Are You A Charlotte? - Fleet Week Is Here… And Charlotte Is Feeling Flashy with Mark Deklin... (S5 E1 "Anchors Away")

Episode Date: July 27, 2026

Mark Deklin reveals the behind-the-scenes SATC drama that had him literally throwing up over whether to film the show or return to Broadway, why he felt pressure to make Kristin comfortable during their unforgettable scene, and the hilarious question Kristin asked during their scene. Plus, Mark and Kristin look back at filming the show right after 9/11 and reveal the one line Mark had to re-record years later for the show. See omnystudio.com/listener for privacy information.

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If he got a bunch of women, then I should have a bunch of men. Do better or do less, so I don't have to do so much. I'm Yamanika, and I'm out. Listen to You're the Problem with Yamanica on the IHeart Radio app, Apple. podcast or wherever you get your podcast. Hi, I'm Kristen Davis, and I want to know, are you a Charlotte? You guys, this is exciting. This is when we get to have a really interesting actor on who was in an episode in 2002.

I guess that's what it aired. We probably filmed it in 2001. We actually shot it. It was the first episode you guys shot after 9-11 happened. Got it. Which we can talk more about. Yes. It was significant.

Yes. There was a vibe. Yes, absolutely. This is Mark Declan, everybody. He's great. He's here. I'm so excited. He has the longest resume in the world.

But really, and I'm not going to name everything, but he was a very important part. He was a sailor in the Fleet Week episode called Anchors Away, which did air in 2002, but filmed in 2001. So take me back. Tell me about the, let's talk about 9-11 first. Yeah, yeah. I mean, well, you know, I mean, for anybody, any New Yorkers, right? We know what it felt like. And it wasn't, obviously, it was sad and tragic and scary, but it was.

It was also beautiful. Remember that? Yeah. Yeah. Like there was this sense of like, we're all in this together. People were friendlier, more helpful, kinder. It was like a beautiful time to be in New York. Yeah. In fact, I was in L.A. the day it happened. And all my L.A. friends were like, oh, thank God you weren't there. And I was like, no, I feel weird. I should be there. Absolutely. Not like I can do anything. But just like, it's like my, I have a sick relative in the hospital. I should visit. Right. So how did you get back? What were you working? Just, yeah, I had just been, I had just actually moved to L.A. I had let my apartment in New York go and I got an offer to do a Broadway show and I turned it down. I was like, no, I've committed to L.A. for now. I'm going to stick with this two days later, September 11th. Oh, no. So I called back and said, is the job still available? I want to come home. So I did. What was it? So it was the Lion King. Oh, my God. Amazing. You were the Lion King. Oh, one of my most favorite. Life's not fair, is it? Wow, so great. It was fun. I mean, that's a whole other experience to talk about. And I actually have a funny story from our episode that I'll share with you.

Oh, listen, I need all the funny stories from this episode. I just remember this episode, I had forgotten that it was the first one back, but that makes perfect sense because I think that we as a production really felt so strongly. Obviously, we love the city, as we all know. It's the fifth character, et cetera. And it was such a, such a trauma and such a. you know, everyone was going through a collective trauma, the whole country, obviously, but definitely the city and everybody was pitching in and there were all, everyone had a story and everybody was doing different things to contribute.

And we felt as a show like our job was to get back at it, to celebrate the city to, like show that we were okay. Yeah, yeah. You know, like it was super important to get back out there. And that love letter to the city that your show always was came through so clearly. in this episode right i mean obviously carry talks about you know like your boyfriend the city you know yeah it's it's beautiful it's beautiful yeah it's really beautiful and i think anybody who has a place in their heart for new york was really touched by that absolutely absolutely and i feel like for michael

he's trying to think of well what's a fun way to like he everything needs to be like have the depth that also be fun and fleet week is such a perfect funny yeah crazy weird thing i also remember and i don't I don't know why I hadn't placed this in my mind and that it was the first show back, but it makes perfect sense. I just remember that it was hard. There were hard things about this show. Like I remember standing on the island in Times Square because we could only start shooting at 10 o'clock at night. Because of the, because we were trying to film in Times Square, right? Right, right.

You know, bonkers, right? Like insane amounts of people, cars, whatever. and we're trying to shut down things, you know, as much as you can. And so they would only let us come at 10 a.m., 10 p.m. So we would start at 10 p.m. And we would go all night long, and it was like hard. Yeah. what I remember. And they got us rooms in the W Hotel. Which is right there. Right there. And we just, I felt like we lived there for a week. Like, I felt like we were just there. We all got the CDs. Remember how the W has like the party in the lobby? We had the CDs. Like I could play all those songs. They take.

me right back to that time. Oh, it's such a moment, right? It was great, but it was also hard. Yeah. It was hard, emotional. I felt like... I feel you. Really? Yeah. And I'm laughing because I remember that shot of the four of you, right before you guys shove Cynthia next to the cab, right? Yes. Yes. And there's an extra behind you guys, a background player who apparently got the note, don't look at the camera. Oh, no. So he's literally doing this the whole time. Like the whole time, but he's right behind you, just looking. at interesting things in the sky. Oh my God. Or maybe he thinks he's looking at the view, right? Sure. Maybe he thinks he hasn't seen the view. He's a tourist. That is adorable. I'm going to look

back and look at that. You'll see it. Sometimes when I feel so bad because the background people, when they're in a big, big, big scene, it's hard. It is. It's hard. It's unnatural. It's to do it so many times. And if I remember that we had to do that for a long time, then you know we had to do that a really long time. Yep. Like, I feel like we just stood on that street corner for just like, I don't know, maybe 12 hours. I'm sure I'm wrong, but that's what I remember. You might.

