how do you remind yourself to be fearless when when

(57:49):
you when you're you need to be when you're when
you're so established. I suppose, because I think that's something
that we're running into, is it's like it's harder to
be fearless as you've become more established.

Speaker 4 (57:59):
Yeah, I don't know.

Speaker 3 (58:00):
You just try to make interesting choices. And you know,
doing Plaza Suite was really terrifying. It's just absolutely terrifying.
And playing each of us, you know, we're playing three
parts and they're not anything like us.

Speaker 4 (58:12):
They're not.

Speaker 3 (58:13):
It's a different generation and politics were different, and women
were different, and sexual politics was different, and people sounded.

Speaker 4 (58:21):
Like where they were from.

Speaker 3 (58:22):
There were regional accents and manner and behavior, and it
was absolutely terrifying.

Speaker 4 (58:27):
But I couldn't not do it.

Speaker 3 (58:29):
So there are lots of ways in which you can
stay well, feel like you've always felt like, what is
the job?

Speaker 4 (58:36):
How well? What I mean?

Speaker 3 (58:37):
The only difference now is you know, how long is
it taking me away from my family at this point?
That's the that's the only new part of the math
of making decisions. It's pretty much all the same.

Speaker 1 (58:52):
It's just now you were just glowing together. I remember
I thought her she went with James cullyh and like
we we're watching it and just there's a moment I
believe it's the top of that two when you come
out in the blue dress. Oh yeah, and the audience
is just you for it in this outfit. And we
looked at each other like, oh, come on, And I mean,

(59:12):
like but and then just like the kinetic energy that
you guys have together. You really are incredible scene partners.

Speaker 3 (59:20):
And I wonder we never really worked together that I
like so nervous making but.

Speaker 1 (59:26):
That opportunity is brave in and of itself. I would
imagine there's something courageous, and I'm like, okay, I'm in
a way.

Speaker 3 (59:30):
It was kind of scary, just was I mean, it
was scary for all the reasons that I'm always nervous.
Every time I get a job or do a job
or start a job, I'm always like basically not really
functioning as a calm person. Like the first two or
three weeks of every job are just awful. They're really
incredibly unpleasant. Well, is it like really, yeah, just nervous
and sick and like not not sick, but like, yeah, you're.

Speaker 1 (59:53):
You're in your Yeah, there's something in your body that's
Is it like that even when you revisit.

Speaker 4 (59:58):
Carry every single season?

Speaker 1 (01:00:00):
Really?

Speaker 2 (01:00:00):
Because I was gonna ask, I'm always sort of struck
by the idea do you feel that?

Speaker 4 (01:00:05):
Not?

Speaker 2 (01:00:07):
No, not at all. I mean I'm just like perpetually
nervous and that just hasn't changed.

Speaker 4 (01:00:12):
No, no, no.

Speaker 2 (01:00:13):
But I asked Cynthia this. I was like, was it
what was the reacclamation to Miranda and she was like, no,
she's kind of in me. I was like, that's incredible,
But I was I'm always struck by the idea that
you never watched dailies most of Sex and the City
you haven't seen back is part of the answer the
question that Matt's asking. Is it to eliminate the things

(01:00:35):
that would like engender fear, because yeah, to watch to
watch yourself back.

Speaker 3 (01:00:41):
It's not productive for me, it makes it and it
is for Cynthia. Like Cynthia is a perfect example of
someone who can watch dailies and have it be helpful, useful,
and for me it's paying attention.

Speaker 4 (01:00:55):
I just want to be I just want the work
to be good.

Speaker 3 (01:00:58):
Like I don't need to see a play back on
the set ever, I don't need to see dailies. If
there is something radically wrong, I'm gonna have known about
it long before that war comes back from the studio
the next day. I will have felt it on the
set there I have, so I have like I'm like.

Speaker 4 (01:01:16):
A whippet, you know, I'm like so like this.

Speaker 3 (01:01:19):
I want so much for the work to be good
that anything that feels peripheral isn't helpful to me.

Speaker 1 (01:01:27):
It's not I think it's honest. I think you are
I think you really do seek honesty.

Speaker 3 (01:01:33):
I really because you would say that she can seek
honesty from those dailies.

Speaker 4 (01:01:37):
But I just were just made different process, right, right,
But is.

Speaker 2 (01:01:42):
In the absence of that sort of reflection, like what
is your way of tracking Carrie through all the years, talking.

Speaker 3 (01:01:51):
To Michael all the time, asking a lot of not
asking questions because I'm not a trained actress. I'm not
asking questions. I'm not asking subtext questions which I keep
to myself. I'm asking questions a sort of like a
for instance of But if she's saying that, or she's

(01:02:14):
behaving this way, or she makes this gesture or she
wears that, then don't we want to be thoughtful about that?
Or if you're asking if it's written this way, is
there like is there a landmine on the way.

Speaker 4 (01:02:29):
To the next thing?

Speaker 3 (01:02:31):
Because and and sometimes Michael Patrick will say to me,
you don't know what I know, and I'll say I
don't and I don't want to, like I don't like
to read the script until the night before the table read,
because I have so much work to do in this
present moment that if I start sorry knowing what Carrie's
going to do next, then I'm like, they're not here.

(01:02:52):
Or he'll say to me, wow, that's a I didn't
see that. You're right, that's a good point. Wait a minute,
let me think about that. Maybe we should back off that,
or maybe you're right to pay attention to the kind
of language here, because maybe we don't.

