July 9, 2026
Inside the Sex and the City Writers' Room with Amy Harris... (S4 E16 "Ring A Ding Ding")
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RSS Feed Writer Amy Harris reveals the Samantha storyline that landed her a job in the writers' room, why she became obsessed with Miranda's pregnancy arc, and the one scene the writers were still arguing about while it was being filmed.
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00:00:01
Speaker 1: Hi, I'm Kristin Davis, and I want to know are You a Charlotte?
00:00:08
Speaker 2: Welcome back everybody to Are You a Charlotte?
00:00:11
Speaker 3: Part two?
00:00:12
Speaker 2: We have Amy B.
00:00:13
Speaker 1: Harris, one of our glorious glorious writers. She has finally joined us on Are You a Charlotte because we have gotten to our first episode, bring Iting Ding. It aired on January twenty seventh, two thousand and two. So when we were filming it, did you feel.
00:00:29
Speaker 2: Like like, yes, we got it? Like I feel good about this process.
00:00:34
Speaker 3: I was really trying to walk the line between you know, Michael's so good at this and I've tried to do this on every show since there's stuff on the page and then there's what comes to life and like really celebrating obviously, like for example, the desk thing, I was like that was written as a desk for a reason and it's really important I think for the momentotional setting of that scene. But a lot of it is about in my mind like once it's organic and it's growing and changing and so like you can't spend too much time like you want the lines you know that you need that you know, I think jokes are often need to be said the way they're written, because jokes are very specific in the words. But like for me, it became about letting the scenes sort of become alive. And because I've been on the show long enough, I actually could really feel safe in that, like did I see that scene that way? I don't know necessarily always like I don't think I remember, I don't think we wrote like you guys circling the table, but like, neither that was perfection and that stuff that happens on the day with the director, and those are things like if you get trapped as a writer to being like, oh, I don't think, I think that's what happens, or then you've missed something that makes the scene so dynamic. And that was something I think because I'd been on the show long enough, I wasn't uptight about that. I wasn't and I tried not to be uptight about that. Ever. Obviously you want something that's shot as written, but there's these things that show up that make it so special, and I've tried my hardest to sort of be open to that along the way.
00:02:26
Speaker 2: I know it's hard for you guys, of course.
00:02:29
Speaker 1: Of course, of course, but I think because you've already it's living in your head. That's what has to happen for it to be written right and to be written well. So you already have a whole picture in your mind. But then when we get there, of course, we don't always have the picture that you have, you know, maybe subtly different or maybe shockingly different. I don't think that I don't remember whose idea it was to do the circle. I feel like it might have been Alan Taylor, because I do remember really blocking this for a long time. And I think that the thing that was hard about it, because she came in so emotionally charged, was that we didn't want it to be a standoff fight, right, like we're both standing at each other like.
00:03:05
Speaker 3: This between the two issues that they were in.
00:03:09
Speaker 1: And I remember thinking that it was hard to motivate, like it had to make sense. And there's one take where I like to kind of jump like, well, I'm going to go this way, you know what I mean, like trying.
00:03:19
Speaker 3: And she sees the ring and that's what it was, like, Oh, now she's on her back foot.
00:03:27
Speaker 2: Because we had to motivate the movement.
00:03:29
Speaker 1: It doesn't just seem like we're walking around the table randomly or whatever. I remember that was what took so long. But I love it because it's interesting and it's different. Yes, and sometimes that really matters if it fits emotionally.
00:03:41
Speaker 3: Yeah, how you I think so much of like why people move or get up or walk around a table, like why those motivations happen is all in the character and how the actor is seeing that moment within their scene. And it does help. I have to say. You know, like a first season of a show, you're as a writer, you're so constantly like like you're just like the tone, the tone, the tone. Tone. The tone of the show I think was so he It was expanding season to season in such a beautiful way. It was funny, but it was also dramatic, and so I think there's such a comfort because you guys understood the tone. A lot of the directors that had been repeating were understanding the tone. So there was also like a real comfort there. I think the police as I felt, I just felt more confident about not having to be you know, on a first season of a show. I'm like, because it's I mean, this is this character could do it this way, and then they'll seem sad versus plucky, versus you know, it's like you're constantly trying to like line up and you you know, you do these tone meetings with the director, and but tone is so hard. That's it's impossible. What I've learned is so often that's why it's great to have a writer on set. Is the thing you think. I remember on one show, like someone was supposed to say a line like bla bla blah blah blah bah bah, and I went down and they were like like they were sort of crying in the scene, and I was like, no, it's a funny, like f you kind of line, not like and that was probably me. No, No, it wasn't on this show. It was on another show. And I was like, oh, yeah, no. I never even thought in the tone reading to say this line is funny, because I in my head heard it and it was funny. Right, So it's great to have a writer on set to be like that's it. And by the way, I looked at the sad take because we had a couple of them, and I was like, is that going to be the one? And I was like, oh, no, it's not. It's going to be the oversion.
00:05:48
Speaker 2: That's interesting.
00:05:49
Speaker 3: But I yeah, tone is this wild thing that takes a long time to figure out on a show, and how to make sure it holds in the first season of the show is really hard. So it's like I felt so lucky because it was the fourth season of the show where everybody's sort of you just have a lot of people who are firing on all cylinders.
00:06:09
Speaker 2: Most sivily.
00:06:10
Speaker 1: And I mean, I think that's what Michael Patrick expected of us, right, So we were not going to be like, you know, let's find this. We didn't have a lot of let's find this or forever going on.
00:06:19
Speaker 3: Yeah, we knew, yes, But.
00:06:21
Speaker 1: I also think and he and I talked a little bit about the read through process because you know, he's really specific about about the read through the table reads, and that's not always the case, right, And you know, I'm always trying to tell young, younger actors and just like that, like, you know, do do it full like your performance, do it don't don't read quietly into the script because it will get cut. I just think that's a kind of an outmoded, you know, almost theater type.
00:06:47
Speaker 3: Of thinking and and traditional half hours, right comedy are like is this going to work when we put it up on its feet, right, and I do it on every show ours the table read. I think they are essential because then you can say to a director why they did that scene? No, No, we got to talk through that, and that can't happen on the stage, and like, do you want me to talk to the actors ahead of time? Do you just want to be on the stage, Like, I don't want them to live in that version of the scene if it's not going to work.
00:07:24
Speaker 4: Yeah.
00:07:24
Speaker 3: Yeah. And what I loved about Michael when this episode went to the table read, he the night before stayed up with me till two o'clock in the morning, going through page by page making sure every single joke was the sharpest version of the joke. Wow, because he's like, I want this to go well for you, and it was so I mean, I'll never forget it because it's like that's what you you know, And he's exhausted, right, he's running a huge show. I forget what number episode.
00:07:52
Speaker 2: This is in the season, but it it's like four sixteen.
00:07:56
Speaker 3: Yeah, so he's wow, deep into the season and a lot of people would have been like, we'll see how the table red goes and we'll fix it tomorrow after but he was like, no, I want this to go well for you, amazing and did not. He did not sleep really, which I was ever grateful for.
00:08:14
Speaker 2: So then, okay, so you're happy with what we get.
00:08:17
Speaker 1: You're feeling like, yeah, people know you know their place, their their mood, their tone, all the things.
00:08:22
Speaker 2: When you saw the first edit, how did you feel?
00:08:28
Speaker 3: Well? One thing I want to say is that, sure, the Samantha storyline was in the draft, the first draft I turned and did not end up being what the story it was totally different, totally different, was it? We had a storyline that, like Richard was like an adventurer and we wanted to like kayak on the Hudson with her, and she was having to pretend she liked it, and then she freaks out on him and tells him and I for I'm sure from a production standpoint, all of it would have been a nightmare. But Michael was actually like the whole the question in the episode was what's it all worth? And it's like he didn't really feel like it. He's like, and that was great because we all talked about it, and he was like, this isn't really working connecting, it's not creating theme. And then I forget how we got to it, but I think it was me Michael and Cindy just sat in a room and sort of talked about story, and then we came up with that he she keeps getting the cards that say best instead of love, and what is your value? Is it a gift? Or is it the words people say to you? Right? And it was such a clean, great story, and I was so like, it just made me very happy that I worked with people who were like, that's not going to be the best version of this story. Let's not be afraid to like rip it up and start over again.
00:09:41
Speaker 4: That is good.
