August 20, 2024 • 57 mins
Brian sits down with the divine Da’Vine Joy Randolph to discuss feeling cool at theater camp, working with greats like Robin Williams and Eddie Murphy, and the whirlwind that comes with major award nominations.
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Speaker 1 (00:05):
Hi. My name is Avine Joy Randolph, and I'm an actress.
Speaker 2 (00:15):
Hi everybody, how's it going. I am so glad to
have you here. You are off the beat with me,
your host, Brian Baumgartner. I'm so excited for my guest today,
both for you and for me, because we get to
learn today about drum roll please, Davine Joy Randolph. Davine,
(00:42):
she is a phenomenal actor and truly a legend being
made here right before our eyes. You know her, of
course from the Holdovers Only Murders in the Building. Dolomite
is my name. Empire, people of Earth, this is us
and much much more. We all need to be paying
attention because she has done, is doing, and will certainly
(01:05):
continue to do great, great things. In fact, I believe
she is on her way to the coveted title egot.
You know what that is, Emmy Grammy Oscar Tony. Hear
me out. She's already got the Oscar for the Holdovers
that's in the bag at this moment. She is an
(01:26):
Emmy nominee for her Outstanding Guest Actress performance in Only
Murders in the Building. So we're gonna know about the
e here very shortly. She almost got a t a
tony back in twenty twelve when she was nominated for
her very first Broadway performance in Ghost the Musical, So
(01:48):
next time she's she'll probably win. And then this is
the clincher. She is a trained opera singer and a
musical theater major, so she could very very easily down
a track of music and steal the deal with that Grammy.
I'm telling you this is gonna happen. So, ladies and
gentlemen of Off the Beat, for your consideration, here is
(02:12):
Davine Joy Randolph, Bubble and Squeak. I love it.
Speaker 1 (02:22):
Bubble and Squeak, gonna Bubble and Squeaker cook get every
mole lift over from the night before.
Speaker 2 (02:41):
What's up, Davine, Hey, how's it going?
Speaker 1 (02:45):
How are you?
Speaker 2 (02:46):
I'm good? How are you doing?
Speaker 1 (02:48):
I'm doing fantastic. I'm so happy to be here.
Speaker 2 (02:52):
Well, I'm happy that you're here as well. It's been
a hell of a year for you.
Speaker 1 (02:57):
Thank you.
Speaker 2 (02:58):
I mean yeah, you feel good.
Speaker 1 (03:02):
You feel good, and I'm trying to catch up on
my rest. So I've been having a good summer.
Speaker 2 (03:09):
It's been good resting the summer. Where do you go
to rest?
Speaker 1 (03:13):
I'm never home, So sometimes it's just being home, to
be honest with you, because I'm always traveling every which away. Yeah,
but I'm trying to think of LA spots that feel
good for rest. Have you ever been to Tarranna and
Palos Verna?
Speaker 2 (03:30):
Oh yeah, yeah, you're very fancy, very fancy.
Speaker 1 (03:36):
Yeah. Sometimes I remember when I used to book the
big ones for me that I was like, oh my god,
I booked it, or like write that weekend that you
got to wait to find out if you got the job. Yes,
I would take myself there and to like woo song,
try not to think about it too much, treat yourself between. So, yeah,
(03:57):
I love Tearraning. That's my little get a. I like
it because it's it's a way, but it's not like
it's not a full committing of going to like oh
High or Springs right drive forty five minutes.
Speaker 2 (04:11):
Yes there, but depending on where you live, it feels
like another world. Yeah, sure, which is what I love. Yes. Yeah, well,
full disclosure, I moved out of LA, so I've been
a place like that all the time.
Speaker 1 (04:25):
Now, what are you in California state? Still?
Speaker 2 (04:29):
I am still in the state of California.
Speaker 1 (04:32):
Isn't California. Amazing. Yes, there's so many areas. It's beast.
I'm a fan of California. I'm into it.
Speaker 2 (04:41):
Well, yeah, and I know your East coast East coast based.
How long have you officially been a Californian? I guess
that's how you'd say it.
Speaker 1 (04:53):
Oh, that's tricky, right, when you come here for work.
That's tricky to right. That doesn't spot of when I would.
Speaker 2 (05:00):
Say forty years.
Speaker 1 (05:03):
Yeah, sure, forty years been in years. I first came
here for a pilot in twenty fifteen, I think. Okay,
But honestly, I've never I've only done two projects in LA.
So that may give you a bit of an idea
of just how much I am never in Los Angeles. Yeah,
(05:26):
I've only in the ten years that I've been doing this.
I did a movie with Eddie Murphy, and then I
did a TV show last summer, The Idol, that filmed
in LA. That's it here. That's why I say like
coming back here feels like a vacation.