Speaker 4 (01:03:06):
Like I'm very I'm always on them about language.

Speaker 3 (01:03:08):
I'm like, she's right, or she's right, or she's writer,
so she's thoughtful about the way she's expressing things like
does she use the effort a lot? Maybe not, because
she's always gain and considering and her observation life has
been like her meal ticket. So I want to be
thoughtful about language because it's the only way she's in

(01:03:31):
the world.

Speaker 1 (01:03:32):
Thoughtful, literally, full of thoughts, right, Yes, And it's that's
really interesting, especially because you're talking about how like.

Speaker 4 (01:03:39):
So that's our tracket.

Speaker 1 (01:03:39):
Sorry, I love that, But you're the in speaking about
like literally the character of Carry Brawshaw. One of the
things that I think is so incredible about Carrie is
that she is far from perfect. She'd be very easy
to judge, and I wonder how people do. I wonder
how many.

Speaker 2 (01:03:57):
Times I'm saying that's the point I mean, but literally,
she made I think one of the most famous mistakes
in television history.

Speaker 1 (01:04:06):
Are you talking about, well, when she cheated? You know
what I mean, like like men have.

Speaker 4 (01:04:10):
Been doing forever.

Speaker 3 (01:04:11):
Well, yes, but I have leads on shows and in
movies and people were like, I love him.

Speaker 1 (01:04:16):
This is the This is the actual question I'm asking
is how much do you judge her? And how much
are you like Carrie when she does something that you
don't mean.

Speaker 4 (01:04:23):
She's a fictional character.

Speaker 3 (01:04:24):
Well, yes, I think people make mistakes, and smart people
do silly, stupid things, and they use poor judgment and
they fall really short. Often the best of us are
fall short, and you know we forgive us, or forgive
us our chrust facets of we forgot. That's like, I mean,
I kind of think if Carrie Bradshaw were somebody who

(01:04:44):
was absolutely reliable to resist in that instance, the temptation
of Big and Big who followed her around orbited in
a solar system that seemed to only include the two
of Themistic You know, those are new words for me.

Speaker 4 (01:05:04):
But but I and then I'm not entirely sure what
is the show? Like who is this person?

Speaker 3 (01:05:12):
If she is only making really solid, predictable choices and
choosing and it's not it's not a recipe for all
of us to live by. That's what makes it. It's
like there's an altered state to sex and the city.
There's like it's not entirely the emotional life is rooted
in truth, but its existence has always felt to me

(01:05:35):
like slightly technicolor on a higher vibration altered. Yeah, Like
the city looks like this and the clothes look like this,
and there's like a time warp of like time suspends
and you can be with people you love for long
periods of time, which does not exist for all of us,

(01:05:55):
no matter how much we love our friends.

Speaker 4 (01:05:57):
And love has this sort of like.

Speaker 3 (01:06:01):
Extra dose of some kind of adrenaline fueled, ridiculous consuming
What does.

Speaker 4 (01:06:13):
She say to him? I want love.

Speaker 1 (01:06:14):
I want I am someone who is looking for love
and that ridiculous love.

Speaker 3 (01:06:20):
And if you want I can't have. I mean, you
don't spend time on HBO being perfect. And one of
my favorite characters in the world is Tony Sopano Forever,
and but that is not a man who makes great
Curious how many people did not interrogate those same things
about him, nor should they have, because it was just

(01:06:42):
beautiful writing and brought us into the life of somebody
who we wouldn't normally feel such.

Speaker 4 (01:06:48):
Compassion for it. I'm not comparing.

Speaker 3 (01:06:50):
I'm just saying it's curious how little tolerance we have
for a woman.

Speaker 1 (01:06:57):
Of course it's that, but also it's like we project
on to Carrie because we want to be her, whereas
like we really don't want to be Tony Soprano. So
there's maybe we.

Speaker 4 (01:07:08):
Want to give me, like there was something really well.

Speaker 1 (01:07:10):
Yeah, you need to want to bagger and you want like.

Speaker 4 (01:07:13):
The the intensity and.

Speaker 1 (01:07:16):
Yes, but it's almost like I feel like when people
can expect something of you, like you can fail them.
And I think that Carrie Bradshaw is an aspirational This
is why it's my I asked the initial question of
like that must feel sometimes a little intense because she
is the woman who took over New York and and
and started, you know, smoking her cigarettes, kicking off her

(01:07:38):
shoes on the street. And now you know, we've seen
her all these years and we've been with her, yet
we didn't need to see all her growth too from
the beginning, know that we wanted to be her, be
one of her friends. Are you a carrier?

Speaker 4 (01:07:51):
You know what I mean?

Speaker 1 (01:07:52):
That's a question for a reason. And so when that
is true, my opinion is that is why we're often
hard on people because but I wouldn't do that and
I'm carring, you know what I mean.

Speaker 3 (01:08:06):
But that's so interesting carry Yeah, I've never heard that.
That's really great. And I'm not privy to all of
the chatters, so I'm just Kristin Davis always like keeps
you posting in ways it sometimes I'm like, you don't
have to tell me they I don't want to hear
what anyone has to say, plus which is not it
doesn't help me, but I'm thrilled the people have feelings

(01:08:28):
like how great.

Speaker 1 (01:08:30):
Of course, right.