00:09:42
Speaker 3: So I love that. That's interesting.
00:09:43
Speaker 1: I don't remember that at all, but I do think it would have been really difficult to be trying to kayak in the hud.
00:09:48
Speaker 3: Oh yeah, I mean it's like, I don't even think, like then she was supposed to fall in. I don't even think your mouth could go into the gross oh goodness. But it also just was the wrong story. He realized, like, oh, that's not the story to tell. But to the edit. I never like an edit when I first see it. They always make me feel like I failed, Like I have blood pouring out of my ears. For like a line that I feel like was too written or so I just get fair. But Michael does a cut before I see the cut, so I didn't have to feel that pain because he'd already put together like a gorgeous cut. So I think I probably. I mean, Michael and I have worked together since, and I'm always like, like, I'm pretty vicious. I'm like, you haven't got that cut that cut that, and he's he likes to sort of let the scenes play out more. So I'm sure I had some suggestions for trims. I don't remember if he took them. I don't remember what they were. But the process wasn't painful because Michael had already done. But I usually find cuts I want to help my interesting. And so then when it aired, how do you feel? I mean, I was out of body. Cindy had like a get together for me the night had aired, and yeah, it was just I was like, Okay, this is who like it? You know, you're you're you don't know who you are in your twenties ever, And to realize, like in my late twenties, I was actually figuring out who I was and that there was something I was passionate about and excited me. And then to see it on the screen, it was it was very fulfilling. It was very fulfilling. I was like, I hope I get to do this for a very long time.
00:11:40
Speaker 2: And you have her, I know who amazing.
00:11:45
Speaker 3: I love it.
00:11:46
Speaker 2: I love that so much.
00:11:47
Speaker 1: But I mean I feel like, you know, and everyone everyone is so different, right, we only had talented people. I mean, the talent in all of you guys was incredible, and I think that we were aware of that at the time. You know, the writing was just so much the reason for the success. In my mind, it's very you're writing combined with the actors. Yes, thank you so much, but I mean, you know, you kind of can't do it without the writing. I mean, we could all get up there in our outfits, but it's not gonna be the same thing.
00:12:15
Speaker 3: You know. Well, I think what was so amazing about Sex and the City was that the show grew and changed, and I think a lot of times it's hard to evolve, right, Like the questions used to have the people on the street, yes, yes, like having that conversation of like is it worth spending the time on that? And tonally does that take you out of these really intimate stories and fun and emotional stories we're telling, and it felt like it did and the show was changing, and it's like the actors like to know you're writing for actors who can deliver, allows you to really like grow as a writer and allows the show to evolve and chure. And I think that's why the show was so successful year to year is that it didn't you didn't get sick of it because it was it was evolving and changing, and the relationships were, you know, and the writer's our relationships with each other were deepening, and it felt like that was showing up in the characters friendships also, like how deep those relationships had become. It was fascinating to me.
00:13:26
Speaker 1: I think that's absolutely right. And I also think that HBO deserves credit for allowing us to change completely right. I don't know if that would happen now.
00:13:36
Speaker 5: I think.
00:13:38
Speaker 3: I think at HBO it would, right, But yeah.
00:13:40
Speaker 1: I meant other places, like in the current streaming insanity that we all have in you know, it's more I feel like you're supposed to like, first of all, shows don't get to go as long, generally speaking, and you kind of have to like be what you are and deliver that. Like, I feel like there's so much pressure and then you only do eight so it's like really compact did and you have to like it seems like the pressure is very high.
00:14:04
Speaker 3: Yeah, it's been interesting. I mean, look, I work at Amazon Prime, and I think what's interesting to me has been good executives are just always good executives who help you get there, and like, I feel very lucky. I have phenomenal executives there so, and it's like they want to push ideas and move things forward. So I think if you get the right team of people together, I've had lucky experience Gate there, so I feel like and I just you know, have every year after coming out in June, and it's just been like a really exciting Like, Yes, streaming has changed things and how often your show hits the air and the cadence and all that is different. But what I've found and have felt very lucky, even in the sort of different world of streaming, is that if you land with the right executives who can champion your show and your vision, you kind of get to do the thing you want to do.
00:15:03
Speaker 2: That's great.
00:15:04
Speaker 3: I was good to hear. Surprised. I'm so.
00:15:09
Speaker 1: I guess it's not always clear from the outside too, because you know, this is a book. Your series is based on a book, right, Yes, every summer it's nice because you're you have your source material and then you're just kind of executing it, filing it out like that.
00:15:25
Speaker 2: That's a kind of a beautiful process.
00:15:26
Speaker 3: Yes, and it's been and I really will say like having I think having the right people around it is what allows I think, yes, you can end up at places where it's like it's this and it has to be this. And and I think what I think Sex and the City did from the very beginning, both with Darren and Michael, is it really had a voice and knew what it was. And then the voice was changing and evolving and growing. And I think HBO just had the confidence to say, like, that's what we're here for, is these voices that have something to say, right, And I think that's what is That's how you get lucky in today's world, is if you find someone who actually is like, Okay, you have something to say, even you know, working from an adaptation, I had something to say about the adaptation too, So it's like and then just having executives who support that support that absolutely.
00:16:33
Speaker 1: Okay, let's not leave out any storylines because we haven't mentioned poor Miranda, I mean other than in the really funny scene at the shoe shoe store shop. So Miranda is now very very pregnant, very pregnant, and we have adorable Steve and she's trying to write this contract.
00:16:48
Speaker 2: I'd forgotten all of this.
00:16:49
Speaker 1: Yes, I had forgotten that she basically you know, has sex with him because of he has the testicular cancer.
00:16:56
Speaker 3: She gives him so the end when she's like, this is a mercy right, like that was because he had been sort of she'd given him that right, the one ball right. It was so good.
00:17:06
Speaker 2: I only forgot to call that. And I don't remember how they like get back together.
00:17:11
Speaker 1: I'm so curious now, Like, I mean, they're going to have their baby, which is adorable, but it's also they're trying to figure out how and they're going to make a contract, and he's making jokes about like, well, i'd like to pick him up at four fifty nine.
00:17:22
Speaker 3: You know, he's funny, he's terrific, and he was perfect for her because she was about like let's get this rigid and locked down, and he was like you can't with a baby right now.
00:17:33
Speaker 1: How at this point, because none of us in our world had gotten pregnant at this point, how are you finding stuff to write?
00:17:42
Speaker 3: So well, Michael was very like, he was like, I became obsessed with the calendar, like this was the first time in the show where like it mattered how many months were passing because she was getting more and more pregnant. Point and I became and this very annoying. I became like very math driven on it. And it's funny now that I really like, I sort of am like this on shows where it's like it takes place over a certain time period. I become very like focused, like it's a I think it's a touchdown for me, but it's a funny thing. But I would be like, okay, so how many months pregnant do we think she is in this scene? And they'd be like, I don't know. Like so I like was putting up like a board with how many months pregnant she was in each of the episodes.
00:18:27
Speaker 2: Well someone's got to do it, yes, But it was I was very I was very I was I was.
00:18:33
Speaker 3: A little like I was like and it's not my personality. So it was I was like, what is happening to me? But it became like and I had friends who had been pregnant and had told me they had suddenly felt very like Gussie gassy at it, but also like they wanted.
00:18:48
Speaker 2: To have some oh oh yes. And I was like, what, like, Carmond want to.
00:18:51
Speaker 3: Have sex like as it's like your hormones are shifting. Yeah, it's like a whole like thing. And so I was fascinated by that. And so that started the conversation of like, all these Miranda's life is changing in ways that she cannot control, and so this contract is about control, right, It's like putting control on this issue that is completely out of the realm of control, which is you're way to have a baby and everything's going to be thrown up in the air and you got to hope for the best. And so and I we knew we were going to get Steve and Miranda back together. So this was like a nice little like will they won't they they will know they won't because spoiler alert, he ends up with a girlfriend in a few episodes. Yes, yeah, gosh. So and so we just loved this sort of idea of like she's putting value and contract on this thing and the reality is like, you can't do it that way. Interesting, And I just loved the idea of I felt like, only we could do a show where you show a six month pregnant woman who is like want sex totally like I don't think any other show could or should have done that.
00:20:12
Speaker 2: Definitely. Oh, I liked it so much. I mean, yeah, I liked it so much.
