The ‘Sex and the City’ opening credits: A 5-minute oral history

Star:   I wanted a Latin, cocktail-themed vibe, and I loved Doug’s song the second I heard it. Cuomo: For the real song, I had a bass player, drummer, saxophone player, percussionist and pianist. The two continued to work together for all six seasons, on both film spin-offs, and on Star’s current project, Younger, for TV Land. For more revelations from the past four decades of entertainment, visit It captured exactly the feeling that I wanted. And part of learning about life is getting splashed by a bus. Don’t forget to subscribe for more exclusive interviews and photos, only in EW. She has this moment of glory that ended very quickly. Star: The series was always about four women, but the viewer’s way into the show is through Carrie. Sarah Jessica and I were fighting for it, and Darren said, “Okay, but I want other outfits as possibilities.”
Star:   I remember thinking, “Wow, a tutu?” But Pat and Sarah Jessica were very committed to it. [Laughs]
With the music nailed down, Star came up with a new premise: Carrie Bradshaw, played by Sarah Jessica Parker (now on HBO’s Divorce), walks around Manhattan and gets splashed by a bus bearing an ad for her own newspaper column. Courtesy of HBO
Parker:   I   tripped a lot that day! [Laughs]
Cuomo: I heard that it was Justice Sonia Sotomayor’s ringtone. It’s a really tight sequence, but if you look at the amount of footage covered, it’s not a great amount of mileage. I would say it was one of many times where they’d have a wardrobe and I’d look at it and say, “I don’t get it, but go for it!” We did one pass where Carrie’s in a beautiful blue dress, but she doesn’t get splashed. It was important to establish this young, single woman who’s writing a column exploring sex and relationships and, in the process, learning about life. Star: You know, the show really wasn’t that popular the first season — it was kind of slow to catch on. For more on Sex and the City, pick up Entertainment Weekly’s Untold Stories issue on stands now, or buy it right here. In the end, the tutu won. When you’re playing music for someone, you have no idea whether it’s the greatest or worst thing ever. If we had shot it a year later, I would’ve understood exactly how she walks. We recorded the song near the Empire State Building. Field found Carrie’s iconic tutu in a $5 bin on a showroom floor and re-created four versions of it. After Darren heard it once, he said, “You hit a home run.” That almost never happens. It was not a fancy tutu, and we doubled the tank top because it was see-through and Pat didn’t want me wearing a bra. I wore them throughout the first season — we really asked a lot of that shoe. Field:   I told Darren that if the show was a hit, we’d need something completely original — not of that season or a certain time. As a first step, Sex and the City creator Darren Star looked to classic female-fronted series. I went to Virgin Records and found the “Space-Age Bachelor Pad” music section and thought that might work, so I hired a drummer and saxophone player for the demo and had about 10 days to do it. Instead she trips when she sees the ad. If I was cold, I survived. Patricia Field:   It was very difficult for the producers to understand the tutu. And the point of view was strong enough that I didn’t need as much information as I might’ve needed for a scene. Sarah Jessica Parker:   I thought it was a very smart way of doing the pie in the face before anybody else could do it. I hadn’t [yet] been Carrie Bradshaw for a long time. But that was part of figuring it out that day. Before scenes were shot, composer Douglas Cuomo took a crack at what would become the famed main-title Sex and the City theme. The “do-do-do-do,” the tutu, the New York City skyline — this was how we first met Carrie Bradshaw, long before the heroine ever busted out an “I couldn’t help but wonder.” Nearly 20 years later, the collective brains behind the six-season phenomenon think back on creating that indelible main-title sequence. But I just thought the whole thing was right. It nodded to a person but wasn’t reflective of everything we knew her to be. His only note was to make it a little longer, so I made that little climbing part at the end a little longer, which made it more effective. I remember the shoes — they were leopard-print and strappy. It’s so little to ask of me. Star:   I think we got it on the first or second take. It’s very, very infectious. Douglas Cuomo:   I was given a rough storyboard — it was a cartoon where the women went from brunch to shoe shopping and, later, an art museum. playing the theme song in my car and wondering if anyone was going to recognize it. Well, not buckets, but enough for me to have to avoid it. Darren Star:   I was really inspired by the That Girl main title, which told the story of Anne Marie [Marlo Thomas] coming to New York, and I thought about The Mary Tyler Moore Show. Show Full Article The opening was filmed in March 1998 on Fifth Avenue near Manhattan’s Plaza hotel; the pilot premiered in June. Star hired costume designer Patricia Field for the opening sequence. Star:   It was such a brilliant choice because in a way, Carrie’s dancing through her life in New York. Star asked for something sexy and sophisticated, to let the audience know it was okay to laugh. The music had sections because of the scenes in the storyboard, and right before I played it in a meeting with Darren, he said, “Oh, we’re not doing that anymore!” The song was 37 seconds, but it seemed like it took an hour to play through — I was very nervous. I wanted to give a sense of the character, tell a little bit of a story, and let the audience know that Carrie was never going to take herself too seriously. Prop people are always going out of their way to make the water warm, but there’s not a lot they can typically do to control it when you’re working on the street. Parker:   Someone was throwing buckets of water at me. I wore makeup in the opening that I didn’t wear in the show, and I don’t think she ever wore that hairstyle, either, so it felt like this sort of lifted thing that existed on its own. I remember driving around L.A.