And that's the thing a lot of people don't get is like how often it's a slog. Right. And I'm not saying, oh, boo-hoo, poor me. No, no, no, not at all. Of course. But, you know, you get this glamorous shot. You guys looked gorgeous. It looked gorgeous.

But getting there is a slog. Right. And I think it was cold. Really? Well, because it's the first episode back. And usually we'd start in February. so that it could come on in June. Is that right?

Let's see. Let's see what the date was. You probably know better than I do. It's funny though my memory, well my memory, which leads to my funny story. Tell me the story. But mine involved a lot of sweat. And I'll tell you why. So in my mind, we shot in summer.

But maybe we didn't. I mean, I think it looks like summer because that's the whole point, right? But I don't think it was. Because we had to, it aired July 21st. Oh, yeah. So we couldn't have shot it in the summer. That's weird. Yeah, but it's also interesting because usually we would come on in June,

but I think everything is messed up because also this is the year, and I don't think this is related to 9-11, I think it was related to the Soprano schedule, because they started messing their schedule up because he wanted to write longer. So they took a little half of our season before and put it on in the winter. Got it. Yeah, yeah, yeah. Then they pushed our air date for the summer back to July 21,

which is kind of weird as the end of the summer. Yeah. I think everything goes haywire at this point and time in our like collective lives. Right. You don't know what I'm saying. Yeah. So go ahead. You're sweat.

What sweat? It could have been hot. I don't know. No. So, okay, so I was, and I'm sure you weren't aware of this drama because you had bigger fish to fry and I didn't want you to be aware of this. What? What?

Okay. So we shot our scene on a Wednesday, which is matinee day on Broadway. Yes. So I had to use one of my sick days to do our show, which is fine. We did that all the time, right? Like we used to say, don't waste your sick day being sick. Wow. So fine.

And I made no secret of it. My stage manager was my friend. She was happy for me. And we had a whole string of talented understudies who could go on in my place. I wasn't putting the show in any danger. Got it. Except Murphy's Law came to town. Oh, no.

So I report to Sex and the City. I think we were on 47th Street. Does that sound right? Yeah. Something like that. So I'm in my trailer getting ready. Unknown to me, all hell's breaking loose back at my theater. Unders Studies are dropping.

like flies. Oh no. One gets sick. One gets hurt. One has to go on for somebody else who got sick or hurt and so on. So we're down to the last guy who can go on in my place. So talented guy. He's in hair and makeup. As he's leaving, he turns to say thank you, as one should. Yeah. And I guess in the act of turning while walking, he tripped. Oh no. Felt on the steps, twisted his ankle, couldn't go on. What? So now if I don't go on, the show's not going to be. This is the day of you filming with us. I'm sitting in my trailer with Sex in the City. And I get a from my stage manager saying you have to come to the matinee. What?

And I said, no, I can't. I'm about to shoot my scene. She said, I know. And I'm so sorry, but I know that you're able to do the show. And I have to protect the show because if you don't go on, the show won't go on. So you will probably get fired. You could even get sued. So I went, oh, you know, hold on a second.

I put my phone down. I literally opened the door of my trailer and vomited on 47th Street. Oh, my God. No joke. Like literally just, blah. This is terrible. Oh, my God. So I shut the door and I was like, okay, I have to figure this out.

So I found Charles McDougal, the director of episode. And understandably, he was not happy with me, right? But he was cool and he kept his head. And he looked at the schedule and he said, you know, you're in luck because we're shooting everything in the same location today. So I'm going to switch the scene order. You're going to run down, you're going to do your matinee. The minute the curtain drops, you're going to sprint back up here and shoot our scene. What?

So, yeah, you didn't know any of this. No. So I go, oh, thank you so much. Thank you. take, I run down, I do the show. And this is actually one of my favorite showbiz memories, because I guess word got around the theater of my situation. So when I took my bow and came into the wings, there was this NASCAR pit crew of like 20 people all there to like help me get ready. So literally, I'm in the wings and someone's pulling my wig off and the bobby pins out. Because you have the

whole makeup. Well, so they're pulling my costume off. They're putting my street clothes on. They're wiping my makeup off. Wow. And I sprint, right? And I run up and I show up to your hair and makeup. And God bless them. So they're under the gun, right? They've got to have me camera ready in a couple minutes. Oh my God. So it's like triage. Now, you know, stage makeup doesn't just wipe off. Yeah, it's some thick stuff. Yeah. So I'm like half of it's still on and dripping. I'm dripping with sweat because I sprinted the whole way. And they made an executive decision. They were like, we can't restore you and start from scratch. So they made the decision to just paint a layer of television makeup on top of the mess. What? What? Yeah.

And they're so good that they made it. You didn't know. Wow. Nobody knew. But I knew. When I watched the episode now, I laugh because it's not my skin. Wow. I'm like a wax dummy of myself in the episode.

Yeah. Incredible. Yeah. So then just curiosity, were they ready for you or did you have to wait? No. Because that would have been funny. And as you know, we do a lot of waiting. No, no, I went right in.

Like you and I jumped right in. And then I had to switch gears because this wasn't my. moment this was your moment right well well well i was not that happy about it i don't know was i did i no so i'll address that because you no you were you first of all you were lovely you were you you were one of my favorite people i've worked with you were gracious and i'm not just saying that because i'm on your podcast so nice thank you um but i remember so i knew like because we've all had to do some form of undress yeah and i think people think that like oh actors they're they have no shyness they're not no it's very vulnerable yeah and you

feel very exposed, pun intended. Yes. And so I was like, okay, I have a responsibility. Kristen's going to feel uncomfortable. That's so sweet. Yeah, well, it's just real, right? Thank you, yes. And we didn't know one another.