00:20:16
Speaker 1: Yes, I think the context of the like when you're reminding us that ABC said to Darren, like, we couldn't call it Sex and the City.
00:20:25
Speaker 2: It's so easy to forget this.
00:20:27
Speaker 3: Yes, this is not where the world was now. I mean now you it can be on any you know, it's on Netflix, it's on TBS, it's everywhere. You could do a show called Sex and the City now on ABC, right, But at the time, no, no, I mean super interesting. And it also reminds me of when we were trying to do the second movie in actual Oh, yes, and they said, well, we could never call it Sex and the City.
00:20:49
Speaker 2: Yeah, And that was late in the game.
00:20:51
Speaker 3: Yes, that they told them that the world like in certain places hadn't changed and we you know, they we couldn't get locations or wardrobe because the show was called Sex and the City and they the other HBO show was Real.
00:21:03
Speaker 2: Sex, which was like everyone thought we were there.
00:21:06
Speaker 3: Yeah, so that was we were really kind of like a taboo discussion. I think for a lot of people, right, I know.
00:21:15
Speaker 1: It's funny to think about now when people you know are like some of my naked on the red carpet and whatnot.
00:21:20
Speaker 2: You know, it's very different.
00:21:21
Speaker 3: I was like, the world has really changed, it's true, but then in some ways not, you know, in some ways not like we still don't have storylines like a lot of our storylines in things, No, they're really What was amazing to me is my daughter was watching the show is how current the show feels like. It doesn't. I thought it might feel more dated because the wardrobe is so fabulous and of a time, but actually it doesn't feel dated at all. The wardrobe feels like it totally current. Yes, and then the storylines really feel like because they're emotional and some of them are outrageous and funny. But and there was a couple of places where my daughter was like, what, like, I forget what we were talking about. She was like, wait, what that happened? There was something that was sort of of the time, but mostly you just sort of feel like, oh, this show, the emotions of it and the humor of it are totally modern, crazy. I'm so proud of me.
00:22:19
Speaker 2: You're so proud and shocking. Is shocking.
00:22:21
Speaker 1: You never never would have pictured this happening, but it is. We did just go through where she writes her first email. Carrie writes her first email to Aiden. Yes, hysterical, and she's like, I don't really like this email thing.
00:22:34
Speaker 3: Yes, and her flip phote flip phone, but didn't want She.
00:22:38
Speaker 1: Gets her laptop her is it the laptop and AOL Messenger, and she ducks because she thinks he can see her.
00:22:45
Speaker 2: I'm still laughing.
00:22:46
Speaker 3: I know, I know. I think those were places where I think Ellis was like, what's al L Messenger? Oh yeah, that was basically version when it was only on a computer. I remember when we got those black berries and actually in the Chinese restaurant, we had those blackberries where you could AOL message and I was Estra and I were messaging back and forth like and it was like this was this incredible new thing.
00:23:13
Speaker 2: Oh yeah, it was so exciting.
00:23:15
Speaker 3: I was like so thrilled with it.
00:23:16
Speaker 1: I know she takes full credit for getting them and giving them to us, which of course is true.
00:23:20
Speaker 3: I know I was an addict because of her today and she remember she wore it on her little belt. Yes, yes, oh my gosh, I remember. I know.
00:23:26
Speaker 2: We were just so into it. Oh, we're so into It was so great. It was, it was so great.
00:23:32
Speaker 1: But yeah, we didn't know it was going to take over our whole lives. Yes, if I'd know, and I would have put it away, I know, but it was fun at the time. Yes, no, I never would have put it away once we got it.
00:23:40
Speaker 5: No, it was.
00:23:40
Speaker 1: It was because obviously we were also just we lived at work. Yes, you had no way and you couldn't call people from work. At least it was the best way to stand.
00:23:49
Speaker 3: It was best.
00:23:50
Speaker 1: And yes, of course now we are addicts and that is probably a problem. But at the time it was amazing. Yeah, right, like it helped my relationships a lot.
00:23:58
Speaker 3: My blue mine was blue. I guess it was like a BlackBerry. I think I got a blue one later. Oh, I remember that, Yeah, I remember that.
00:24:07
Speaker 2: It's adorable. I know you're such a good talker. Ay, I thought I was like, am I talking to No, it's fantastic. No, you're not a podcast. It's awesome. You have great memories. You might get the price.
00:24:22
Speaker 1: Really, yeah, out of the writers, and Michael has a lot a lot of detail, and Jenny has a lot of detail. I mean you know, yeah, but I mean it's it's it's I love to because it's also so specific to you, right, but also like you bring the room. You know, I can feel everyone when you talk about it, you know, like the vibe of the room and the specialness of the room.
00:24:45
Speaker 5: It was.
00:24:47
Speaker 1: I mean that was a special one beyond I know, beyond special. Like it's amazing that each one of you is so incredible, all on your own and you're all together.
00:24:59
Speaker 3: I know we we were, you know. Michael always said, you know, a writer's room is like I forget which part is his and which part I added. But like he's like, it's a swat team. You don't everybody shouldn't have the same skill set. And I like to call it like a swat team dinner party, because you want people who are great with story and people who are great with structure, and people who have a million ideas and people who are great at like finding little pieces of like theme to like load in, but it also was a dinner party. You want like a lot of people with different points of view and references and so and I think that show was like the perfect SWAT team dinner party. Definitely, like everybody kind of came, you know. There was Charlotte's in there, and Miranda's and Carrie's and Samantha's like we were. There's lots of points of view. I think about the world and romance and sex and the city, and I it was very special. And yet oftentimes when you have that, you don't necessary really want to feel close to those people after it's done. And that group somehow we yeah, we stayed so tight, which is nice. So tight. Oh it's the best.
00:26:11
Speaker 2: Yeah, best, yeah, best.
00:26:13
Speaker 3: Oh.
00:26:14
Speaker 2: So I do have one more question, sure, Amy, Yes, are you a Charlotte.
00:26:22
Speaker 3: I think I'm a secret charge. I love it you have.
00:26:28
Speaker 1: Your life has turned out more Charlotte than I would have said at the beginning.
00:26:32
Speaker 3: Yes, I mean, look, I am a carry I'm an overthinking writer with a lot of tumult in terms of my emotions. But yeah, I I and in my writing I've noticed this. I kind of come from optimism and idealism. Wow, and I think that's very Charlotte. Yeah. Yeah, And I sort of ended up in a more traditional life and I would have expected. I don't think I ever thought I would be married. I always thought i'd have a kid, but I wasn't sure about the marriage part, right, Yeah, So I guess I'm a secret Charlotte. I love it so much.
00:27:08
Speaker 2: You never know what people are going to say when you ask them.
00:27:10
Speaker 3: It's fun. I know, what what what did like Michael or Jenny or what the writers say?
00:27:16
Speaker 2: Gosh, what does Michael say?
00:27:18
Speaker 3: You know what?
00:27:18
Speaker 2: He said he was not a Charlotte.
00:27:20
Speaker 1: And I said that he was a Charlotte because he's a good cheerleader and cultivator of.
00:27:24
Speaker 2: Talent, like he's to you guys, you know, right.
00:27:28
Speaker 1: And then I think he said he was a carry. Yeah, I feel like us, which makes perfect writers, I get it.
00:27:35
Speaker 2: Fully.
00:27:37
Speaker 1: I mean Cindy so obviously as Charlotte, like Cindy is a Charlotte, yes, which I don't think, she argued. I don't think, but I do love to hear because you never really know how people perceive of themselves inside, right, which is sweet. But also like the way that Michael is with Craig, you know, is so sweet and kind of.
00:27:57
Speaker 3: And I actually think the way he has written Charlotte as as the years have gone by, I think there is there is, there is Charlotte, And I mean a connection. Is that what a what a really good marriage looks like? And that is aprising? Yes, yes, yes, Charlotte in a marriage is surprising. And I mean I think I've talked to you about this like in and just like that. She's so spectacular to me because she is like a sexual still and like that I love so deeply as like a character trait, but also she's like funny and ballsy and like in the mess of what it means to be married and not upset about that, like her idealism holds, but it's she is in the reality of what a marriage is. And I loved I loved her journey in and just like that, I loved it so good.
00:28:53
Speaker 2: Thank you, Thank you really special.