Speaker 2 (01:08:31):
The treat, the treat of watching Carrie now is just
that you're like and this is just a testament to
your acting, which I can't really quite still can't square
with the fact that you don't want anything back. It's
just like, this is this is Carrie. This is Carrie,
like decades in in this beautiful way, you know. It's
like it's still like I mean this last episode with
Carrie and Ada, and it was it was the perfect

(01:08:53):
extrapolation of like what like I watched as a non
New Yorker thinking, oh, but that's that's Sarah Jessica. That's
Sarah Jessica, like like shepherding this this person into like
across time, and it went away that I think, I
don't know that we love and.

Speaker 1 (01:09:12):
We should say. When we were talking about the scene
with Aiden, we are this will come out in a
few weeks. Yeah, so like we are a little bit behind.
Something may have happened with Aidan since we're talking about
Carrie again. I didn't love that she did this, but
gave him the goddamn key. I was like, you really
are given these men the access? And then why.

Speaker 2 (01:09:32):
I know she has to believe, but she has to
want more for herself to But then and then we
did watch on the way here, I knew you would
do this. I'm humiliated. I'm humiliated. What an amazing sequence.

Speaker 1 (01:09:49):
Can we just talk about filming that like this, the
wedding sequence, which obviously had to have a meeting for
you as well because you're so close to it, and
then you are creating this iconic thing. But like, you
don't watch that back that sequence because you really killed it.

Speaker 4 (01:10:05):
I really remember. I remember, you know, we had to.
We had to.

Speaker 3 (01:10:10):
Michael really wanted us to go to the premiere and
sit through it and done.

Speaker 2 (01:10:14):
So so you did see.

Speaker 4 (01:10:16):
That I did. I wasn't like pleasant, but meaning like
I don't want to watch myself for that long.

Speaker 3 (01:10:22):
And also that scene I remember really shooting because we
were trying to I'll have this piece of tape off
by the time we finished. We were trying to protect
the plot.

Speaker 4 (01:10:34):
Like which was crazy thought that we could.

Speaker 3 (01:10:36):
Do it on forty third Street between sixth and fifth
and we were all they had us in a hotel room,
as you know they do. They got to put you
somewhere while they're sitting up the shot. And so we
were all in a hotel room together waiting to shoot
that scene, and.

Speaker 4 (01:10:54):
I didn't know how.

Speaker 3 (01:10:57):
You know, there's so much and you both on your actress.
You know, there's like a huge amount of thinking you
can do about something, and some people prepare, really prepare,
And I think about things a lot, and I learned
my lines, but I don't really have a set plan because.

Speaker 4 (01:11:18):
It's so much about the other party.

Speaker 3 (01:11:21):
Like I can have all the plans in the world,
but that means that it's potentially it's likely I'm not
hearing a god darn thing you're saying or doing totally.
So I had no idea how we were going to
do this scene. I had no idea how I was
going to be no, And it's just I think that's

(01:11:42):
a really great example of Michael Patrick, like really setting
the table and teeing.

Speaker 4 (01:11:47):
It all up really really well.

Speaker 3 (01:11:49):
And just calling action and not getting in anybody's way.
There was no right or wrong way. I didn't hear
him in my head saying I knew it. I whatever
those lines where I knew you were going to do this,
but there was so much truth. I think the entire
time in my head now that I'm calling this was
this probably this, this fear that he actually.

Speaker 1 (01:12:12):
Was capable of that not going.

Speaker 3 (01:12:14):
To show like there was going to be a part
of him, even a psychic part of him that didn't
show up. So anyway, that scene and just people around
and us trying not to have anyone take pictures of
the flowers and the petals, and those were real, real
flowers and thorns and everything on the steps. I mean,
those were real roses, for all their beauty and all
their danger.

Speaker 1 (01:12:32):
It's so brilliantly directed. We were just watching it and
I was like, Cynthia here, Oh my god, Kim, just that.

Speaker 3 (01:12:41):
How about when Christian just says no, no, and wait
was it?

Speaker 1 (01:12:45):
I was like, no, it was primal, And I wanted
to know, do you remember this is an insane question.
Were there two no's in the script? Or was I
think there was one? It's it's it's reaction.

Speaker 3 (01:13:02):
I'll call you guys later and ask christ I'll remember exactly.

Speaker 1 (01:13:05):
It's just iconic and that dress that she.

Speaker 3 (01:13:07):
Can barely walk in, it's on what's his name Zach zachs.

Speaker 1 (01:13:11):
Yeah, and the little comedic beat at the end of her.

Speaker 4 (01:13:17):
She doesn't have any movement.

Speaker 1 (01:13:19):
I love it. And that's that's also that's so that's.

Speaker 3 (01:13:22):
Chris, I have to say, like, that's how Kristen is
about us, like, don't mess with us. I mean, she
will not let anyone hurt us. She will jump in
front of a bear, a train, a bullet.

Speaker 4 (01:13:36):
She is, that is her.

Speaker 1 (01:13:37):
It was. It was a mission statement that character, like
that protection and also just like you know, the way
that every character was like immediately filling into a utility
to protect.

Speaker 3 (01:13:49):
Like everybody had their job. It was just yeah, I
remember that about it.

Speaker 1 (01:13:54):
Yeah, just the way that Cynthia looks at him afterwards,
like so deeply. Because I always thought that the reallyationship
between Miranda and Big was always fascinating, Yes, because they're
like I feel like Miranda always saw Big always do
something that everyone didn't. And of course it was informed

(01:14:15):
by like you know, sort.