Speaker 2 (05:39):
I get it. You know, I worked for a long
time there, but yeah, a lot most things are gone now,
that's for sure. But I do want to talk about
your time growing up. I know that you grew up
in Philly, in or around Philly as a kid, and
I read you went to Interlock In. Now how old
(06:01):
were you when you started that?
Speaker 1 (06:03):
That was my junior year of high school, the summer
of my junior year of high school.
Speaker 2 (06:06):
Oh my gosh, I'm wondering if our stories are exactly
the same. So was that transformative for you?
Speaker 1 (06:13):
Absolutely? But everyone says that went there everyone, but you know,
it was so great. It really what I loved most
about it. It fortified my love and like reverence and
commitment and devotion to being an artist. Yes, like right,
like that was I think that was the greatest. It
(06:35):
gave me so many gifts, but I think that would
be the greatest gift. That place gave me that sense
of like the reverence or how lucky and blessed and
special we are to be artists and like refect it
and be disciplined and do the work, and oh my god,
I love that place.
Speaker 2 (06:55):
See what I would say to you is exactly the same.
I didn't go to Interlock and so it was Northwestern
Institute of the Arts. I think that's what it was
called at Northwestern University. I was a cherub. You were
a cherub, which is weird. That's like a chubby baby,
I think, but that's what it was like, the Cherub program.
And so for me how I always describe because I
(07:18):
started out in the theater and we'll talk about that too,
but I think prior to that, it was a hobby, right,
It was an activity. It was something that I did,
and I had fairly good instincts, and I was loud
and could like command a presence. But it was that
time there where I was like, oh, this is like
(07:42):
oh I get oh like creating a character and oh
like this is the hard work that you put in
and voice and movement and all those things. So was
that it for you too? Was it like, oh, I
want to do this but you were music maybe right?
Speaker 1 (07:59):
Yeah. I was a major and I was coming from
the city. To be really honest, I hadn't been I
went to prep schools like in the suburbs and stuff
like that, but I had never been around that much
like greenery and nature. So I actually got sick that
I had like really bad sinuses and allergies issues and
I ended up losing my voice. So it was even
(08:20):
more deeper and like meta and introspective. And all because
I literally couldn't talk, so I'm literally like with my
thoughts all day in this beautiful manager. It was it
was deep. Yeah, that reverence of the arts, being of
the arts and just how special it is, and like
I would sit in on the musical theater classes or
(08:42):
watch the plays with the theater kids, and I remember
being like I kind of liked that too a little bit,
but I remember just being like, Wow, I feel so
lucky and we are so cool. It was like, I
don't know, I guess it's like in our world, right,
it'd be like band camp being cool, Like, wow, it's
so cool to be artists. Everyone that goes there is.
Speaker 2 (09:04):
Like, Yeah, you go to Temple and you're studying classical vocals.
That's singing, right, and an opera. Now, at one point
you switched to musical theater. Now what happens there? What's
the what's the process behind that decision.
Speaker 1 (09:25):
To musical theater? Well, I graduated from Yale at that point, and.
Speaker 2 (09:32):
So this was after you went to Yale for acting
for yeah no, but before that, so where do you
change from like singing and an opera?
Speaker 1 (09:43):
Yeah? Yeah, yeah? So no, I mean, well, of a
lack of better word. I got kicked out because I
think it was because when I don't.
Speaker 2 (09:53):
Thank you for your honesty, I appreciate that.
Speaker 1 (09:56):
So no, I think I found that this was a
thing that occurs when institutions don't truly have a musical
theater department. So that time, Temple did not have a
musical theater department, but their theater department would do musicals
from time to time, like maybe like one a year
or whatever, so I guess what was happening, which was
(10:17):
actually not the case for me. A lot of times
singers and actors would flee, I guess, be changing their
major and being indecisive and going from one to the other.
So they all each department had their feelings about that,
and was not the case for me. At that point.
I was fully committed due to interlock in, which introduced
me to classical arts. Right like, I'm all in now,
(10:39):
I'm like, oh, I'm an opera singer. This is what
we're doing. I'm about to travel the world. This is great,
And so we were preparing for Aida and the opera
and I just remember feeling like disconnected or like it
just feeling very like an old, antiquated thing you know,
I was like, well, my parents and family or friends
are coming see this. I wanted to be something, but
(11:01):
they can connect to It's like Shakespeare right, like you can.
I want them to know what's going on. And the
only way that they're gonna know and be able to
follow this and not just be like snoozefest opera is
if I do my job right of like understanding what
I'm saying so that that can convey. And so I
ended up working with one of the acting teachers basically
(11:23):
as like a coach, to work with me on the
scenes that I was singing so that it could be conveyed.