00:29:02
Speaker 4: Hey everyone, it's Jesse Tyler Ferguson, host of Dinners on Me. If you've been enjoying Kristin Davis on, are you to Charlotte? I hope you'll come pull up a chair for our conversation over on my podcast. When we had dinner at Rustic Canyon in Santa Monica, we talked about raising kids that causes closest to her heart, and one very unexpected moment when Kristen's daughter discovered that her mom had another job besides, as she says, working for the Elephants.
00:29:30
Speaker 3: Take a listen.
00:29:31
Speaker 1: We were on a plane and in the road in front of us someone was watching the movie.
00:29:38
Speaker 2: And Selenaver said, Mommy, that girl on the TV looks like you. Oh that is me, And see that's Cynthia and that's Sarah. But she was like, oh, like that was weird. I'm sure, and then I thought, oh, no, what am I going to do in this movie?
00:29:53
Speaker 3: Well?
00:29:53
Speaker 4: I do so ianic to hear the rest of our conversation with Kristin Davis search for Dinners on me. You get your podcasts.
00:30:05
Speaker 3: On the look Back on Sex and the City ending like I'm always like, God, should we have ended that like it there was? I feel the same because I for years after that I would be like, oh, this would have been a fantastic story for us to tell with Carrier with Charlotte Mri. So. I think it's always really hard to let go of something wonderful. It is because it's also like I don't know what's coming next, and the next wonderful thing just looks utterly different. Yeah, and that's hard to write.
00:30:35
Speaker 1: It's true, it's true, and I think for me, all of us obviously have our own unique experience of all of it, and yours, you know, is incredible. I feel in some ways similar to mine, and that I really felt junior in a lot of ways when we started right and then I was able to kind of come into my you know, fullness of being and acting and all the things that I felt I could do but I had never really gotten to do. And so over time the fact that Michael and all of you guys you know, got me and wrote more for me and allowed me to develop it is especially in a way that.
00:31:15
Speaker 3: I don't, you know, likes that's okay, you know, nothing else will be. Yeah.
00:31:22
Speaker 6: So when whenever we end, I'm you know, said, and Michael's like, oh, you know, don't be a victim about it, But I don't. It's not that I'm a victim about it, is that I didn't know it was coming, right, so I couldn't in advance.
00:31:35
Speaker 3: I think, Yeah, I mean, you know, I think two things. I think, One, you're grieving something that you loved that you don't get to do anymore. And that's right theoretically, and nobody gets to chart your grief path. Thank you. Any that's any type of loss, and this is a loss to lose that no one gets to chart that path for you. You get to experience that. And I look, I think Michael would always make He was like, oh, you got to stop, Amy. But the last season, when we knew it was the last season, I was like, this is our last first first, last table, this is our last. And I started doing it like day one of that season. Michael was like, you have to stop totally too much. But I really needed to market right and it was like I grew up on that show. It was like the first thing I'd ever done. It was a humongous success, and I found myself like, so I needed, like to say, like, I guess the last first time I'll open a Fiji and the table, you know, I was like, and he was.
00:32:43
Speaker 2: I think I was incredibly irritating, but I get it.
00:32:47
Speaker 3: I it was important to me to keep marketing in those moments because I felt like if I did, it would make the ending.
00:32:53
Speaker 1: Les Paul, I totally understand. No, but you're trying. You're trying, but I was trying.
00:32:58
Speaker 3: You're trying. I get it, and then it didn't. Like I was like oh when that ended. I mean look, I ended up getting Oscar my Cavalier because I was like, oh, I need like a It was a little bit of a touchdown to the thing I had left, But it was also like I needed to know I had purpose every day to kind of get up and do something because I was cool, I ever have a show like this, give me this level of past.
00:33:20
Speaker 1: And then do you remember how he did the Comeback? The first season of the Comeback? I was on it, Yes, and you remember what the theme is this washed up forty something year old actors. I'm like, thank you, Michael. So not only am I depressed in my house, I'm like this story right trying to watch your show and it's like a knife.
00:33:39
Speaker 3: Yes, it's like a knife.
00:33:40
Speaker 2: And I had to tell him at one point like I can't. I'm sorry, i can't watch it right now. Just someday.
00:33:45
Speaker 1: But I'm having such a different experience of the Comeback. Now, thank you right now.
00:33:49
Speaker 3: That's like my I'm having such a hard time watching it because I did seasons one and two and couldn't do season three.
00:33:57
Speaker 5: Oh my gosh, and I forgot love it. I'm loving it, but I'm also like, oh no, that's hard. I'm sorry I forgot about that. I mean, what a crazy trajectory that.
00:34:10
Speaker 3: Yeah, no, I had, Like I was like, am I going to be able to watch the show without just feeling like envy? Yeah? Like I wish I was there, But I'm just loving it and really enjoyed because it is about a time in our.
00:34:21
Speaker 2: We all business, Yeah, relating to be so much.
00:34:24
Speaker 3: I'm just relating to it and loving it, and it's weird. I'm actually just getting to enjoy Lisa's performance because I'm like that Hot Wings the Wing, the Hot the show where they seen the episode.
00:34:37
Speaker 2: I'm a little bit behind on the Hot Wings talk show.
00:34:41
Speaker 3: Yeah, and the way I mean her performance, she's so brilliant, can't She's so brilliant.
00:34:46
Speaker 2: Agreed, agreed. So it has so much heart, you know, this this particular season.
00:34:52
Speaker 1: I mean I think it always did right, but because I was like on my couch crying, I couldn't really.
00:34:57
Speaker 3: Season really started to show the heart when was sick, and she was making choices that weren't selfish, right, that really started to build in and I know it's so it's also like and again a show where it's just as easy to not have a character evolve, And there's parts of Valerie that won't evolve because she needs But she's so grown up now in terms of how she's caring for other people, and you know, she's still trying to be the thing. Like there's these other elements to her that I I'm just I'm just loving it so good. It's so good.
00:35:35
Speaker 2: I'm so excited for your show.
00:35:36
Speaker 3: I'm me too.
00:35:37
Speaker 2: And then you had Julian and Elisa come in some form.
00:35:40
Speaker 3: Yes, So I had to very quickly kind of get the show on its feet because there was a version of the show that they weren't happy with and it was supposed to shirt shooting in three weeks. Oh my god. So I came on and was like, I got to start from scratch and get back to the because the novel is really one full and romantic and beautiful. So I was like, I gotta get to those. But so I had a very short amount of time to get a writer's room together, and I was like, I just need people who are killers, like who can write anything, are emotional, beautiful writers. And I was lucky enough that they were available and said yes, and I was so they we were writing. You know, in streaming, you could write a show for like it feels like a million weeks and then you shoot ten months later. And this was like we were writing as we were shooting. Oh wow, yeah, oh yeah. It was My assistant, who had never been on a production, was like, is this what it's like? And I was like, no, not even Network is like I've never written this fast. I mean this part of my face pulsed for like the entire production because I was just like, I have there's so much to do, and luckily my cast is phenomenal good and so they were just able to like leap into these characters and so I wasn't spending a ton of time being like I don't have the right lake, but I cast in three like it was all happening, very wow, and it was incredible to have them because it was like two people whose story, you know, sense of story is so beautiful and the way they think emotionally is so beautiful and so grateful. Yeah, how exciting Yeah, it was great. Wow. And I hope we get a season two so we can do it again. Yeah, definitely. Oh, I can't wait to see it. It's a beautiful show and it takes place on a lake. It's lake life, beautiful, utiful. Yeah, I love a lake and the actors are really special. Really yay, that's exciting. Yeah, it's great.
00:37:45
Speaker 1: Goody, I'm so excited. That's more than I knew. I just knew that suddenly they were off doing something with you, and I was like, well, that's great.
00:37:52
Speaker 3: Yes. The only thing that was a bummer is that because it was so last minute, I could not have them on set because they were like, we can only do this amount of time and then. But so hopefully in a season two they'll be able to be like around and on set, because that's for me. They're equally as valuable Oh yeah, producers as they are.
00:38:16
Speaker 2: They're the best, They're the best. I love them so much.
00:38:19
Speaker 1: I'm so glad I finally got to the point in the show where I could officially have you guys on I know you.
00:38:24
Speaker 2: Here we are, and I can't wait to have you back.
00:38:26
Speaker 4: I know.
00:38:27
Speaker 3: I'm excited bringing me back.