Speaker 2 (01:14:16):
Of like the version that Carrie would tell either of
them about, Oh, Miranda said this to her, Big said
this today.

Speaker 1 (01:14:23):
Yeah.

Speaker 4 (01:14:23):
I think that's why, And maybe I have this wrong.

Speaker 3 (01:14:26):
We don't have to spend more time on this, but
I think that's why it's so I'm not I don't
expect you guys to know the answer to this, But
it's possible that Miranda says, go get our girl when
when Carrie's in Paris with Petrowsky. I think she's the
one that says to Big, go get our girl, which
is interesting that she is basically endorsing Carrie and Big.

Speaker 2 (01:14:46):
Totally so including herself in that arrangement.

Speaker 4 (01:14:49):
Of our Yeah, yeah, yeah, yeah.

Speaker 1 (01:14:52):
It's one of the best.

Speaker 2 (01:14:55):
And what you're describing on the day is even you're
saying there's no process. The process is led by candor,
you know, by this honesty that you just don't you
need to know what Chris is going to do, or
not to know what he's gonna do, but you just
play off of what he's going to do or what
you know.

Speaker 3 (01:15:11):
The best thing you can do as an actor, it's
the best thing is to not be too prepared. Be
prepared that way, to be on time, be on time,
on time, time, learn your lines, you know your lines.
I don't care what genre of filmmaking you're at unless
you're doing unless it's entirely improvised. Sure, other than that, well,

(01:15:33):
you know, and then just listen see what happens.

Speaker 4 (01:15:36):
It's the best.

Speaker 1 (01:15:37):
Another show I loved, I loved to Divorce, but I
worked with I worked with Molly Shannon on a show
called I Love That for You, And I remember we
were in the makeup trailer one day and she looked
at me and she goes, how much do you look
at the line? And I go, don't throw the bat?

Speaker 4 (01:15:56):
She notes in her script.

Speaker 3 (01:16:00):
She's walking around with the script and she's got all
the way.

Speaker 1 (01:16:03):
She loves to learned so much from her, right, isn't
she great? Well? Obviously bones worked with her now several
times because she's gone back.

Speaker 3 (01:16:12):
But you know, when she said, what what was your
answer when she asked that, ques, I was.

Speaker 1 (01:16:17):
Like, you know what, I'm good because I I tend
to drive my I'm very hard on myself and ID
I would leave. It was my first series, regular job,
and I wanted to do it. I wanted to do
a good job, and I think that, you know again.

Speaker 3 (01:16:33):
Wanted to do better than a good job. Of course,
of course, so basically like Jennifer Lewis.

Speaker 1 (01:16:40):
There was a day when Jenniva Lewis.

Speaker 3 (01:16:41):
We say, Lewis, that's the only way we say her name.

Speaker 1 (01:16:45):
One of my biggest bummers is that the episode that
she came on this podcast and we were there, you
were out and so but I want them to meet
so bad because I just want to see that interaction.

Speaker 4 (01:16:55):
Jennifer Lewis.

Speaker 1 (01:16:56):
But she said to me one day, she was like,
you're too hard on you hard on yourself and she
just like was like she was like, and people like
you know, just you have to know you have it.
And so Molly asked me that question, and I was like,
you know what, I'm learning to drive myself less crazy
about it because I find you do know it. Yeah,
you know what I mean. If you're the kind of
person who wants to show up and do a good

(01:17:18):
job to begin with.

Speaker 4 (01:17:19):
You're going to do a job you do know.

Speaker 1 (01:17:21):
So sometimes I think it's important to preserve that freshness.

Speaker 3 (01:17:26):
A little bit of tingle, like the characters.

Speaker 1 (01:17:33):
Fresh from the But no, but it does feel like
like the character doesn't know what they're about.

Speaker 4 (01:17:38):
To say, right, I know.

Speaker 3 (01:17:39):
So it's that fine line of being prepared and being complete.

Speaker 4 (01:17:43):
Yeah, like a raw nerve.

Speaker 1 (01:17:45):
But Molly was it was just interesting. I made that
connection that you guys had worked together in the show
I loved.

Speaker 4 (01:17:52):
Yeah, she's really great, I tell actors.

Speaker 3 (01:17:55):
And this was before I listened to Barbaris Streisen's book
on tape, the only book I've ever listened to, not
on tape but audio version. But I think Mollie's memoir is.

Speaker 4 (01:18:11):
The greatest.

Speaker 3 (01:18:12):
Like, if you can't get to an acting class, and
you can't get to act.

Speaker 4 (01:18:15):
To an acting school, that is not a possibility for you.
Read her book.

Speaker 1 (01:18:20):
It is.

Speaker 4 (01:18:21):
It is a handbook for young actors.

Speaker 3 (01:18:25):
I think it's first of all, I mean, not surprisingly,
it's brilliantly written.

Speaker 4 (01:18:29):
It's so funny and.

Speaker 3 (01:18:31):
So clearly her voice, but her scrappiness and her persistence
not actually unlike Barbara Streisence, who is like, I'm just
I'm gonna get in that class.

Speaker 4 (01:18:44):
I don't care.

Speaker 3 (01:18:44):
I will get in that class if I have to
lie about my age, if I don't lie about my age,
if I do this, if I babysit for the acting teacher,
if I all the ways in which she worked toward
Molly had the same kind of grit and the same
kind of endless.