It's not like we were old friends from school. So it was like, I was a complete stranger. Yeah. So I was like, okay, I have to find this balance of like, I want her to know that I'm not some creep who's ogling her. But at the same time, I'm a heterosexual man and gee, you look great. You know what I mean? That's sweet.

Yes, yes, yes. And I just wanted to be there. for you and make you feel safe. And so the moment I knew that it was okay was you were nervous. The first two takes, you were understandably very nervous. But I think the third or fourth take, you turned to me and asked me, you probably don't remember this, you asked me if you had any brawines on your boobs. And that was the moment when I said, I've done my job. She's comfortable with me. That's so funny. That's so funny. But you know, you were terrific. It's so funny, the crazy things you worry about. Like brawines, I crack myself up. Like, what on earth I know. But it's totally.

real. I know it's just so like, you know, when people have a lot of thoughts and feelings about intimacy supervisors, whatever they're called, intimacy coaches. Coordinators. Thank you. I knew there's a word. That's the thing that nowadays I would ask an intimacy coordinator. Of course. Because they're like your eyes. You know what I mean? It's such a different world after me too. Right. And I think for the better. But there, you know, it's such a weird thing. It is a very weird thing. It is a very weird thing. So one of the ways we always dealt with it was to make a joke of it. Totally. And I look back.

Yeah, if you can't. Right. That's just it. I look back and like, you know, I did a series where the woman played my wife, we were having a sex scene. And we were just, we were buddies. And we were just saying the most inappropriate things to one another just to crack each other up and crack the crew up. Yeah. You couldn't do that today.

No. They put out the bloopers reel. And I was like, oh, my God, I'd get fired for that. Oh, they put it on the bloopers reel? Yeah, because. Oh, God. Yeah. Oh, yeah.

Oh, yeah. Like, if you buy the DVD of that series, like, you'll see. And it's actually, it's funny. Well, if everyone is participating. Yeah, right, nobody's victimized. Right. But still. It would still not be okay with HR, right?

That's really interesting to think about it. I mean, the thing that I think is interesting, and there is like a whole court case, I believe it was friends. There was a potential court case about them kind of making jokes in the writer's room. But because, you know, there's a whole thing about like if your show or your writing is if this is part of the show and the writing of the job, that there's a certain amount of leeway or whatever. Now, I don't know if that would go for on set, right? And I mean, like, now when you go to work, there's a 1-800 number on your call sheet

that you can call if you're uncomfortable, and people call, which is interesting to me. It's interesting because it's many things, right? Like, I think sometimes it's really legitimate. Right. And it's a call. And, you know, we've all been in those situations. I've been in situations where I was like,

this isn't how it's done. There's a protocol here that you're not following. Now, did you feel that way as an actor, or did you feel worried about the women, or was it directed at you? No, it was directed at me. I'm going to be careful what I say. No, be careful, of course. I'm just so curious about the man experience. It's lovely that you ask about that, because in the moment, the men in the show, I was, as the script was being handed out, I was said, they said, oh, you're cool with nudity, right?

Oh, casual like that? Yeah. Oh, Lord. And I said, have you spoken to my age? agent? Yeah. That's not how this is done. And so I held my guns and held to my guns. I know, Amy. I held my ground. Sure. And it was interesting because the guys in the show were all like, dude, just do it. Just show your ass. Who cares? And or whatever it was. Yeah. And the women were all very sympathetic. They were all like, no, you stand your ground. Yeah. So and I thought that makes

sense because they've been put in that situation. Yeah. And I feel like agency is. is key, right? Like if you're choosing to do it, yes, if you're being pushed, it's not okay. It's not okay. No, not for anyone. No. No. I agree totally. So did it work out? Yeah, it all worked out. It was great. Did you have to call your agent? Did you have to get some help? Yeah, yeah, no, no, conversations happened. Yeah, yeah, yeah, but it's fine. It all worked out. Because it was also supposed to be like, like, you know, the contracts are funny. Yeah. They'll be like, like, we'll show one quarter of an as cheek or whatever. Like, like, it's so specific. Right. Right. It's very specific.

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It's like, yeah. And I mean, this was a flash, right? Like, I flash my breast at you. It's not even... And it was just one as we negotiated in the scene, right? Exactly, right? Exactly. But I remember there were people.

Always. Like, we're in a restaurant. Yeah. You know what I'm saying? Yeah. But I mean, it wasn't even like a sex scene where they can close the set. I mean, they did have us cordoned off a bit. They tried, right?

But I mean, there were people. We were in a restaurant. Right? And I was just like, like, it was bizarre. And I just remembered, like, my body didn't want to do it. Like, I had to force myself to do it. I felt all that happening. You did?

Yeah. And I was so, like, I was, I was, I was, oh, I, I, I, I, I'm so felt you. And I was, like, trying to send you all the love and all. I appreciate that. It may matter so much in the moment, right? Because, like, you're, you're, you're just doing something that you know you have to do, but you're not organically feeling it. And as an actress, right, like, let's see we were in a sex scene, which that's a different

ball of wax. It's a different situation, right? And even more awkward and weird because you're simulating sex, but you're not having sex, but then also you can usually joke through it, like you're saying. Like, that's a really common thing that actors do, right? And hopefully you have a vibe with each other where you can trust each other and make it fun and funny or silly or whatever. Totally laughing at yourselves.

but we were separated, physically separated, so I didn't even, I couldn't really rely on you. Like, I could, you were contributing in a positive way, but I couldn't. We made out a little bit at the beginning, but yeah, it wasn't like we were in an intimate, intimate scene, right? Which in some ways would make it better, meaning like sometimes when you're being kind of silly, it's better, but I don't know why that day I just didn't want to do it. Like I still feel that way talking about it. Like, I didn't want to do it.