00:38:28
Speaker 2: Any job, definitely Thank you Amy V. Harris for a really fun time.
00:38:33
Speaker 3: Thanks. I'm so happy to be here. I love talking about the show. It's fun, right, it's fantastic.
Speaker 1: Hi, I'm Kristin Davis, and I want to know are You a Charlotte?
00:00:08
Speaker 2: Welcome back everybody to Are You a Charlotte?
00:00:11
Speaker 3: Part two?
00:00:12
Speaker 2: We have Amy B.
00:00:13
Speaker 1: Harris, one of our glorious glorious writers. She has finally joined us on Are You a Charlotte because we have gotten to our first episode, bring Iting Ding. It aired on January twenty seventh, two thousand and two. So when we were filming it, did you feel.
00:00:29
Speaker 2: Like like, yes, we got it? Like I feel good about this process.
00:00:34
Speaker 3: I was really trying to walk the line between you know, Michael's so good at this and I've tried to do this on every show since there's stuff on the page and then there's what comes to life and like really celebrating obviously, like for example, the desk thing, I was like that was written as a desk for a reason and it's really important I think for the momentotional setting of that scene. But a lot of it is about in my mind like once it's organic and it's growing and changing and so like you can't spend too much time like you want the lines you know that you need that you know, I think jokes are often need to be said the way they're written, because jokes are very specific in the words. But like for me, it became about letting the scenes sort of become alive. And because I've been on the show long enough, I actually could really feel safe in that, like did I see that scene that way? I don't know necessarily always like I don't think I remember, I don't think we wrote like you guys circling the table, but like, neither that was perfection and that stuff that happens on the day with the director, and those are things like if you get trapped as a writer to being like, oh, I don't think, I think that's what happens, or then you've missed something that makes the scene so dynamic. And that was something I think because I'd been on the show long enough, I wasn't uptight about that. I wasn't and I tried not to be uptight about that. Ever. Obviously you want something that's shot as written, but there's these things that show up that make it so special, and I've tried my hardest to sort of be open to that along the way.
00:02:26
Speaker 2: I know it's hard for you guys, of course.
00:02:29
Speaker 1: Of course, of course, but I think because you've already it's living in your head. That's what has to happen for it to be written right and to be written well. So you already have a whole picture in your mind. But then when we get there, of course, we don't always have the picture that you have, you know, maybe subtly different or maybe shockingly different. I don't think that I don't remember whose idea it was to do the circle. I feel like it might have been Alan Taylor, because I do remember really blocking this for a long time. And I think that the thing that was hard about it, because she came in so emotionally charged, was that we didn't want it to be a standoff fight, right, like we're both standing at each other like.
00:03:05
Speaker 3: This between the two issues that they were in.
00:03:09
Speaker 1: And I remember thinking that it was hard to motivate, like it had to make sense. And there's one take where I like to kind of jump like, well, I'm going to go this way, you know what I mean, like trying.
00:03:19
Speaker 3: And she sees the ring and that's what it was, like, Oh, now she's on her back foot.
00:03:27
Speaker 2: Because we had to motivate the movement.
00:03:29
Speaker 1: It doesn't just seem like we're walking around the table randomly or whatever. I remember that was what took so long. But I love it because it's interesting and it's different. Yes, and sometimes that really matters if it fits emotionally.
00:03:41
Speaker 3: Yeah, how you I think so much of like why people move or get up or walk around a table, like why those motivations happen is all in the character and how the actor is seeing that moment within their scene. And it does help. I have to say. You know, like a first season of a show, you're as a writer, you're so constantly like like you're just like the tone, the tone, the tone. Tone. The tone of the show I think was so he It was expanding season to season in such a beautiful way. It was funny, but it was also dramatic, and so I think there's such a comfort because you guys understood the tone. A lot of the directors that had been repeating were understanding the tone. So there was also like a real comfort there. I think the police as I felt, I just felt more confident about not having to be you know, on a first season of a show. I'm like, because it's I mean, this is this character could do it this way, and then they'll seem sad versus plucky, versus you know, it's like you're constantly trying to like line up and you you know, you do these tone meetings with the director, and but tone is so hard. That's it's impossible. What I've learned is so often that's why it's great to have a writer on set. Is the thing you think. I remember on one show, like someone was supposed to say a line like bla bla blah blah blah bah bah, and I went down and they were like like they were sort of crying in the scene, and I was like, no, it's a funny, like f you kind of line, not like and that was probably me. No, No, it wasn't on this show. It was on another show. And I was like, oh, yeah, no. I never even thought in the tone reading to say this line is funny, because I in my head heard it and it was funny. Right, So it's great to have a writer on set to be like that's it. And by the way, I looked at the sad take because we had a couple of them, and I was like, is that going to be the one? And I was like, oh, no, it's not. It's going to be the oversion.
00:05:48
Speaker 2: That's interesting.
00:05:49
Speaker 3: But I yeah, tone is this wild thing that takes a long time to figure out on a show, and how to make sure it holds in the first season of the show is really hard. So it's like I felt so lucky because it was the fourth season of the show where everybody's sort of you just have a lot of people who are firing on all cylinders.
00:06:09
Speaker 2: Most sivily.
00:06:10
Speaker 1: And I mean, I think that's what Michael Patrick expected of us, right, So we were not going to be like, you know, let's find this. We didn't have a lot of let's find this or forever going on.
00:06:19
Speaker 3: Yeah, we knew, yes, But.
00:06:21
Speaker 1: I also think and he and I talked a little bit about the read through process because you know, he's really specific about about the read through the table reads, and that's not always the case, right, And you know, I'm always trying to tell young, younger actors and just like that, like, you know, do do it full like your performance, do it don't don't read quietly into the script because it will get cut. I just think that's a kind of an outmoded, you know, almost theater type.
00:06:47
Speaker 3: Of thinking and and traditional half hours, right comedy are like is this going to work when we put it up on its feet, right, and I do it on every show ours the table read. I think they are essential because then you can say to a director why they did that scene? No, No, we got to talk through that, and that can't happen on the stage, and like, do you want me to talk to the actors ahead of time? Do you just want to be on the stage, Like, I don't want them to live in that version of the scene if it's not going to work.
00:07:24
Speaker 4: Yeah.
00:07:24
Speaker 3: Yeah. And what I loved about Michael when this episode went to the table read, he the night before stayed up with me till two o'clock in the morning, going through page by page making sure every single joke was the sharpest version of the joke. Wow, because he's like, I want this to go well for you, and it was so I mean, I'll never forget it because it's like that's what you you know, And he's exhausted, right, he's running a huge show. I forget what number episode.
00:07:52
Speaker 2: This is in the season, but it it's like four sixteen.
00:07:56
Speaker 3: Yeah, so he's wow, deep into the season and a lot of people would have been like, we'll see how the table red goes and we'll fix it tomorrow after but he was like, no, I want this to go well for you, amazing and did not. He did not sleep really, which I was ever grateful for.
00:08:14
Speaker 2: So then, okay, so you're happy with what we get.
00:08:17
Speaker 1: You're feeling like, yeah, people know you know their place, their their mood, their tone, all the things.
00:08:22
Speaker 2: When you saw the first edit, how did you feel?
00:08:28
Speaker 3: Well? One thing I want to say is that, sure, the Samantha storyline was in the draft, the first draft I turned and did not end up being what the story it was totally different, totally different, was it? We had a storyline that, like Richard was like an adventurer and we wanted to like kayak on the Hudson with her, and she was having to pretend she liked it, and then she freaks out on him and tells him and I for I'm sure from a production standpoint, all of it would have been a nightmare. But Michael was actually like the whole the question in the episode was what's it all worth? And it's like he didn't really feel like it. He's like, and that was great because we all talked about it, and he was like, this isn't really working connecting, it's not creating theme. And then I forget how we got to it, but I think it was me Michael and Cindy just sat in a room and sort of talked about story, and then we came up with that he she keeps getting the cards that say best instead of love, and what is your value? Is it a gift? Or is it the words people say to you? Right? And it was such a clean, great story, and I was so like, it just made me very happy that I worked with people who were like, that's not going to be the best version of this story. Let's not be afraid to like rip it up and start over again.
00:09:41
Speaker 4: That is good.
00:09:42
Speaker 3: So I love that. That's interesting.
00:09:43
Speaker 1: I don't remember that at all, but I do think it would have been really difficult to be trying to kayak in the hud.