Speaker 4 (01:19:00):
It's amazing.

Speaker 1 (01:19:01):
Yeah, literally throwing herself into it. Yeah, Okay, we're gonna
throw ourselves into I don't think so, honey, I've seen this.

Speaker 3 (01:19:11):
The studios seems so big. I didn't realize the studio
is so small. And I guess the way you guys
shoot it, which is so funny to say for a podcast,
But like the separation is often, are you more separated
from each other?

Speaker 4 (01:19:26):
Sometimes? Are you ever?

Speaker 2 (01:19:27):
Sometimes?

Speaker 4 (01:19:29):
Yeah?

Speaker 3 (01:19:29):
Because sometimes they're shooting. I guess you're right. It's pretty
funny together.

Speaker 1 (01:19:36):
Sometimes I do like being there.

Speaker 2 (01:19:38):
I do like being over there sometimes, but this feels.

Speaker 1 (01:19:40):
Right for that today.

Speaker 4 (01:19:43):
Okay, you can start over again.

Speaker 1 (01:19:47):
The top.

Speaker 4 (01:19:48):
All right, so what do you want me to do?

Speaker 1 (01:19:49):
You want me to and then yes, we all.

Speaker 4 (01:19:54):
Do it so because I almoso.

Speaker 3 (01:19:55):
That makes me really scared because yours are no doubt
not likely going to be very funny snarky.

Speaker 1 (01:20:01):
Come on, well, now we're trying to meet exactly. So
this is our sixty second second for those just joining us,
last JP fans that are that are just coming by
lost coach because I call yourself is here, but sixty
seconds to ran and rail against something in pop culture

(01:20:23):
that's getting in the kay.

Speaker 4 (01:20:28):
Please don't tell me if I can't wait to hear your.

Speaker 1 (01:20:31):
Yes, I have takes because I'm a fan.

Speaker 2 (01:20:33):
Here we go, Oh, this is Matt Rogers. I don't
think so many time starts.

Speaker 1 (01:20:36):
Now, I don't think so, honey, Carry Bradshaw. I think
you needed to give Paris a few more weeks back
in the day. I have to say, because I don't
think so, honey, big I never did. I like Miranda
saw you from the beginning, sir, and I do have
the words for it now. It was narcissistic of you.
Rest in peace. But still I also don't think so, honey,
Aiden wait for me five years, sir, Carrie s JP.

(01:20:59):
I know you're not her, but you have a direct
line to her. Carry. You are a target for narcissists. No,
let me tell you something about who Carrie Bradshaw is.
Carrie Bradshaw is someone who is looking for love, and
I don't think that it's here in this beautiful city,

(01:21:19):
in that townhouse infested with rats fifteen in Manhattan. I
think you gotta go back to Paris. And I gotta
say now, like you're gonna give me some New York
recommendations in my new area, I think I want. I
think I could give you some some Parisian recommendations Clencio.
It says it's a gay club. It's not. You're gonna

(01:21:39):
do great lots of wonderful straight guys. They're carry and
they're not big and aiden, which is perfect for me.
I don't think so, honey. And that's one.

Speaker 4 (01:21:50):
I don't want to go.

Speaker 2 (01:21:53):
I'll go and I'm gonna bring us down.

Speaker 1 (01:21:56):
But can I tell you some funny who cares and
want us to be a spirited cut.

Speaker 3 (01:22:01):
It out up, make it better.

Speaker 2 (01:22:06):
They're gonna they're gonna see the time stamps. They're gonna
know that we that we fucked with that.

Speaker 3 (01:22:10):
First of all, you're your turn.

Speaker 2 (01:22:16):
You go, this is this is, this is gonna, this
is going.

Speaker 1 (01:22:21):
I know he's doesn't have the cutest pop socket. It's
very little. He was dragged pop socket. So but this
is also a figure up spin. That's it's a fidget
spinner on a pop socket. Let's show the girls, show
the girls. Look at that, y'all.

Speaker 4 (01:22:33):
Isn't that just pretty?

Speaker 1 (01:22:35):
He has a Pokemon finat.

Speaker 4 (01:22:36):
That's really really pretty.

Speaker 2 (01:22:37):
It's fun.

Speaker 1 (01:22:38):
All right.

Speaker 2 (01:22:39):
Oh, it's my BA, it's my baseball, it's my it's
my Yankees.

Speaker 1 (01:22:42):
I'm looking down at the text and there's a lot.

Speaker 4 (01:22:44):
Are you serious? It's okay, I mean from the world.

Speaker 1 (01:22:47):
Just seeing then breaking some news anyway, it won't be
topical now, but just know there's just more bullshit breaking. Okay,
this is bowing yangs. I don't think and as time
starts now, I don't think so, honey.

Speaker 2 (01:23:02):
When someone asks if you're free on a certain night
without telling you what they are inviting you to, are
pressuring you to do, that is a form of entrapment. Legally,
that is a form of entrapment. You are not allowed
to do that. I need to know what you were
asking me to commit to before I tell you whether

(01:23:22):
or not I'm free, because I might need the night
to myself to stay in I need it. But I
think we, I in the royal eye sense, need it
and we just have to morator him on that for
a little bit before we before we know a way forward.
I think there should be legislation behind this. I mean,
you're allowed to cancel.