And so then the music department found out. I mean
I wasn't trying to keep it a secret, but they
found out, and so they kicked me out. And so
it was my mom who was like, you need to
go across the street to the theater department because a
(11:43):
logically most of your credits can transfer and be you're
gonna graduate on time, so you just need to get
that diploma and we'll figure it out after there. And
so that is literally like literally crying, kicking, and screaming
going to the theater department. It was never something that I
wanted to do. I thought the theater kids were weird,
(12:06):
and then yeah, and so then it just so happened
that they had a musical. I think it was Into
the Woods, so like I got that experience, and then
the musical later happened just because post graduating, they were like, oh,
it'll be a great job that you can do. Is
like your hustle job essentially a swing right like the
(12:27):
understudies understudy. That's how they pitched it to me. But
then when I auditioned to this day, I don't know
if that was actually what it was because I was
nannying at the time. Loved my job, I had great kids.
It was dream job.
Speaker 2 (12:41):
Are you talking about ghost? Is that what you're doing?
Speaker 1 (12:43):
So it ghost? Yeah, so it ghost. That was a
fluke they were saying it. I was nannying, and they
didn't really love that I was nannying, even though I
was an afternoon nanny, so you had me from you know,
the morning to like one thirty to audition and stuff
like that. But they didn't. My team at the TI
in love that I had that job, and they wanted
me just like you know, be broke and be a
(13:04):
full artist available all day for them. They didn't like
those time restraints, and so they were like, oh, yeah,
this will just be like a hustle, like your side
hustle job, while we find you the job. To this day,
I still don't know if that was exactly the case,
but I auditioned and ended up getting one of the
(13:24):
leads of it and doing it, but then doing it
first on the West End because the lady who was
doing it there had got hurt, and so instead of
them going for another one of their understudies in London,
they decided, well, let's just get it started early, and
so I went and did it on the West End
for several months, and then I came and did it.
Speaker 2 (13:47):
I'm Broadwick Tony nomination for your first Pray and.
Speaker 1 (13:52):
I was sick voice. That was another time when I
lost my voice. I was so I had like forty
percent of my I could not believe that nomination because
I literally had forty percent vocal production and I was
literally performing on less than half of these, so that
blew me away.
Speaker 2 (14:11):
Here's the thing. I'm always performing at less than half
of a voice when I'm singing, so I know the feelings.
Oh my god, very well.
Speaker 1 (14:19):
Get it?
Speaker 2 (14:20):
But but to back up half a second, you end
up at Yale School of Drama, and at that point
are you committed full on to a life in the theater.
Speaker 1 (14:30):
No, No, it was just for me. It was just
like because timeline wise, right, it was only a year
that I began to branch into acting in my undergrad
and so I just knew. It was the dean of
the school that was like, you're good, I'm going to
apply you to these graduate acting programs. I didn't even
(14:50):
know about this stuff, so he applied me. I did
the interviews and the you know, auditions and whatnot, and
for me, it was just like I knew because it
was this major change of now no longer in my
mind never singing again that I was like, whoa, I
have to figure out what my life is because when
I was ready to be on this one track, it
(15:12):
quickly changed. And so that then was where I think
while in graduate school, I was figuring it out and like, Okay,
is this the life I want? Do we like? This?
Is this something that we're into? But again, I think
I did feel a bit of comfort or familiarity in
regards to like again, the devotion, the reverence, the pedigree,
(15:36):
the studying, the classical training as it were, that was
something that I was like, Oh, I can geek out
over this a little bit. And then too, I just
love people and how people take and work, and so
I really enjoyed like certain classes of like text analysis
and stuff like that of really getting into the like
(15:57):
I love getting into the psychology of my care. That's
really where I get a lot of mileage. And so yeah,
I think like while I was going through school in
those three years, I was kind of like not warming
up to it, but like it was a whole new world. Yeah,
so I was like, Okay, let's see what this is about.
Speaker 2 (16:20):
Ghost. So did you say you did that seven months
on the West End?
Speaker 1 (16:25):
No? I think at the end of it all it
was maybe like four or five months it were. Yeah,
I think it was like four or five months.
Speaker 2 (16:32):
Yeah, and then on in New York. So how long total?
Speaker 1 (16:36):
So total, I think it would have been about a
year and a half. Oh, my year and a half. Yeah, Now,
how was.
Speaker 2 (16:44):
That for you? So you're out of school, you haven't
worked on a character for an extended period of time.
Speaker 1 (16:52):
I had graduated in June. I booked it in August
or no, November. It was it's November because it was Thanksgiving,
so I was I remember I booked it and I
was like, can I be home for Thanksgiving? Because it
was like my first job, you know what I mean,
Like I'm not used to like working on holidays, And
I was like, can I please be with my family.
Speaker 2 (17:12):
I've got Eagles tickets back in Philly. I need to
get back home.