00:09:48
Speaker 3: Oh yeah, I mean it's like, I don't even think, like then she was supposed to fall in. I don't even think your mouth could go into the gross oh goodness. But it also just was the wrong story. He realized, like, oh, that's not the story to tell. But to the edit. I never like an edit when I first see it. They always make me feel like I failed, Like I have blood pouring out of my ears. For like a line that I feel like was too written or so I just get fair. But Michael does a cut before I see the cut, so I didn't have to feel that pain because he'd already put together like a gorgeous cut. So I think I probably. I mean, Michael and I have worked together since, and I'm always like, like, I'm pretty vicious. I'm like, you haven't got that cut that cut that, and he's he likes to sort of let the scenes play out more. So I'm sure I had some suggestions for trims. I don't remember if he took them. I don't remember what they were. But the process wasn't painful because Michael had already done. But I usually find cuts I want to help my interesting. And so then when it aired, how do you feel? I mean, I was out of body. Cindy had like a get together for me the night had aired, and yeah, it was just I was like, Okay, this is who like it? You know, you're you're you don't know who you are in your twenties ever, And to realize, like in my late twenties, I was actually figuring out who I was and that there was something I was passionate about and excited me. And then to see it on the screen, it was it was very fulfilling. It was very fulfilling. I was like, I hope I get to do this for a very long time.
00:11:40
Speaker 2: And you have her, I know who amazing.
00:11:45
Speaker 3: I love it.
00:11:46
Speaker 2: I love that so much.
00:11:47
Speaker 1: But I mean I feel like, you know, and everyone everyone is so different, right, we only had talented people. I mean, the talent in all of you guys was incredible, and I think that we were aware of that at the time. You know, the writing was just so much the reason for the success. In my mind, it's very you're writing combined with the actors. Yes, thank you so much, but I mean, you know, you kind of can't do it without the writing. I mean, we could all get up there in our outfits, but it's not gonna be the same thing.
00:12:15
Speaker 3: You know. Well, I think what was so amazing about Sex and the City was that the show grew and changed, and I think a lot of times it's hard to evolve, right, Like the questions used to have the people on the street, yes, yes, like having that conversation of like is it worth spending the time on that? And tonally does that take you out of these really intimate stories and fun and emotional stories we're telling, and it felt like it did and the show was changing, and it's like the actors like to know you're writing for actors who can deliver, allows you to really like grow as a writer and allows the show to evolve and chure. And I think that's why the show was so successful year to year is that it didn't you didn't get sick of it because it was it was evolving and changing, and the relationships were, you know, and the writer's our relationships with each other were deepening, and it felt like that was showing up in the characters friendships also, like how deep those relationships had become. It was fascinating to me.
00:13:26
Speaker 1: I think that's absolutely right. And I also think that HBO deserves credit for allowing us to change completely right. I don't know if that would happen now.
00:13:36
Speaker 5: I think.
00:13:38
Speaker 3: I think at HBO it would, right, But yeah.
00:13:40
Speaker 1: I meant other places, like in the current streaming insanity that we all have in you know, it's more I feel like you're supposed to like, first of all, shows don't get to go as long, generally speaking, and you kind of have to like be what you are and deliver that. Like, I feel like there's so much pressure and then you only do eight so it's like really compact did and you have to like it seems like the pressure is very high.
00:14:04
Speaker 3: Yeah, it's been interesting. I mean, look, I work at Amazon Prime, and I think what's interesting to me has been good executives are just always good executives who help you get there, and like, I feel very lucky. I have phenomenal executives there so, and it's like they want to push ideas and move things forward. So I think if you get the right team of people together, I've had lucky experience Gate there, so I feel like and I just you know, have every year after coming out in June, and it's just been like a really exciting Like, Yes, streaming has changed things and how often your show hits the air and the cadence and all that is different. But what I've found and have felt very lucky, even in the sort of different world of streaming, is that if you land with the right executives who can champion your show and your vision, you kind of get to do the thing you want to do.
00:15:03
Speaker 2: That's great.
00:15:04
Speaker 3: I was good to hear. Surprised. I'm so.
00:15:09
Speaker 1: I guess it's not always clear from the outside too, because you know, this is a book. Your series is based on a book, right, Yes, every summer it's nice because you're you have your source material and then you're just kind of executing it, filing it out like that.
00:15:25
Speaker 2: That's a kind of a beautiful process.
00:15:26
Speaker 3: Yes, and it's been and I really will say like having I think having the right people around it is what allows I think, yes, you can end up at places where it's like it's this and it has to be this. And and I think what I think Sex and the City did from the very beginning, both with Darren and Michael, is it really had a voice and knew what it was. And then the voice was changing and evolving and growing. And I think HBO just had the confidence to say, like, that's what we're here for, is these voices that have something to say, right, And I think that's what is That's how you get lucky in today's world, is if you find someone who actually is like, Okay, you have something to say, even you know, working from an adaptation, I had something to say about the adaptation too, So it's like and then just having executives who support that support that absolutely.
00:16:33
Speaker 1: Okay, let's not leave out any storylines because we haven't mentioned poor Miranda, I mean other than in the really funny scene at the shoe shoe store shop. So Miranda is now very very pregnant, very pregnant, and we have adorable Steve and she's trying to write this contract.
00:16:48
Speaker 2: I'd forgotten all of this.
00:16:49
Speaker 1: Yes, I had forgotten that she basically you know, has sex with him because of he has the testicular cancer.
00:16:56
Speaker 3: She gives him so the end when she's like, this is a mercy right, like that was because he had been sort of she'd given him that right, the one ball right. It was so good.
00:17:06
Speaker 2: I only forgot to call that. And I don't remember how they like get back together.
00:17:11
Speaker 1: I'm so curious now, Like, I mean, they're going to have their baby, which is adorable, but it's also they're trying to figure out how and they're going to make a contract, and he's making jokes about like, well, i'd like to pick him up at four fifty nine.
00:17:22
Speaker 3: You know, he's funny, he's terrific, and he was perfect for her because she was about like let's get this rigid and locked down, and he was like you can't with a baby right now.
00:17:33
Speaker 1: How at this point, because none of us in our world had gotten pregnant at this point, how are you finding stuff to write?
00:17:42
Speaker 3: So well, Michael was very like, he was like, I became obsessed with the calendar, like this was the first time in the show where like it mattered how many months were passing because she was getting more and more pregnant. Point and I became and this very annoying. I became like very math driven on it. And it's funny now that I really like, I sort of am like this on shows where it's like it takes place over a certain time period. I become very like focused, like it's a I think it's a touchdown for me, but it's a funny thing. But I would be like, okay, so how many months pregnant do we think she is in this scene? And they'd be like, I don't know. Like so I like was putting up like a board with how many months pregnant she was in each of the episodes.
00:18:27
Speaker 2: Well someone's got to do it, yes, But it was I was very I was very I was I was.
00:18:33
Speaker 3: A little like I was like and it's not my personality. So it was I was like, what is happening to me? But it became like and I had friends who had been pregnant and had told me they had suddenly felt very like Gussie gassy at it, but also like they wanted.
00:18:48
Speaker 2: To have some oh oh yes. And I was like, what, like, Carmond want to.
00:18:51
Speaker 3: Have sex like as it's like your hormones are shifting. Yeah, it's like a whole like thing. And so I was fascinated by that. And so that started the conversation of like, all these Miranda's life is changing in ways that she cannot control, and so this contract is about control, right, It's like putting control on this issue that is completely out of the realm of control, which is you're way to have a baby and everything's going to be thrown up in the air and you got to hope for the best. And so and I we knew we were going to get Steve and Miranda back together. So this was like a nice little like will they won't they they will know they won't because spoiler alert, he ends up with a girlfriend in a few episodes. Yes, yeah, gosh. So and so we just loved this sort of idea of like she's putting value and contract on this thing and the reality is like, you can't do it that way. Interesting, And I just loved the idea of I felt like, only we could do a show where you show a six month pregnant woman who is like want sex totally like I don't think any other show could or should have done that.
00:20:12
Speaker 2: Definitely. Oh, I liked it so much. I mean, yeah, I liked it so much.
00:20:16
Speaker 1: Yes, I think the context of the like when you're reminding us that ABC said to Darren, like, we couldn't call it Sex and the City.
00:20:25
Speaker 2: It's so easy to forget this.