Speaker 3 (01:23:46):
You get three, you get your free time back, and
it's like.

Speaker 2 (01:23:50):
But then, but then the person feels like they are
giving you your time back, which is also kind of
a weird directional sort of way of framing it, and
I just think we need to be more transparent about
what the proposal is when we're inviting our friends.

Speaker 1 (01:24:04):
And that's one minute.

Speaker 4 (01:24:05):
And also that was really good, guys. That was both
Both of those were great. Thank you a great It.

Speaker 1 (01:24:09):
Can be anything, but but listen what I'm saying about
this is and when I say to you in response
to what are you doing this night, and you don't
qualify it with any information, and my response is, well,
what's going on? Why? I'm not rude, No, no, I think.

Speaker 3 (01:24:24):
It's perfectly fair question. Yes, but I think it's a
perfectly fair response. Hey, why I'm not sure yet?

Speaker 4 (01:24:31):
Why?

Speaker 1 (01:24:32):
Yeah, they are not sure? They won't they.

Speaker 4 (01:24:37):
Want the government.

Speaker 2 (01:24:38):
I don't think we're going to use that, do it.
Why don't you sound you can't really use that anymore?

Speaker 4 (01:24:43):
But I just kind of it.

Speaker 3 (01:24:45):
I was like working on some other stuff, you know,
I was some shine out, some other stuff.

Speaker 4 (01:24:51):
I went to Carolyn's comedy over there, I went to sell.
I was just working.

Speaker 3 (01:24:55):
I try to work on some other Sometimes I just
say the government so equally as.

Speaker 4 (01:25:00):
Like des orienting for the person that iked government, especially now,
and it's like maybe it's true.

Speaker 2 (01:25:05):
It might be, it might be.

Speaker 1 (01:25:07):
You know, we were at the Beyonce concert in in
in Paris and wow.

Speaker 4 (01:25:11):
That's why you guys know.

Speaker 1 (01:25:12):
Well we were there to do the can Lyon and okay,
so for our Culture Awards, and we had a wonderful
experience there. It was very exhausting and a lot we
had never been. Well he had been to can a
couple of years ago, but I had never been. It
was it was intense and well, and then we had
we took a little I guess it's sojourn.

Speaker 4 (01:25:29):
To How did you how did you not to choose them? Marae?

Speaker 1 (01:25:33):
We had a one travel travel, Yeah travel c B
s E Travel and let us in a lovely area
and we were like, well, if we're going to be
there the same time as Beyonce, we're going to go
see Beyonce.

Speaker 4 (01:25:49):
Yeah.

Speaker 1 (01:25:49):
And you know, we didn't get the Miley cyrus Knight,
but we did get the jay Z Knight, which is
special and it's in its own right to be certain.
But some people were coming up and Bohm was trying
out can we do it? At the end, I said,
let's do it the way.

Speaker 4 (01:26:04):
That's great.

Speaker 3 (01:26:05):
I've done that, I said, on your way out makes
you stop by or I do.

Speaker 4 (01:26:09):
I say, I'm like hon to stop and I always
do stop by and say hello.

Speaker 3 (01:26:12):
But I dissuade them that a picture has any I'm like,
let me just value of that idea.

Speaker 4 (01:26:17):
There's no value at all.

Speaker 2 (01:26:19):
This.

Speaker 1 (01:26:20):
That's it's good.

Speaker 2 (01:26:22):
That's the thing.

Speaker 1 (01:26:22):
You want to be able to say, Oh, I had
this special bespoke interaction instead of I have.

Speaker 4 (01:26:28):
This like, yeah, it's not very great.

Speaker 1 (01:26:33):
They're never gonna.

Speaker 4 (01:26:34):
Be everyone's tense.

Speaker 2 (01:26:41):
But you know, everyone's comfortable and not tense for what
we're about to do and witness.

Speaker 1 (01:26:48):
Is okay.

Speaker 3 (01:26:49):
I just want to say you that a couple of things.

Speaker 1 (01:26:54):
Okay.

Speaker 3 (01:26:55):
The first thing I'm going to say is that I
have been preoccupied with.

Speaker 4 (01:27:00):
Family stuff.

Speaker 3 (01:27:01):
So I as much as I've wanted to really think
about this and have it be the sole focus of
getting this right, I have not had the kind of
time I typically devote to something I care about.

Speaker 4 (01:27:15):
That's number one.

Speaker 3 (01:27:15):
Number Two, I don't have to be with anybody that
is just nothing chaps my ass, nothing wants me the
wrong way.

Speaker 4 (01:27:26):
I don't really carry around.

Speaker 3 (01:27:28):
So this was like to try to find something that
really bothers me is so anatholic.

Speaker 2 (01:27:40):
You and I.

Speaker 3 (01:27:43):
Don't even know if it's even close to a minute long,
and I'm gonna if it's going, it's really bad.

Speaker 1 (01:27:50):
You've plussed it with the.

Speaker 4 (01:27:56):
Glasses and not to the word.

Speaker 2 (01:27:58):
Now.

Speaker 3 (01:27:58):
I saw Tina Fey the Great read, so listen.

Speaker 1 (01:28:04):
I don't so many.

Speaker 3 (01:28:07):
I don't think so, honey, Yes, and you bookend it
with I don't think so.

Speaker 2 (01:28:13):
You don't have to end on you should you should?

Speaker 1 (01:28:16):
I don't think so, honey should begin the piece and
it should end the piece, and if it can come
check her throughout the piece.