Speaker 1 (17:16):
Yeah, exactly, And so literally the day after Thanksgiving they
put me on a plane and then literally within days
I had to get off book And sorry to those people,
but in paid performances was my rehearsals?
Speaker 2 (17:35):
Crazy?
Speaker 1 (17:36):
I hope they discounted those people, because that's crazy.
Speaker 2 (17:40):
Did you did you enjoy it? I loved it the
whole time.
Speaker 1 (17:45):
I loved it. The West End was my favorite. I
love it. The way that they treat theater artists is
how they treat movie stars. Yeah, and I think it's
almost interchangeable too, because right like, you can go and
see it play and you're like, yo, is that Hella Mirrin?
Like British movie stars who will happily or Olivia Coleman
(18:06):
happily pop into a play. So for them, there's no
real delineation how it is for us right for them,
it's your artists, you all one big things. I had
never that was my first experience of really being treated
so well in that way that I was like, oh,
I never want to leave and Broadway it was just
(18:31):
it was harder, and so it was a more aggressive schedule.
And then there's the summer schedule. In the holiday schedule,
you're already doing eight shows a week, and so now
it's like twelve shows a week, so it's just like
a burnerout. And then on top of it, you're being
six So it felt more of like survival and maintenance
and just like get through the show. Let's get through
(18:51):
this show, and let's see what tomorrow brings. So it
was intense. It was really really intense. I think it's
the hardest thing I've ever done. Musicals, even more so
than a play. That is a real even I've done
movie musicals now and it's not even at the same voltage,
I guess is the.
Speaker 2 (19:11):
Right word, because of the stamina it takes.
Speaker 1 (19:13):
The Yeah, it's constantly moving, there's no breaks. Once the
curtain goes up, it's on for the next two and
a half to three hours, depending on your musical musicals
are long?
Speaker 2 (19:25):
Yeah? When you were done, yeah, were you like? I
want to work in film and television.
Speaker 1 (19:31):
So what was funny was we got maybe three weeks
notice that the show was closing, and I remember saying
to my team at the time, I was like, I
think that I want to dry out this pilot season thing.
I remember, I didn't know anything about it, right, and
I was like, and I would like to do a
(19:54):
play and a TV show before I leave New York.
I was like, I want to be able check everything
off the list, and I want to try that pilot thing.
And they were like okay. And I remember I had
five auditions in one week and I ended up booking
a TV show I think it was a Good Wife.
And I booked Robin Williams's last movie. And I originated
(20:20):
a new role in a new play at the Atlantic
Theater Company, and that literally took me up to at
that time January, which right before when pilot season was
more formal timing in that regard. Then the play ended
literally January second. I ended up booking, well, not booking,
but getting auditioning or final call back or whatever you
(20:42):
want to call it for a pilot that brought me
out here. It ends up not going through, and then
I stayed for a little bit and then it went
off on the races for me.
Speaker 2 (21:11):
I got to ask you about working with Robin on
The Angriest Man, one of his last films. So I
had the opportunity to work with him a few times
and loved every bit of it. Tell me about your
experience working with him on that, and.
Speaker 1 (21:27):
It was perfect. It was perfect. It happened at the
perfect time in my life, and I hope that it
was equally enjoyable for him at that time in his life.
I had just well, yeah, you know, I've I had
just graduated, I hadn't even been a year out. That
was still in the summer. I remember it was hot.
But anyways, I remember I could not believe how much
(21:54):
time he gave me and how much he talked to me.
And in some cases the other actors would joke and
be like, you're talking to her more than you talk
to us. And I was the youngest person on the set,
and I remember we just had the most amazing conversations
in which I remember he told me, he was like,
you know, you can do this whole TV and film thing.
(22:15):
I think you should do it. You're gifted, blah blah blah.
And I remember him distinctly saying to me like, think
about San Francisco though, like I remember, he was like
it was like it was not He was like, I
don't know, He's like, you gotta hear a good person.
You have a good heart. I don't know about la.
He was like, think about San frian and he was like,
I love it there and it's so peaceful for me.
(22:37):
But we just we had a ball. That man is
a wonder And I don't know about you, but I
could almost feel his brain thinking when he was silent,
I could like I could almost like a sneeze about
to happen. Does that make sense?
Speaker 2 (22:58):
It does make sense that I.