00:20:27
Speaker 3: Yes, this is not where the world was now. I mean now you it can be on any you know, it's on Netflix, it's on TBS, it's everywhere. You could do a show called Sex and the City now on ABC, right, But at the time, no, no, I mean super interesting. And it also reminds me of when we were trying to do the second movie in actual Oh, yes, and they said, well, we could never call it Sex and the City.
00:20:49
Speaker 2: Yeah, And that was late in the game.
00:20:51
Speaker 3: Yes, that they told them that the world like in certain places hadn't changed and we you know, they we couldn't get locations or wardrobe because the show was called Sex and the City and they the other HBO show was Real.
00:21:03
Speaker 2: Sex, which was like everyone thought we were there.
00:21:06
Speaker 3: Yeah, so that was we were really kind of like a taboo discussion. I think for a lot of people, right, I know.
00:21:15
Speaker 1: It's funny to think about now when people you know are like some of my naked on the red carpet and whatnot.
00:21:20
Speaker 2: You know, it's very different.
00:21:21
Speaker 3: I was like, the world has really changed, it's true, but then in some ways not, you know, in some ways not like we still don't have storylines like a lot of our storylines in things, No, they're really What was amazing to me is my daughter was watching the show is how current the show feels like. It doesn't. I thought it might feel more dated because the wardrobe is so fabulous and of a time, but actually it doesn't feel dated at all. The wardrobe feels like it totally current. Yes, and then the storylines really feel like because they're emotional and some of them are outrageous and funny. But and there was a couple of places where my daughter was like, what, like, I forget what we were talking about. She was like, wait, what that happened? There was something that was sort of of the time, but mostly you just sort of feel like, oh, this show, the emotions of it and the humor of it are totally modern, crazy. I'm so proud of me.
00:22:19
Speaker 2: You're so proud and shocking. Is shocking.
00:22:21
Speaker 1: You never never would have pictured this happening, but it is. We did just go through where she writes her first email. Carrie writes her first email to Aiden. Yes, hysterical, and she's like, I don't really like this email thing.
00:22:34
Speaker 3: Yes, and her flip phote flip phone, but didn't want She.
00:22:38
Speaker 1: Gets her laptop her is it the laptop and AOL Messenger, and she ducks because she thinks he can see her.
00:22:45
Speaker 2: I'm still laughing.
00:22:46
Speaker 3: I know, I know. I think those were places where I think Ellis was like, what's al L Messenger? Oh yeah, that was basically version when it was only on a computer. I remember when we got those black berries and actually in the Chinese restaurant, we had those blackberries where you could AOL message and I was Estra and I were messaging back and forth like and it was like this was this incredible new thing.
00:23:13
Speaker 2: Oh yeah, it was so exciting.
00:23:15
Speaker 3: I was like so thrilled with it.
00:23:16
Speaker 1: I know she takes full credit for getting them and giving them to us, which of course is true.
00:23:20
Speaker 3: I know I was an addict because of her today and she remember she wore it on her little belt. Yes, yes, oh my gosh, I remember. I know.
00:23:26
Speaker 2: We were just so into it. Oh, we're so into It was so great. It was, it was so great.
00:23:32
Speaker 1: But yeah, we didn't know it was going to take over our whole lives. Yes, if I'd know, and I would have put it away, I know, but it was fun at the time. Yes, no, I never would have put it away once we got it.
00:23:40
Speaker 5: No, it was.
00:23:40
Speaker 1: It was because obviously we were also just we lived at work. Yes, you had no way and you couldn't call people from work. At least it was the best way to stand.
00:23:49
Speaker 3: It was best.
00:23:50
Speaker 1: And yes, of course now we are addicts and that is probably a problem. But at the time it was amazing. Yeah, right, like it helped my relationships a lot.
00:23:58
Speaker 3: My blue mine was blue. I guess it was like a BlackBerry. I think I got a blue one later. Oh, I remember that, Yeah, I remember that.
00:24:07
Speaker 2: It's adorable. I know you're such a good talker. Ay, I thought I was like, am I talking to No, it's fantastic. No, you're not a podcast. It's awesome. You have great memories. You might get the price.
00:24:22
Speaker 1: Really, yeah, out of the writers, and Michael has a lot a lot of detail, and Jenny has a lot of detail. I mean you know, yeah, but I mean it's it's it's I love to because it's also so specific to you, right, but also like you bring the room. You know, I can feel everyone when you talk about it, you know, like the vibe of the room and the specialness of the room.
00:24:45
Speaker 5: It was.
00:24:47
Speaker 1: I mean that was a special one beyond I know, beyond special. Like it's amazing that each one of you is so incredible, all on your own and you're all together.
00:24:59
Speaker 3: I know we we were, you know. Michael always said, you know, a writer's room is like I forget which part is his and which part I added. But like he's like, it's a swat team. You don't everybody shouldn't have the same skill set. And I like to call it like a swat team dinner party, because you want people who are great with story and people who are great with structure, and people who have a million ideas and people who are great at like finding little pieces of like theme to like load in, but it also was a dinner party. You want like a lot of people with different points of view and references and so and I think that show was like the perfect SWAT team dinner party. Definitely, like everybody kind of came, you know. There was Charlotte's in there, and Miranda's and Carrie's and Samantha's like we were. There's lots of points of view. I think about the world and romance and sex and the city, and I it was very special. And yet oftentimes when you have that, you don't necessary really want to feel close to those people after it's done. And that group somehow we yeah, we stayed so tight, which is nice. So tight. Oh it's the best.
00:26:11
Speaker 2: Yeah, best, yeah, best.
00:26:13
Speaker 3: Oh.
00:26:14
Speaker 2: So I do have one more question, sure, Amy, Yes, are you a Charlotte.
00:26:22
Speaker 3: I think I'm a secret charge. I love it you have.
00:26:28
Speaker 1: Your life has turned out more Charlotte than I would have said at the beginning.
00:26:32
Speaker 3: Yes, I mean, look, I am a carry I'm an overthinking writer with a lot of tumult in terms of my emotions. But yeah, I I and in my writing I've noticed this. I kind of come from optimism and idealism. Wow, and I think that's very Charlotte. Yeah. Yeah, And I sort of ended up in a more traditional life and I would have expected. I don't think I ever thought I would be married. I always thought i'd have a kid, but I wasn't sure about the marriage part, right, Yeah, So I guess I'm a secret Charlotte. I love it so much.
00:27:08
Speaker 2: You never know what people are going to say when you ask them.
00:27:10
Speaker 3: It's fun. I know, what what what did like Michael or Jenny or what the writers say?
00:27:16
Speaker 2: Gosh, what does Michael say?
00:27:18
Speaker 3: You know what?
00:27:18
Speaker 2: He said he was not a Charlotte.
00:27:20
Speaker 1: And I said that he was a Charlotte because he's a good cheerleader and cultivator of.
00:27:24
Speaker 2: Talent, like he's to you guys, you know, right.
00:27:28
Speaker 1: And then I think he said he was a carry. Yeah, I feel like us, which makes perfect writers, I get it.
00:27:35
Speaker 2: Fully.
00:27:37
Speaker 1: I mean Cindy so obviously as Charlotte, like Cindy is a Charlotte, yes, which I don't think, she argued. I don't think, but I do love to hear because you never really know how people perceive of themselves inside, right, which is sweet. But also like the way that Michael is with Craig, you know, is so sweet and kind of.
00:27:57
Speaker 3: And I actually think the way he has written Charlotte as as the years have gone by, I think there is there is, there is Charlotte, And I mean a connection. Is that what a what a really good marriage looks like? And that is aprising? Yes, yes, yes, Charlotte in a marriage is surprising. And I mean I think I've talked to you about this like in and just like that. She's so spectacular to me because she is like a sexual still and like that I love so deeply as like a character trait, but also she's like funny and ballsy and like in the mess of what it means to be married and not upset about that, like her idealism holds, but it's she is in the reality of what a marriage is. And I loved I loved her journey in and just like that, I loved it so good.
00:28:53
Speaker 2: Thank you, Thank you really special.
00:29:02
Speaker 4: Hey everyone, it's Jesse Tyler Ferguson, host of Dinners on Me. If you've been enjoying Kristin Davis on, are you to Charlotte? I hope you'll come pull up a chair for our conversation over on my podcast. When we had dinner at Rustic Canyon in Santa Monica, we talked about raising kids that causes closest to her heart, and one very unexpected moment when Kristen's daughter discovered that her mom had another job besides, as she says, working for the Elephants.