But then if I can just separate myself from my own anxiety, I look back. and I'm like, what is my problem? It's adorable and I'm young and beautiful. And what is my problem? Right. Like when you're an old lady, you'll look back and say like, I looked good. I'm glad I did that.

And I'm like old now and I should feel that way. I still feel the anxiety when I think about it. I feel you. Isn't that weird and interesting? Is it not? No, it's human. Okay. It's human.

And we're not, we're actors. We're not exhibitionists. It's true. Some of us are. No, but I mean, that's a misconception, I think. A big misconception. Yes. I think just the misconception that all actors are extroverts.

Right, we're not. I suspect you're not. Not. I'm not either. I'm gregarious. I like people. I don't have social anxiety. But I'm an introvert.

I recharge my batteries alone. Like, and you know, I'm not like, love me, love me, love me. You know, we all have a little bit of that. For sure. But that's not my go-to place. No, me neither. And I do think it's a really interesting thing. And definitely like that weird social media has fed the thing of like, oh, you all knew,

You wanted this. Right. You chased it. Right. No, for us, especially because we're not 20, you know, it was a different world that we thought we were getting into. And it was like about acting and theater and not about fame. Right. Yeah.

In fact, a friend of mine years ago said, we also deal with fame in some way. But there are two types of actors. There are those who see fame as the prize and those who see fame as the price. Right. That's true. For all of us, we never even, I don't even think any of us, including Sarah Jessica, ever thought. about it. And then all of a sudden, there we were in it. We were like, whoa, whoa, mama. Well, yeah, did you know? Like when you joined the show, we were like, this is going to be

a cultural phenomenon. Of course not. No, no, no, no. We thought it was going to be a tiny little cult thing if it went well. If it went well. Do you mean? Right. If you're lucky, it'll be a cult thing. Totally. Yes. If we're lucky, we'll get to keep doing it. And it will have enough of a little audience that we will get to continue. And we did. And we did. That's awesome. I know. It's funny. We were, I was thinking on the way over here about, um, I was doing a series where I was playing a closeted gay guy. And someone, we hadn't aired yet. And some interviewer asked me,

so are you, is your character like fabulous? You get all the funny zingers and one-liners. And I said, no, no, no. And I gave this sort of long, thoughtful answer about like, no,

it's not like because he's in the closet. So he's not like out and fabulous, right? He's actually like, you know, kind of butching it up or whatever. Right. Masking. Yeah, exactly. And I said,

so, no, I don't get to do like that, that fun, brilliant thing that, Eric Stone Street gets to do on Modern Family or you know that that Sean Hayes gets to do on Will and Grace like I'm not I'm not like that and those guys do that so brilliantly and that's you know and I gave and my answer was very complimentary to them because they're both fantastic actors and I know Sean well sure enough oh no yeah that it all that long thoughtful answer gets taken gets boiled down to one sentence which is literally they quoted me as saying I'm not playing a stereotype I'm not not Sean Hayes. Oh my God. I was like, are you, that is not what I, and so like, fortunately, Sean and I have a mutual very dear friend and I was able to get in touch with him. And he was like, oh, don't worry about it.

I know they do that all the time. Don't give it a second thought. Right. But I felt awful. You know what I think is interesting about that too? And I feel like it's the kind of thing of like you can't win. If you give a really long answer, that's thoughtful, they can edit it down, which is then why you go like, oh, okay, I've got to give a short soundbite that cannot be misconstrued.

then people get upset when they see your interview, like, why does she give such short answers? She needs to be more thoughtful. And you're just like, oh, Lord. I saw him give the same answer in two different interviews. Exactly. Exactly. Right. They're like, he got media training.

Oh, never, God forbid, you know, which I've never had media training. No, I haven't either. But you learn on the fly. I know, I want to know who is getting media training. Somebody is. Someone is, but I don't know who, right? All of us just got thrown in and learned by example. Right.

Okay, let's talk just for a second. And I know, no, I'm loving this conversation in general, but I want to just talk a little bit about where were you in your career when this happened? You were on Broadway. Obviously, you had just moved to L.A. and then you come back. But, like, what was it like for you being on the show? What do you remember around the show?

Well, so at that point, the show was already a hit. Right. This is season four. You're right. Yeah. Wait, season five. Season five. Oh, my God.

So, yeah. And I had auditioned for other parts before that I hadn't done. Got it. Many of our men folk. Yeah. I mean, every New York actors. Was it stressful? Was what stressful? The audition process?

The process, yeah. No, no. Okay, okay. So you were just like, it's going to work out. I'm not, I didn't feel like, oh, sex in the city is going to work out. Right. I just felt like I audition a lot. Something, like I'm auditioning for this and I'm auditioning for this commercial and this, you know, I remember. And, and, and, but I remember it being a very pleasant audition. And it wasn't grueling or long. Good, good, good. And I felt good about it. But, you know, So when I booked it, I was really happy. Yeah. And I had just, at that same time, I mean, my TV career hadn't really taken off yet, but I had just done a FedEx commercial with Steve Carell, actually. Oh, no way. He's lovely. Wow.

