Kristin Davis

Save it for on screen.

And then after you're done, you can do it.

Because it's probably not going to work out.

out right that was a really good lesson don't you think I mean he's so right right like he lives on in us in so many ways that was a kind of a trite I guess whatever but no it wasn't trite at all because you take all that chemical and all that stuff that's going on and it's the you can't do it you're not doing it that keeps it you know alive rather than what if you do it and then you're like oh that was not what I wanted and then you have to recreate it the next day definitely

Right, it's hampered your actual creativity and the energetics of it.

And I feel like that was the thing that Roy was so special about.

And as you said, he taught us how to take a really lame scene on the page, because obviously in film and TV, sometimes each scene art is not great, right?

And how to kind of put something on top of it that meant something to you in that moment where you had stakes that may not even have been in the scene, but it made it interesting.

Pretty much how I do all my work.

Yeah, it's amazing to think about.

I did get into some trouble.

I mean, mostly on Melrose.

I'm trying to think a little bit on the beginning of Sex and City because I'd spent so many years auditioning and going to Roy.

Like I used to go to Roy four nights a week, right?

We would just observe, right?

So you'd have one class that was yours and then three nights that you'd audit.

And you learned so much from watching him work with others that it was just a joy to go to.

I wish I could do it right now.

I know, me too.

Roy, please come.