00:29:30
Speaker 3: Take a listen.
00:29:31
Speaker 1: We were on a plane and in the road in front of us someone was watching the movie.
00:29:38
Speaker 2: And Selenaver said, Mommy, that girl on the TV looks like you. Oh that is me, And see that's Cynthia and that's Sarah. But she was like, oh, like that was weird. I'm sure, and then I thought, oh, no, what am I going to do in this movie?
00:29:53
Speaker 3: Well?
00:29:53
Speaker 4: I do so ianic to hear the rest of our conversation with Kristin Davis search for Dinners on me. You get your podcasts.
00:30:05
Speaker 3: On the look Back on Sex and the City ending like I'm always like, God, should we have ended that like it there was? I feel the same because I for years after that I would be like, oh, this would have been a fantastic story for us to tell with Carrier with Charlotte Mri. So. I think it's always really hard to let go of something wonderful. It is because it's also like I don't know what's coming next, and the next wonderful thing just looks utterly different. Yeah, and that's hard to write.
00:30:35
Speaker 1: It's true, it's true, and I think for me, all of us obviously have our own unique experience of all of it, and yours, you know, is incredible. I feel in some ways similar to mine, and that I really felt junior in a lot of ways when we started right and then I was able to kind of come into my you know, fullness of being and acting and all the things that I felt I could do but I had never really gotten to do. And so over time the fact that Michael and all of you guys you know, got me and wrote more for me and allowed me to develop it is especially in a way that.
00:31:15
Speaker 3: I don't, you know, likes that's okay, you know, nothing else will be. Yeah.
00:31:22
Speaker 6: So when whenever we end, I'm you know, said, and Michael's like, oh, you know, don't be a victim about it, But I don't. It's not that I'm a victim about it, is that I didn't know it was coming, right, so I couldn't in advance.
00:31:35
Speaker 3: I think, Yeah, I mean, you know, I think two things. I think, One, you're grieving something that you loved that you don't get to do anymore. And that's right theoretically, and nobody gets to chart your grief path. Thank you. Any that's any type of loss, and this is a loss to lose that no one gets to chart that path for you. You get to experience that. And I look, I think Michael would always make He was like, oh, you got to stop, Amy. But the last season, when we knew it was the last season, I was like, this is our last first first, last table, this is our last. And I started doing it like day one of that season. Michael was like, you have to stop totally too much. But I really needed to market right and it was like I grew up on that show. It was like the first thing I'd ever done. It was a humongous success, and I found myself like, so I needed, like to say, like, I guess the last first time I'll open a Fiji and the table, you know, I was like, and he was.
00:32:43
Speaker 2: I think I was incredibly irritating, but I get it.
00:32:47
Speaker 3: I it was important to me to keep marketing in those moments because I felt like if I did, it would make the ending.
00:32:53
Speaker 1: Les Paul, I totally understand. No, but you're trying. You're trying, but I was trying.
00:32:58
Speaker 3: You're trying. I get it, and then it didn't. Like I was like oh when that ended. I mean look, I ended up getting Oscar my Cavalier because I was like, oh, I need like a It was a little bit of a touchdown to the thing I had left, But it was also like I needed to know I had purpose every day to kind of get up and do something because I was cool, I ever have a show like this, give me this level of past.
00:33:20
Speaker 1: And then do you remember how he did the Comeback? The first season of the Comeback? I was on it, Yes, and you remember what the theme is this washed up forty something year old actors. I'm like, thank you, Michael. So not only am I depressed in my house, I'm like this story right trying to watch your show and it's like a knife.
00:33:39
Speaker 3: Yes, it's like a knife.
00:33:40
Speaker 2: And I had to tell him at one point like I can't. I'm sorry, i can't watch it right now. Just someday.
00:33:45
Speaker 1: But I'm having such a different experience of the Comeback. Now, thank you right now.
00:33:49
Speaker 3: That's like my I'm having such a hard time watching it because I did seasons one and two and couldn't do season three.
00:33:57
Speaker 5: Oh my gosh, and I forgot love it. I'm loving it, but I'm also like, oh no, that's hard. I'm sorry I forgot about that. I mean, what a crazy trajectory that.
00:34:10
Speaker 3: Yeah, no, I had, Like I was like, am I going to be able to watch the show without just feeling like envy? Yeah? Like I wish I was there, But I'm just loving it and really enjoyed because it is about a time in our.
00:34:21
Speaker 2: We all business, Yeah, relating to be so much.
00:34:24
Speaker 3: I'm just relating to it and loving it, and it's weird. I'm actually just getting to enjoy Lisa's performance because I'm like that Hot Wings the Wing, the Hot the show where they seen the episode.
00:34:37
Speaker 2: I'm a little bit behind on the Hot Wings talk show.
00:34:41
Speaker 3: Yeah, and the way I mean her performance, she's so brilliant, can't She's so brilliant.
00:34:46
Speaker 2: Agreed, agreed. So it has so much heart, you know, this this particular season.
00:34:52
Speaker 1: I mean I think it always did right, but because I was like on my couch crying, I couldn't really.
00:34:57
Speaker 3: Season really started to show the heart when was sick, and she was making choices that weren't selfish, right, that really started to build in and I know it's so it's also like and again a show where it's just as easy to not have a character evolve, And there's parts of Valerie that won't evolve because she needs But she's so grown up now in terms of how she's caring for other people, and you know, she's still trying to be the thing. Like there's these other elements to her that I I'm just I'm just loving it so good. It's so good.
00:35:35
Speaker 2: I'm so excited for your show.
00:35:36
Speaker 3: I'm me too.
00:35:37
Speaker 2: And then you had Julian and Elisa come in some form.
00:35:40
Speaker 3: Yes, So I had to very quickly kind of get the show on its feet because there was a version of the show that they weren't happy with and it was supposed to shirt shooting in three weeks. Oh my god. So I came on and was like, I got to start from scratch and get back to the because the novel is really one full and romantic and beautiful. So I was like, I gotta get to those. But so I had a very short amount of time to get a writer's room together, and I was like, I just need people who are killers, like who can write anything, are emotional, beautiful writers. And I was lucky enough that they were available and said yes, and I was so they we were writing. You know, in streaming, you could write a show for like it feels like a million weeks and then you shoot ten months later. And this was like we were writing as we were shooting. Oh wow, yeah, oh yeah. It was My assistant, who had never been on a production, was like, is this what it's like? And I was like, no, not even Network is like I've never written this fast. I mean this part of my face pulsed for like the entire production because I was just like, I have there's so much to do, and luckily my cast is phenomenal good and so they were just able to like leap into these characters and so I wasn't spending a ton of time being like I don't have the right lake, but I cast in three like it was all happening, very wow, and it was incredible to have them because it was like two people whose story, you know, sense of story is so beautiful and the way they think emotionally is so beautiful and so grateful. Yeah, how exciting Yeah, it was great. Wow. And I hope we get a season two so we can do it again. Yeah, definitely. Oh, I can't wait to see it. It's a beautiful show and it takes place on a lake. It's lake life, beautiful, utiful. Yeah, I love a lake and the actors are really special. Really yay, that's exciting. Yeah, it's great.
00:37:45
Speaker 1: Goody, I'm so excited. That's more than I knew. I just knew that suddenly they were off doing something with you, and I was like, well, that's great.
00:37:52
Speaker 3: Yes. The only thing that was a bummer is that because it was so last minute, I could not have them on set because they were like, we can only do this amount of time and then. But so hopefully in a season two they'll be able to be like around and on set, because that's for me. They're equally as valuable Oh yeah, producers as they are.
00:38:16
Speaker 2: They're the best, They're the best. I love them so much.
00:38:19
Speaker 1: I'm so glad I finally got to the point in the show where I could officially have you guys on I know you.
00:38:24
Speaker 2: Here we are, and I can't wait to have you back.
00:38:26
Speaker 4: I know.
00:38:27
Speaker 3: I'm excited bringing me back.
00:38:28
Speaker 2: Any job, definitely Thank you Amy V. Harris for a really fun time.
00:38:33
Speaker 3: Thanks. I'm so happy to be here. I love talking about the show. It's fun, right, it's fantastic.