And it's funny because so I had two very small things that I started getting recognized for. One was this FedEx guy. So one morning, I was living on the Upper West Side, and I had ordered a package. And it was early. I think I was partying the night before. and I answer the door and I'm bleary-eyed and I'm signing for the package

and the guy looks at me and goes, hey, you're the FedEx guy. And I looked up and I said, no man, you're the FedEx guy. And we started laughing. Adorable. And then same thing. Like I, you know,

obviously this sailor wasn't a huge role but it was sort of an iconic moment. Definitely. And to this day, people would be like, no way. You know, you're the sailor or they'll come up and they'll say, show me your tits.

How embarrassing. What do you say? What do you say? Well, I don't show them my text. Probably a good thing. Probably a good thing. It's a good thing. Don't go around flesh and people.

Before me too, I would have. Not really. No, not really. No, and my kids roll their eyes. They hate when people recognize me. Mine do too. It's good. It's healthy.

They should hate it. It's interesting, right? Right? Yes. I try to be, like, sensitive to that. Me too. So do I. I have a no picture rule when the kids are around and I feel so guilty about it.

No, you shouldn't feel guilty. No. I mean. It's just I don't want. I want them to feel like the other work thing matters more. You want them to have a normal life. I do. Yeah, as much as I can.

Yeah, me too. So go ahead, go ahead. No, no, no. So you had the FedEx thing, which is crazy. Yeah, that was fun. Love it, love it. And so yeah, but this was the first TV thing that I started really getting recognized for. Got it.

Did it feel good? Sure. You know, you get it. It was mixed. You get it. Tell me. I love to hear other people's experience. You know, okay, as an analogy, I'm going to tell you a story.

I was doing a series with John Voight years ago, and he played my father. Ooh, wow. And we, you know, we had a funny relationship. Politically, we're not on the same team. Yeah, he's a character. But he's got a good heart. Yeah. And we became friends.

Nice. And I actually, I really love, I have a place in my heart for John. I love him. Yeah. And we would debate politics. And it was, we had a great, respectful, you know. But once, one time he and I were walking through the Dallas Airport together. And he couldn't go five feet without someone coming up.

Can I have a picture? Can I have an autograph? Sure. So he did, I'll never forget this, Kristen. It was like a conductor. He said, I said, does that bother you? And he said, no, I'm used to it. He said, you want a little taste?

And I said, what do you mean? So this woman started walking toward us with her phone out, her camera, whatever it was. And without missing a beat, he reached out, took the camera from her hands and said, of course you can have a picture with Mark Declan. And I saw her wheels going like, what the hell is Mark Declan? She had no clue. But then I saw her decide, I do want a picture with him, right? Because he must be important.

Wow. So now she's hugging up on me. Okay. John is the photographer. I see someone else go, I don't know who that is, but I need a picture. Yeah. And within five minutes, I'm being mobbed. Oh my God.

I can hear buzz, literally buzzed, people going, Mark Declan's in the airport. Oh my God, it's Mark Declan. They had no clue who I was. Interesting. And it went on for about five minutes. And then John said, have you had enough? And I was like, yeah, it's kind of weird. So he turned the camera back on himself, and I was forgot.

instantly. Like, I never existed. That's super interesting. But it was a great lesson in how smoke and mirrors it is. Yeah. Yeah. Anyway, I don't know if that answers your question. No, it's really interesting. It's a weird thing. So you've had this incredible career with like everyone and their brother, which is super interesting to me. But take me back again because I'm trying to place like was our show and you're on a Broadway play. It's like a lot going on. Did you feel the momentum? Was it like the momentum was picking up in your career? Yeah, definitely because I had, you know, I was a theater kid, right? Like I was Shakespeare. Like that was really what I was mostly doing. And then I was doing a lot of off-Broadway and regional. And I was dabbling in film and TV, but I didn't really have a TV and film career.

But things, I had started going to L.A. more and more and working in L.A. more and so that's why I had made the move. But it hadn't really gotten traction yet. And this was right around the time when I started to get traction. Cool. And I started to, yeah, I started to feel like it's an interesting thing, right? Because these past few years, our industry has been in a weird place. Oh my gosh, it's a mess. It's a hot mess.

And we're all having to get creative about, all right, what else do I do? Yeah. How do I make a little dough? It's so sad. It makes me so sad. I mean, we could have a whole podcast about that. Yeah. Crew members who aren't.

The crew members. There was an apprenticeship, right? Yeah. Young crew members coming up in the industry would train with master older guys. That's just not happening anymore. Well, because there's not enough work for everybody. No. So, you know.

No. I know. It's hard to know how are the young people going to learn all the things. You know what I mean? It's just a different world. But also the thing that really stresses me, and I don't know how much this is true in New York. In L.A., the people who are the, you know,

crew people that we would normally just, like, have such a wonderful pick of. And work with them on many different projects. They're all leaving town because there's no production. It's horrible. It's the saddest thing. And so getting that sense, like back in those days, you could get traction. You could get a sense of like, I'm not where I want to be yet, but I feel the trajectory.

I feel momentum. Yeah. You know, the gross industry term was heat, right? Yeah. Like my agency, oh, you got heat right now. Yeah, yeah, yeah. But you don't, it's hard to feel that these days. Well, yeah, I don't know.

I don't even know because I'm obviously in a different position, thankfully. But also, like, you're just, for me, I'm always trying to figure out, like, what do I want to do? that makes me happy because happiness is important. Whereas when you're young, you're just like, hungry, hungry. I just felt hungry for anything at that point. I had no kids. I was like, whatever. Well, of course, as you know, it changes everything.

Yeah, yeah, yeah, it does. Yeah, but so take me back again for you because I'm so curious. So, okay, so you've got the FedEx thing. You come to do our show. People want you to flash your breast. No, your breasts. My breast, I don't know, but you know what I mean? They're like, show me your boobs.