Speaker 1 (22:59):
Could feel like he's about to say something and I
don't even have to look at him. And I remember
describing it before to a friend like how the like
New York Penin station. I don't know if other train
stations have this, but that ticker thing, that's how it
felt to me being near him, of like his brain,
like I could feel like there was a buzz within
(23:20):
him that I could tell. I was like, it really
feels like his brain and his thoughts truly moved at
that rate, and it almost was like, for the lack
of a better word, Torett, you know what I mean,
like it just all came out. But it was so so,
(23:41):
so amazing, And then you just didn't have these quiet,
super intimate moments with him, and You're like, what the
only other person that I've ever met, first of all,
no one liked that, but of someone who can be
larger than life, and then very very quiet and intimate
was Eddie, but still nothing like that. That man was
(24:03):
so giving and so kind and I couldn't believe it.
He paid for my sad card because that was my
first Oh wow, So in order for me to have
done the movie, you know, I was gonna have to
pay broke. I mean, well, I had the Broadway show,
but I wasn't making that much money where I would
have to basically pay in order to get in the movie.
(24:24):
And I was just like, it was an amazing, amazing experience.
Speaker 2 (24:30):
Wow. Yeah. When I worked with him, he was a
person and I worked with a lot of kind, very kind,
generous people before a sense, but there was a way
that he interacted on the set with the crew yep,
(24:52):
that I attempt to do a bad impersonation of on
every set that I worked with. And there was an
energy from him that was like, this is such a
cliche phrase, but like what we're doing is and this
is not rocket science, Like let's have a good time,
let's enjoy each other. And the phrase that I always
(25:13):
say to people is it takes just as much energy
to be nice as it does to be an asshole.
And he always chose nice. And there was a it
was very clear just in people's faces of the crew
that it was like we were going to have a
good day, but we're just going to have a good
(25:33):
day today. And I attempt to do the same thing.
Sometimes I do it a little snark here, I'll be honest,
that's just but snarkier in like a play snarky way.
He was just always That's what I know. I learned
that from him. That was the gift that he gave me.
He did not pay for my sad card, but he
gave me. He gave me that you worked with my pal,
(25:57):
Oscar Nunez. In fact, you've worked with a lot of
my old pals, which is starting to hurt my feelings.
We have are you okay after working with him? Are
you Are you all right? Are you scarred in any way?
Are you fine?
Speaker 1 (26:13):
I've since healed. I have definitely.
Speaker 2 (26:16):
Yeah, Well you worked on People of Earth? What else
did you work on with them?
Speaker 1 (26:20):
Lost City? And we were like low key each other's
love interests a bit.
Speaker 2 (26:25):
In Lost City.
Speaker 1 (26:27):
Yeah, he plays like this rogue crazy man that's like
he flies exotic animals all over the world. And I'm like,
on this track to find my client. I play like
a publicist. Look is this author? And so I'm on
this journey because she's gotten kidnapped. And along the way
(26:50):
I meet him and he's like, you can get on
my rigged plane. So I'm sitting there with animals and
stuff and he's like, I'm in love. It's the whole thing. Yeah,
I was gonna do it twice. Wow, he's brain. He's
another one the things that he comes up. I'm like,
where did this even come from?
Speaker 2 (27:10):
I'll tell you what of all of the people that
I worked with on the office, Because you get you know,
you get the question like who is your favorite or
who was and it's like, oh, yeah, I'm gonna answer
that question. But I do answer this off camera. He's
the funniest is he makes me laugh. He makes me
laugh harder than anybody else.
Speaker 1 (27:30):
Yeah, I actually find that it's more it's the people
off camera that can sell it the most. For him,
it's like he'll be quiet and then he'll be like no, no, no, no,
it'll just literally just roll out of his mouth and
you're like.
Speaker 2 (27:43):
What, where did that? I know, I know he's insane.
He's like he has a.
Speaker 1 (27:50):
Whole story, he's in a whole world, and you think
you're in the same scene with him, and then he'll
say something and you're like, I gotta catch up with you. Yeah,
I don't know where you're at. I'm going to get there,
give me two seconds. He's a genius. Yeah, I've never wow.
(28:11):
There's never anytime the camera's rolling or let's try another option.
He never repeats anything. It's always something new, and it's
you're just like, whoa where is this coming from?
Speaker 2 (28:24):
Speaking of people who are pretty damn good at improvising.
I have heard that you have said the role and
movie that catapulted you. I don't even know if you
use that word, but that's how I'm interpreting it. Dolomite
is my name with Eddie Murphy. Why did that film
feel so special to you?
Speaker 1 (28:45):
For a couple of reasons. I think that was my
first Well, that was for sure my first big movie.
In regards to the cast, it was my first. Yeah,
I think that was my first. Like if we want
to call like a studio movie, okay, first, well, it
wasn't my first movie with a big star, because I
did do it with Robin. But like with the Robert Williams.
Speaker 2 (29:08):
Movie, I'm Gonna Oscar, you said that by the way,
Oscar you said that too.