Speaker 4 (01:28:21):
I'm gonna try.

Speaker 3 (01:28:22):
But there's if you ever have me back for no
reason at all, because I think we've basically.

Speaker 4 (01:28:29):
Covered with subjects, I will do better.

Speaker 2 (01:28:35):
No, you haven't even heard.

Speaker 4 (01:28:40):
And I'm afraid everyone's to cover this topic.

Speaker 3 (01:28:42):
But it's the only thing in the whole world that
bothers nothing, but.

Speaker 2 (01:28:51):
This is Sarah Burgers. I don't think so.

Speaker 1 (01:28:53):
One of your time starts now.

Speaker 3 (01:28:55):
I don't think so, honey, talking everywhere too loud on
your phone.

Speaker 4 (01:28:59):
In fact, don't want to hear your very.

Speaker 3 (01:29:01):
Important business call regarding upcoming merger.

Speaker 4 (01:29:06):
Potential buyout.

Speaker 3 (01:29:08):
The Internescian workplace battles with Doug or Stacy or Kate.

Speaker 4 (01:29:13):
I don't think so, honey.

Speaker 3 (01:29:14):
We don't actually care whether we learn the inner workings
of your psyche as you scream into your airsticks airs
or into your speaker phone, or with the phone.

Speaker 4 (01:29:22):
Press to your ears.

Speaker 3 (01:29:23):
Nonetheless, both parties back and forth amplified for all to hear.

Speaker 4 (01:29:26):

Speaker 3 (01:29:27):
We know you are no doubt a very important person man.
And though you may think your baritone dulcet tones are
a gift to your fellow citizen on the train, bus
or terminal d Gate twenty seven, or your abuse of
the quiet car, or even the unsuspecting pedestrian you share
a corner with as we wait for the walk sign.

(01:29:50):
Who is on the receiving end of your screaming instructions
to a coworker, family member or hotel receptionist. Hotel receptionists
as you bully for the room with the ocean view.

Speaker 4 (01:30:00):
No, Bradley, I don't think so.

Speaker 3 (01:30:02):
Money, what you might consider a gift for those whose
unfortunate path you cross, is more so a punishment.

Speaker 4 (01:30:08):
I don't think so.

Speaker 3 (01:30:09):
Public spaces don't qualify as working from home, Teddy are
not inspired, motivated and pressed or swooning. So bro, bro
with all do nothing cooler or hotter than a guy
who knows when to use his indoor voice. That's crushing it,

Speaker 1 (01:30:30):
That's to all you mister biggs out there. What are
you talking about? That was? It felt like I was
hearing it was euphoric for.

Speaker 3 (01:30:39):
So long I was gonna talk about how everyone has
to walk from A to B with a big twelve
ounce er of liquid constantly, but now it's so hot.
I felt like that would be a criticism of people
being properly diddressed dehydrated.

Speaker 2 (01:30:51):
But you know what, it is grotesque. It is too big,
and all these little appositive affirmations on the bottle.

Speaker 1 (01:30:56):
We don't You're a grown person.

Speaker 2 (01:31:00):
You know you don't need that.

Speaker 1 (01:31:02):
What was the audition song, by.

Speaker 4 (01:31:03):
The way, Nothing from a course line?

Speaker 1 (01:31:05):
Nothing?

Speaker 2 (01:31:06):
Yeah, yeah, I do.

Speaker 1 (01:31:09):
I do think.

Speaker 2 (01:31:09):
I think a course line ending on one is actually
quite iconic. I love that number so good.

Speaker 3 (01:31:15):
But that's experience where everybody, yes, everybody, specific types typically
speaking are on their phone too loud.

Speaker 1 (01:31:25):
I would I would say that there is something I
just wonder what's happening in private. That's so boring that
they need to perform, because that's really what it is.
They never had their little courset line hairspray moment, right,
they didn't never, they just you know what I mean,
that's their stage.

Speaker 3 (01:31:44):
Have you ever seen the fellow that sits in the
old days, probably before there was security issues in the
gate area, and answers the person on the phone.

Speaker 4 (01:31:53):
Who's talking, I do that now.

Speaker 1 (01:31:55):
That's funny.

Speaker 3 (01:31:56):
I wish I could pull up a tape I do
it now, and my children are like, please moment, don't
do that.

Speaker 2 (01:32:00):
Please.

Speaker 3 (01:32:00):
So if someone's on the phone saying, well, Bob, you know,
can you make it in seven days, I'm like, I'll
try to make it.

Speaker 4 (01:32:05):
I answer, oh, that's great. And after a minute, it's.

Speaker 3 (01:32:09):
So confusing to the person who is loudly having this
important call at gate anyway, watch that guy, he's it's
I don't know if you're a fan of what's the
show Candid Camera?

Speaker 1 (01:32:23):
I love?

Speaker 3 (01:32:24):
Okay, that's basically my This is this that that's that's that.

Speaker 4 (01:32:28):
I mean, this is that.

Speaker 2 (01:32:29):
This is that the kids these days don't know about
Candiy camera camera good. And I will say that in Paris.
This is there's a woman in you know, my room
wasn't quite ready, so I was killing. I was killing
about an hour. And it really sticks out when there's
a clearly American person wasn't a man, but this American
American was screaming on the phone, and I was like, really,

(01:32:54):
and all these French people just turning their.