Wendy Williams said the same thing. She was like, you were on sex in the city and you took your shirt off for Charlotte. And I said, no, she took her shirt. off for me. Oh, that's funny. Why were you talking to Wendy Williams? Um, because I was doing a series at the time. This was like in, this is years later. You went on her show. Yeah, yeah, yeah. Got it. Got it. Got it. Yeah. I forgot. No, no, not personally. Right. I was like, you got into Wendy and she said it. Okay, got it. Okay, got it. You were having dinner as we each once a week. Um, no, no. Um, I was doing a series in 2012 or something. Got it. Got it. But she was like, I remember you from Sex and the City.

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I'm Yamanika, and I'm out. Listen to your. problem with Yamanika on the I Heart Radio app, Apple Podcasts, or wherever you get your podcast. So, and then you've been on so many shows like Frazier, love Frazier. My God. Do you feel I was on some other sitcoms before and during kind of sex and state, like I went on friends, whatever, I felt like I learned so much being on all the different sets because they're so, so different. So different. And you want, like, you know, it's funny. We just lost James Brooks, right? And so sad, I did a pilot with him.

And people called him the comedy doctor. Yeah. And it's true. There was a moment in our pilot. I'll never forget this. It wasn't my scene we were shooting. It was Seth Green. And I forget who he was in the scene with.

But as he was talking, he was folding laundry. It took place at a laundromat. And he wasn't getting the laugh. He wasn't landing the joke. But, you know, Seth's a funny guy. Yeah, yeah. But it wasn't landing. And Jimmy just got up and he said, oh, it's because you're folding the towel the wrong way.

Oh, listen. And Seth went, what? And he said, yeah, you're folding it this way. You need to fold it this way. I mean, the man could. And all of us were like, oh, come on. No, no, no. And then he did it.

He folded the towel the other way. And the audience went nuts. It was insane. Insane. It was insane. It was insane. I did Will and Grace with him. And I was dying of nerves.

I'm a nervous thing, right? Like I look back, I'm like, why am I so nervous all the time? But it's, yeah. Can we just say that like? Totally. I know so few people who really are. That's a good point. Like, okay.

Or confident or fully confident. I have things about me that I'm confident, but we're all nervous. I know, right? And for me, and it's hard because I, you know, obviously criticize myself for it. But also, I'm nervous because I really want to be good and I want to contribute to whatever I'm doing, which, of course, I feel like it's good or I wouldn't be doing it. You know what I'm saying? Like, it comes from a place that's good that you want to have, right? Like you want that excitement.

You want to be a team player and contribute to the team. Yes, yes. Absolutely. And Unwilling Grace, it's such a great, great show, right? So great. You know, I wanted to be a part of it, but also sitcoms for me were, meaning traditional three-camera sitcoms, right? Which we were not. They like to say that Sex and City is a sitcom.

It's not really a sitcom. No, it's a comedy. Yes. It's a single camera comedy, yes, which is a little different. It's a different animal. It's a different animal as an actor, for sure. So this was, you know, a traditional, you know, multi-cam. Which we don't get enough of these days.

I know. They need to come back. There was a moment in time where they were like, they're coming back, they're coming back. But anyway, so I go on the show. I knew Jimmy. I knew Eric. I knew Debra. I knew everybody. I knew everybody. I knew everybody. I knew everybody. I knew everybody. I knew everybody. I knew the actual physical element of walking out. You're doing this show. It's like a theater, kind of. But yet, they're looking at this show. It's like a theater, kind of. But yet, they're laughing, right? So, so you're in this weird thing, but then they're filming. So, like, I didn't know they would do this thing where when I walked out, everyone would clap for so long that I would just be like, I don't know what the fuck to do. Sorry, was this before sex in the city? I feel like. Like, were you already Kristen Davis? Yes, I was. I was. I feel like it might have been after. Okay. I feel like it was after. So, yeah, so they're clapping. They're like, yeah, there's Kristen Day. Which was adorable and so sweet, but I didn't know because it's going to

ruin the joke, right? Like the next joke. Like, time. It's timing. Of course. Exactly. And Jimmy was there. And Jimmy, you know, that man could just make you. Unbelievable. What a wizard.

I mean, a wizard and a genius and a sweetheart. Sweet guy. I mean, just so supportive, you know. And he told me a couple of things like, like, I think at one point he told me to count to five in my head before I delivered some line. And every time, if you did exactly what that man said, you would get the biggest laugh you'd ever got. It's music. It was insane.

Yeah. Like his knowledge, his way of talking to you. Like, I don't, it's so crazy. And we're so lucky to have had him and to have gotten to work with him. And, you know, he's somewhere shining down on us. You know, he was such a sweet, sweet. Did you watch the comeback? I didn't.

He's in it. He's playing himself. I know. I need so many people. Especially with the whole AI thing that's happening. Like so many people have been like, if you watch the comeback. You've got to see it. You've got to see it.

It's so good. Michael Patrick and Lisa did just a tremendous job. And the fact that Jimmy's there playing himself. And I didn't know that he was sick. I think a lot of us didn't know that he was sick. So it's just... Because he wasn't the kind of guy who'd be like, I'm sick. No, no, no, no, no.

But he is just lovely to see him. And he's himself. And so sweet. And he gives this beautiful ending talk to Lisa's character about AI. And it's great. It's so great. And I love that Michael created that so that we have it, you know, on film. But anyway, back to your career.

Michael's writing. Michael, I know. We'll get back to that, too, because Did he write this episode? He did write this episode. Yay! Of course he did. Yes.