Speaker 1 (29:13):
Get at that point. But so it was that and
getting to work with someone of that stature, but that
it was a bigger size role and I had more
to be responsible for. I think also too, there was
something just very special about it. It was very pared
for and loved on. And at that time I believe
(29:37):
it had only been a year or two. I could
be wrong. Eddie's brother had passed and that was a
passion project they had had, and that I believe. Actually
Eddie wanted his brother to play the lead, and Eddie,
I think was gonna end up playing Wesley Snyder's character.
I could be wrong. So there was a lot of
(29:58):
like care and around it. We had phenomenal writers on it.
It was really taken care of very well, and Eddie
was very kind to me as well. And even when
we then did began press, he made it a point
that he was like, whatever press I do, I want
(30:19):
her to do too, So what could have potentially you
know how that stuff goes, Especially when it's ensemble cast.
Sometimes it's like number one and number two in the
call sheet, and those are the people that go out
and do the press. Because he did that, which interestingly enough,
was good practice for me for last year, because he
took me on this like tour with him and just
(30:44):
that whole experience, it was like great media training for
me and all those things. I never had that before.
I was always you know, oh I'm in this TV show,
or I did this independent movie, you know, and then
the movie got on or it came out. I never
had like a post life press life experience before. So
I think in many ways it kind of endoctored me
(31:06):
into this industry by having that experience, even just for myself.
Speaker 2 (31:12):
That's awesome. Yeah, that makes a ton of sense. And
you did get award buzz around the role. You were
nominated for an NAACP Image Award. I can imagine that
feels like a great gift for him.
Speaker 1 (31:27):
Yeah, I couldn't even believe it the whole thing. Netflix
was very kind and they helped me find the publicist
that I have now, Like I felt ushered in. Does
that make sense? Like everything. I was very gentle and
it was the best way that I would hope any
other young actress could experience of getting ushered into the
(31:50):
business in a really lovely way. And I just was
quickly exposed, you know, to this world and what it
could be, especially because I would do always press with him,
so then being around him and all those super fans
and everything that he has to deal with, it was
like really eye opening that I was like, oh wow,
(32:10):
it could for some people. It looks like this.
Speaker 2 (32:14):
Also, Yeah, you know, he is obviously well one of
the best comedians to ever do it.
Speaker 1 (32:20):
Yeah.
Speaker 2 (32:21):
Another buddy of mine was in that film, Craig Robinson. Yes,
on a stand up stage, there are not many funnier
than him. If you've ever had the opportunity to see him,
he is unbelievable. Yeah. You go on to work on
Jordan Peele's The Last Og with some other comedians Tracy Morgan,
Tiffany Cedric the entertainer. Here's my question. Yeah, right, you
(32:43):
and I have a similar path. We came from drama
then eventually made our way into doing some sitcoms and
comedic acting roles. Yeah, do you consider yourself a comedian?
Speaker 1 (32:59):
No? And oh what's interesting when I when we did
we did showcase, we did like a showcase when we
graduated from Yale, and I remember thinking like, I didn't
even think LA was an option, And it was ironic
because I got more interest in LA and in TV
(33:20):
than I did in New York, which I was like,
what the heck, Like I did three year, what does
this even mean? But I always get asked that question,
and if I auditioned for someone for the first time,
it's always like, oh, you're a comedian or oh are
you one of the U TV kids or what you
know I like, And.
Speaker 2 (33:38):
I'm like, now not, yeah, see, I'm the same. I'm
an actor and sometimes maybe even more often than others now,
I do comedic roles, but I'm not a comedian. I
don't view myself in that way. And also I love
that you said that no.
Speaker 1 (33:54):
Because also to like, if you haven't gathered already I'm
big on like technique and training and so even like
with a writing like, yeah, I could write something, but
I would never call myself a writer, do you know
what I mean? So I kind of see it in
the same vein like the skill set and what is
required and then writing their jokes and touring it on
the road and all. I don't do that. So I
(34:15):
would feel disingenuous almost to be like, yeah, I'm a comedian,
Like what I don't what are you?
Speaker 2 (34:22):
Yeah? Exactly, I'm not doing that. I know. It goes
both ways, right On the one hand, it's like there
is a connotation of like, oh, you're just naturally funny.
There's not the there's not a work there, right, And
on the other hand, I'm like, yeah, I don't want
to do what they do. I have no desire going
to around the laugh factories, Like I can't do that.
Speaker 1 (34:45):
Yeah.
Speaker 2 (34:48):
Do you do you still sing?
Speaker 1 (34:50):
Yeah? Yeah I do?
Speaker 2 (34:52):
Do you want to do more musical theater at some point?
Speaker 1 (34:58):
Is tough? Yeah? I think I.
Speaker 2 (35:03):
Did the ho a week thing too, by the way,
not singing so much. But it's no, it's no joke, right,
it is no joke.