Speaker 4 (01:32:56):
Oh, it's so awful.

Speaker 2 (01:32:57):
It's it's especially like agreed.

Speaker 1 (01:33:01):
It's really something when you are with someone to who's
doing that and you can't. I remember I was on it.
I was on a date one time and we were
in a very crowded place going home, and he was
loudly explaining to me when he learned the difference between
a hard no and a soft no over email and

(01:33:21):
I'm gonna I'm going to use it forgive me. But
the woman in front of us turned around and made
eye contact with me like this, and all she was
saying with her eyes was you cannot.

Speaker 4 (01:33:33):
I don't think.

Speaker 1 (01:33:38):
I don't worry. I was like, this is a one
arm tug and a sayonara at the end of this,
I don't think so honey, loudly going on about it,
and I'm like, oh my god, where am I am?
I am I the matrix right now or something like that.
She was, she was, she was helpful, she was huge,

(01:34:01):
you know, and only in New York, only New York.

Speaker 2 (01:34:03):
And we're so lucky that you joined us today. Thank
you for having me, thank you for coming on.

Speaker 3 (01:34:10):
I said so many many many many many many many
months ago. Literally, I think last whenever we wrapped, I said,
you know, I was trying to un figure out, like
how do you talk about a show today?

Speaker 4 (01:34:23):
Like what makes sense? What matters?

Speaker 1 (01:34:25):
What?

Speaker 4 (01:34:26):
There's just so much, but I was like, this is
what I want to do.

Speaker 3 (01:34:32):
I want to do this show so much because I
really I love what you're both doing together and separately,
and it's you know, there's always the thing that feels fresh,
and people are figuring out ways of like giving us
information and stuff. But so I just I'm you know,

(01:34:54):
I was hoping that it would be something that you
guys would be hospitable to. So, Mike, thank you so
much for having me. I really really appreciate it so much.

Speaker 1 (01:35:04):
It's so special to get to talk thank you. It
really is.

Speaker 2 (01:35:06):
It's when you yes, it's when you're when you embrace
these things like you going on all these shows is very,
very affirming for people who podcast. In the podcasting space,
we're like, oh, we get to talk to someone is
compelling and wonderful.

Speaker 1 (01:35:23):
And we do have a lot of mutual friends.

Speaker 2 (01:35:24):
We do, yeah, we do.

Speaker 3 (01:35:25):
So to cross it's more bigger or more ye, yes,
and we will yeah.

Speaker 1 (01:35:34):
And you know, next time I see Matthew, I I
didn't bother them this time, gon like next to Steve
and everything, and I was just like there, but I
did just watch election and so good and just such
a icon in it.

Speaker 4 (01:35:55):
So good and so.

Speaker 1 (01:35:57):
Still did you have a crush on Fares?

Speaker 3 (01:36:01):
I thought he was great very quickly. I went to
see Ferris Bueller with a young Martha Plimpton. She was staying,
she was shayed with me, and we got to the
theater at the Golf and Western Building, which is wow,
just you know at Columbus Circle. You know what that
building is called, of course, yeah, yeah, it was Golf
and Western Building my whole childhood and endto young adulthood.
And there was a theater, a movie theater underneath. It

(01:36:21):
was a paramount movie theater. And we went to see it.
I was with a fellow at the time, and Martha
was sleeping over a bunch and we got to the
theater and I remember she told me she forgot her wallet,
and I was like, dang. But so we all saw
Ferris Bueller together, which was amazing. And then I was
shooting footloose when a movie when I think Project X
came out, and another movie of his, and on my

(01:36:43):
day off, I had rented a bike and I rode up,
you know, to whatever in provo to the movie theater.
And so I was seeing all his movies, but not
because I was like, no, I loved his work, but
and I thought Ferris Bueller was like other worldly. Yeah,
like that I'd never seen someone talk.

Speaker 1 (01:37:03):
Do you have a kiss for Daddy? He's so good. Hey,
if you're watching, but you're probably watching the Mets, and
I don't blame yet.

Speaker 2 (01:37:12):
And let's go Mets.

Speaker 4 (01:37:13):
Let's go Masa, let's go Mesdana.

Speaker 2 (01:37:16):
What is that? The Mets?

Speaker 4 (01:37:19):
The interesting And I'm listening.

Speaker 3 (01:37:25):
I'm the one I was filming was the one from
six to sixty oh sixty six New York.

Speaker 4 (01:37:33):
That's all you have all the other songs that I
don't have?

Speaker 1 (01:37:36):
Wait, which one are you thinking?

Speaker 3 (01:37:37):
Thata? I don't know it's the METSA that I don't
know something with a six sixty. I don't know Menavy, yeah,
six sixty on you.

Speaker 4 (01:37:45):
I am done.

Speaker 1 (01:37:47):
Well. You know we end every episode with a song,
do we? We do? And I shed it read It's
different every day, shed cha and for more than you can.
Maybe catch it up the Jimmy Awards or just you know,

(01:38:09):
get up to the library, up to like lines.

Speaker 2 (01:38:19):
Last Culture Racist is the production by Will Ferrell's Big
Money Players in the iHeart Radio.

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Podcasts, created and hosted by Matt Rogers and Bowen Yeg,
executive produced by Anna Hasnier and.

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Produced by Becka Ramos, Edited mixed by Doug Baby and
ekl Board and our

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Music is by Henry K Birsky

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