That's why he was there telling me to flash my press. The dubbing thing. We'll come back to this, but do you, well, you know, I don't know. Well, do you remember when it was TBS that acquired the show, right? Yes. And so we all had to go back into the recording studio and re-record our lines to dub out the profanity. You had to do this too? Of course, everybody did.

Wow. And so I remember, and this is what, this is what, this is what Kim and I were laughing about a couple years ago because in this episode. Wait, stop. You were on a show. I was on a show. Got it. On Netflix. On Netflix.

Got it. Many, many years later. Yeah, many years later. It was in 2022. Got it. Got it. Got it. Okay.

So in this episode, you guys have that scene in the diner where she's trying to say pussy. Right. But you guys don't want her to say it in front of the baby. Well, Charlotte doesn't. Right. Yes. Yes. You don't want her to.

I don't know if Carrie in. Yeah. Maybe they didn't care as much. They didn't look like they cared. But one of you comes up, and obviously this was Michael Patrick King's writing, but you come up with sushi. Yep. Which is very clever, phonetically, right? Because the words are kind of similar.

Right. And so what Kim and I were laughing about was I didn't get so lucky. When I had to go in and dub, my line, my famous line was, show me your tits. And they, of course, change it to boobs. And if you think about the mouth shape, those two words are nothing alike. But also, isn't that weird, though, that one's okay and one is it? Well, of course, it's random and arbitrary. But, but, you know, I'm pretty good in the booth.

Like, I can lip sync. I can dump. I could not make that work. Well, no one could. Like, no one watching it will ever believe that that sailor said, show me your boobs. But I do think, and not everyone listening is going to remember this. So basically, so the show was on HBO and we could say whatever we wanted and that was

part of the whole joy of it. Yeah. Then when we end, TBS gets it. Everyone just remembers it on E, right? They don't even remember that TV. like did things like this. So TBS, who's also in the Warner Brothers, you know, TV world, syndicates it, but we had to clean it up. And I think whole storylines were cut. Like I do remember that it was like very sad. I mean, I had one line. I'm sure you guys must

have been in the booth forever. But I think what had happened back in the day, and I totally could be wrong. I would love someone to fill me in on this. I remember going and looping stuff as it was happening just in case someday we might get syndicated. Do you know what I mean? No, that was forethought. Yeah, but I don't know if we really could have imagined that it would be what it is, right?

So I don't know for sure. And I just remember us going like, how is this going to work, whatever? But also we're so happy because we got paid more, you don't know what I'm saying? You get paid more and you get a wider audience. Like it's wrong with that. Right, which I don't think we really, yeah,

I mean, nothing's wrong with it. I think the only thing wrong with it would be like, does the show hold up? Because we weren't making the show for that. Right. Well, the show's called Sex and the City. Exactly. Right, right.

So what sad, sad version is going to be on TV? And I do think it was, exactly. I think it was kind of sad. But then E gets it as things are loosening up, I guess. And I think E also it was like dubbed meaning some of the words. And then I think some of the storylines still weren't on in it. Right. And then time goes on.

And eventually Netflix gets it as it originally was. As originally was. Which is kind of amazing. And now, sadly, like last week. week, it's off the Netflix. Sorry. I know, and it's only on HBO that I know of because I think that we're in this crazy holding pattern, not knowing if the merger is going to happen.

And so I don't know what the plan is. No one really tells us what the plan is, which is kind of frustrating. Because does anybody tell us what any of the plans are? No, never. Right. It's so hard. And there are, I mean, at the DOJ right now, they're fast-tracking some mergers that probably violate antitrust laws, but they're sliding them.

through. I know, but all of these states are going to sue. They're suing, right? So it's a whole big fight about Paramount, Moran Brothers. And I just want HBO to be okay. That's what I care about. Yeah. I care about HBO being okay. And I want people to be making shows and making movies so all of us can work and the crew can get paid. You know what I mean? Right. That's what we all want. Yeah. Yeah. I mean, I posted something during the strike and I was like, look, I know there's a perception that we actors are spoiled brats and we're all rich and it's not true. And we all want to get back to work. Nobody's happy that we're on strike.

No. And nobody's happy with the current state of the industry. We all want to get back to work. Yeah. Well, I think AI is just a huge, huge threat. And that is the one good thing that I think happened from the strike was people becoming more aware of the kind of existential. Right.

But do you remember they almost settled the strike early? Yes. And they said, oh, we're not going to negotiate AI now. We're going to hold it to later. No. And were you personally aware of what a threat it was at that point? Because I wasn't. No.

Like I was aware of it. I was like, oh, yeah, that could be a threat. Right. But it was during the strike. Yeah. Because it was an ancillary issue. And all of a sudden, you know what it was? One of the contracts, they brought back the language was essentially, I'm badly paraphrasing,

but it was essentially like if you work for us, we own your image in perpetuity. Exactly. Exactly. And we can do whatever we want to do with it. Exactly. So if you had worked for each studio, right. Right. Then you would all of your, yourself would be gone.

because they would have it and they could pull it out whenever they wanted. It's insane. It's insane. I know so now the last job I did in Toronto that I was telling you about, there's a whole addendum, like an added-on contract about the AI. But then what was great in this particular job, which I'm probably not supposed to talk about, but we, so you had to sign the thing. And I was so scared.

It was the first time I've had to sign it. And the lawyers involved, and luckily, because our union negotiated all this stuff, there's a lot of things that SAG negotiated that are like, controls and, you know, controlling the situation. Right. So I signed the thing, but I'm still really nervous about it. And I get to the set, and the special effects director is there. And I said, what are we doing?

Are we doing the AI? Because I had to sign this very scary document. He was like, absolutely not. I do not believe in it. At all. Everything was practical. Yes. Wow.