Speaker 1 (35:11):
I always say never say never, But I do think
it would have to be something that I am so
passionate about and so in love with to give of
my time and my energy to that, because also it's
longer runs. How only is it more performances? Is actually
(35:33):
when you look at it. I remember when I first
started working in TV and film, I was like, wait
a minute, we're done. Okay, it's done. We don't have
to work on the weekends. What do you mean? Floored me?
And it's like triple sometimes ten times the amount of money.
So I was like, wait what. But I do think
(35:53):
an all seriousness, theater is a very beautiful and a
sacred art form. So I do think that will I'm
I will never turn my back on theater at all.
And I do think and I'm grateful that I have
that in my toolbox. And I just think it's you know,
something that I really love, or you know, something that's
a limited run or a director I've always wanted to
(36:16):
work with, or a role I've always wanted to portray.
It's actually in my mind less of a Broadway thing. Ironically,
if it's like, oh I could work the Geffen or
what you know, I mean whatever kind of like a house,
a theater that's well respected with a great director. It's
not even for me of like, oh I need to
go back on Broadway and be in the machine of
(36:37):
that necessarily, But if I did go back into that machine,
it would definitely have to be worth it, because it's
a big commitment, and if you're not from New York,
you're basically paying them to let you go do a play.
Speaker 2 (36:49):
Yeah. I have a friend who has a number, and
that's how expensive it was for her to do a play.
Speaker 1 (36:58):
Yeah, it's really sick. It's a whole another beast. And
the only reason why I left New York because I
love New York was that even when I was auditioning
for New York movies or New York TV shows that
take places in New York, the whole cruise from New York,
I was realizing, oh, wait, the decisions are still being
(37:18):
made in LA And so originally it was just like, oh,
let me go to like the mecca where it happens.
I'll book something and then I'll come back. But then
it just started moving and I was like, Oh, I
got some beer.
Speaker 2 (37:51):
I gotta ask you about the holdovers. You blew me
and everybody else away with your performance that thank you
and the Oscar. The film was up for so many
different awards. You got to work with an amazing cast,
(38:11):
an amazing director, and artistic mind. I'm going to try
to ask you some questions that hopefully you haven't answered
a thousand times. Were you surprised by the attention that
the movie ended up getting or did you feel that
you had something special with the film?
Speaker 1 (38:34):
I would say yes and no. So walking into it right,
like when your agent calls you and you're like, hey,
so there's an Alexander Payne movie. You're like, oh, okay, So,
like there's a possible, there's a flight chance, this is
gonna be good, right, you know what I mean. There's
gonna at least get eyes on it, which was at
that point a big deal for me because I was
(38:55):
working and I was working consistently, but I had yet
to be a part of it is like a critically
acclaimed thing or a phenom like yours. I remember even
with People of Earth. I remember Greg was like, you know,
well it took like what was it? Three was it
for you guys? Three seasons before? Like really like yeah too?
And so I remember my brain right, I'm just being honest. Actually, actor,
(39:19):
I was like, oh, yeah, it's a guy from the
office people have about to blow up, but huge and
so to a certain degree, yeah, right, Like if we're
really honest, you when you know you are working with
a director that has a certain track record and it's
so beloved and for many obvious reasons because of his gift,
(39:42):
When you know that your co star is Paul Giamatti,
you're like this did I think like, oh, yeah, it's
gonna get an Oscar No. But at least that I
was like, this could be something critically acclaimed because also
at that point I realized the difference between a hit
something that's critically acclaimed, Like there's there's sometimes a different
(40:04):
uned a difference. There's like the commercial value of something,
and then there's like, well the critics loved it, and
so I thought, for sure, this will probably maybe intrigue
from a critical point of view, But the life that
it took on I never could have imagined. Also, timeline wise,
(40:28):
we were in the middle of a strike and literally
the strike and the only reason I know this is
because of the premier day. The strike ended November eighth,
and the movie came out November tenth, so I will
never forget. I was here in La going through my
closes and clothes, like you know, you're a bored actor,
(40:49):
so you're like, go through my closset. Let me actually
claim and organize my house. Got nothing else to do.
And I remember getting a call saying the strike was over.
Literally thirty minutes later, my phone was ringing off the
hook and it did not stop until March whatever the
(41:10):
day is after the Oscars. So it literally was a whirlwind.
And I did not foresee that that was going to
have such traction because before you know, it was like
we remember they were like, Oh, we're just so lucky
that we have such an amazing director speaking on our
behalf right, because at this point we would have already
(41:30):
missed Tell your Ride and Tiff. He was doing those
by himself, and he was so guind He would send
us text messages and be like they really liked it,
and we'd be like, aha, everything went over. Well, they
really enjoyed your part in this part, and so we
were so removed. But unbeknownst I guess it was like
(41:51):
slowly picking up steam. In the moment that the strike
was over, it was full speed of hint.