Well, special effects, practical. Right. So special effects, but practical, not AI. Right. So the artist, the special effects artist, were doing their work because we also want them to continue. to have a job, right? And it's about more of the job security.

It is about that. Right. But it like, I always say, look at like the Lord of the Rings movies versus the Hobbit movies. Yeah. The big difference, I mean, there are a number of differences why one worked and one didn't. But one of the big ones that the Hobbit relied so much on digital technology.

Whereas Lord of the Rings, it was all practical, right? Like they were making glassware, gondorian glassware. And they were, there were, there was chain mail. under tunics that you never saw, but you felt it. Interesting. Yeah, yeah. Bernard Hill talked about, who played Theodin, when they brought him his breastplate, the designers had made a whole heraldic story inside the breastplate of the history of his ancestors.

Incredible. No one ever saw. Incredible. But Bernard Hill said, when I saw that coming toward me, that was the moment that I became Theodan. Wow. Like, it just did it for me. That's some deep lore. Yeah.

Yeah. And deep, right. And I can geek out. I can tell. I'm impressed. I'm very nervous. But as a film lover, yes, I'm also a token lover. But aside from that, as a film lover, I love when you can feel the depth of craft and love that goes into something.

Absolutely. And I think that's something where because of what we were talking about earlier, we were trained for theater. Right. As was I, though I don't get to use it very often. But whatever, I mean, I'm using it, but not the whole thing, right? Yeah. Because, like, we have training. and then we use like a little section,

but that's okay, because that's what we love. Right. And that's what we wanted to do. So we were like, you know, slaving ourselves a way to learn, like voice, movement. Like you also did fight choreography. Incredible. Yeah.

Do you still do it? Like, how does that work? It's funny, I fell into it a little bit by accident. But it's, you know, we were talking on the elevator about it being a small world. So one of my favorite gigs, was when Kevin Klein did Sirono on Broadway, I choreographed the sword fights. Oh my God, it was incredible.

And Daniel Sinjada, who's in this episode. Yes, we love it so much. Yeah, he's a great guy. And he was also in Serenow. Love it. With Jennifer Garner. And it was a great experience. Yeah, yeah.

But I fell into it. Like, I had trained. You know, I had conservatory classical training. And, you know, I'm an athlete. Like, I was pretty good at that sort of thing. And so I started. certified with the Society of American Fight Directors. Wow.

And I was often the fight captain. Me. Like I would play Tybalt and I would, yeah, yeah, yeah. And I was doing a production of Romeo and Juliet. And Terrence Mann, big Broadway star, and God bless him for this. So I was playing Tybalt and I was the fight captain. And then when we went to the next incarnation of that show, he said, I want you to take over the fights. And I want you to make it bigger and better.

And I said, Terry, I'm not a fight director. He said, you are. And it was like, it was great. And then I kind of got a reputation. for being good at it. A girl I was dating at the time was doing a pre-Broadway workshop, and there was a moment where there was a moment of

violence that happened, and Nikitner, the director was like, does anybody know a good fight director? And my girlfriend said, oh, I do. And so I came in, next thing I knew, now I'm a Broadway fight director. And it just sort of like unfolded in an organic way. That's amazing. Yeah, yeah, yeah. I love it. It's fun stuff.

That is fun stuff. I got to do a pilot for George Lucas. I got to do like a Star Wars. Oh, my God. George Lucas. I got to like play a Jedi and have a... It never went anywhere. But still, you had the experience. But it was a fun experience. That's amazing.

You guys, this is so much fun that we are going to have to have a part two. So join us later in the week on RU.S. Charlotte. Hey, Portlandia fans. Carrie Brownstein and Fred Armisen here. The Dream of the 90s is alive in podcast form. We're launching Podlandia A.O. rewatch, our brand new podcast where we revisit every episode of Portlandia together, breaking down sketches, going deep on our iconic characters,

and pulling back the curtain on how it all got made. And we'll also be joined by the people who helped bring it all to life. Guestr, stars, collaborators and friends, including director Jonathan Chryssel, the mayor himself, Kyle McLaughlin, legendary musician Amy Mann, and many more. Kyle is going for it here. You fully improvised, not just words, but a song.

Well, I thought you were all going to write a song. I remember you thinking that. Listen to Podlandia. A.O. Rewatch on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. On Raiders of the Lost podcast, we explore cinema like no one else, including huge interviews with stars like Ryan Gosling on Project Hail Mary. It was like the Jaws Shark.

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What's up, fam? I'm sports journalist Ari Chambers. Hey, what's up, y'all? It's your girl, Sam J. And we're the host of everyone watches women's sports, a new podcast from Together in IHeart women's sports. We're breaking down the biggest headlines. Naomi Osaka, showing out. Shout out to you, Naomi. The viral moments. I've been obsessed with Kashan Rock's

boxing journey. She looks good. Her combos are swift. And the stories everyone's talking about across women's sports. Because everyone watches women's sports. Listen to everyone watches women's sports on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. I'm Nick Tuturo. You probably know me from NYPD Blue, the longest yard,

or Spike Lee's Black Klansman. And on my new podcast, delivering happiness with Nick Tatourl, I deliver pizza to a new guest. I've shared a slice with everyone from Seth Rollins. What are you doing, my business? belt to Bill Burr. I don't think I've ever met somebody so exactly out of their mind as I am. And now we even have more great guests coming up, including the great John Tuturo. It's called Happiness, delivering happiness. And many, many more.

Open your free High Heart Radio app. Search Delivering Happiness with Nick Tutorro. And listen now. This is an IHeart podcast. Guaranteed Human.