Speaker 2 (41:58):
Yeah, were you and meately attracted to the role of
Mary or she grow on you?
Speaker 1 (42:05):
She grew on me because of how which I thought
was really smart, how Alexander positioned or propositioned her to me.
It wasn't a big cell. It was very He was
very casual of like, there's this role. I think you'd
be grateful it. I saw you in Dola Mine and
I thought, you know, I saw things that I feel
(42:27):
as though you could bring this role to life. Give
it a read. I remember it was over. It was
right before Thanksgiving weekend and he was like, and I'll
give you a call on Tuesday, and I was like, okay.
So it was real casual and nice and easy, and
there was some parts that was like intentionally left open,
(42:48):
and he expressed of like the writer, and I want
to figure this out with you and how we see
her coming to life and what she say this? Would
she not say that? What would this look like? So
it was this nice and easy approach. But then we
shot in January, so it went really fast. So it
was like the moment I said yes, I got cigarettes
(43:10):
delivered to me and I'm working over dialect and we're
going over tech stuff. And what are we wearing. So
once I said yes, it moved very quickly leading up
to when we began filming because we filmed right after
New Year's Day.
Speaker 2 (43:27):
Right, it's like you're looking at my notes here because
you kind of touched on this a little bit. But
I'm interested in your perspective. So, right before all this
holdover buzz happened, you were in a show called The Idol.
Speaker 1 (43:43):
Yeah.
Speaker 2 (43:44):
I had a lot of great people involved, Sam Levinson, Yes,
the Weekend. The critics were not kind, right, The Idol.
It's currently at nineteen percent on Rotten Tomatoes, which I
don't know if you know this or not. That's not
great now? Was it strange or is it strange or
(44:04):
somewhat confusing that at the same moment in time you've
got two projects going, one that everyone is loving and
the other. Although the La Times was very nice to
you in an article I read today, well.
Speaker 1 (44:21):
That don't have to say that was an interesting thing, Okay,
interesting experience, right, Like I gave my best right and
I at the same time had a really great relationship
with Sam and we were able to He gave me
a lot of creative leeway that we really collaborated on
(44:42):
my characters. So who Destiny became I actually felt great about, okay,
I felt as though what I contributed was contributed was decent,
and what was an interesting experience for me was though
for a lot like scandalous salacious reasons, they didn't enjoy it.
(45:05):
I had an interesting experience because they were like, but
Destiny blah blah blah blah blah blah blah blah blah.
Speaker 2 (45:10):
Right, so that's fair.
Speaker 1 (45:12):
Yeah, So for me, it's something that I would definitely
not hide or try to make disappear because I actually
am really stand by and am really down for the
work that I created, and also too, to be honest,
like it was nice to do something different. I always
(45:34):
want to continue to reinvent myself or keep people guessing.
And it may change, I don't know why, might get
older and be like I might be okay with this,
But for me right now, I love the idea that
people can't really pigeonhole me just yet or be like, oh, yeah,
she's that type. I feel like even with a comedy,
(45:57):
like I do different types of things intentionally and I
think now too, yes, there's more opportunity, but I think
it also requires me to have more discernment of what
roles I choose. I'm really specific and strategic about it.
So in a way, I guess you could say it
was like the best in a not so great situation
(46:20):
that I could have had. I think for sure, out
of all the other characters, I got lucky in that
regard that if they did say something nice, it was
usually my character. And I will say that everyone worked
really hard and sometimes people just.
Speaker 2 (46:34):
Don't like it, you know what I mean.
Speaker 1 (46:36):
But I cannot not give credit where credit is due
to everyone involved. They were committed to it, and this
is what the story they wanted to tell, and yeah,
it just didn't hit.
Speaker 2 (46:48):
I'm not even talking about one being good or bad
or the other. I more mean psychologically for you. I mean,
it's the whole, Like is all press good press? Right?
Like I mean, you're you're having people like loving this
one thing that you're doing and not so much a
fan to be kind of this other thing, and you're
getting it all at sort of the same moment. That's
(47:12):
more what I'm saying.
Speaker 3 (47:12):
Yeah, you're right because I remember because during well so,
I was in a way pseudo doing press for it
as well, and because it wasn't going so great.
Speaker 1 (47:23):
Halfway through, I was the only one that was doing press.
No one else was doing press. Idle, no one did
the press unbeknowns because people, you know, they just made
a decision of oh, it's for whatever reason it's not
being received. Well, I don't want to give more time
to that. But you're right because that was during the strike.
I remember because it was a whole lot of phoners.
(47:44):
So at that time it was too soon actually timeline wise, Okay,
I did not know yet that holdovers was becoming a thing,
so I would say, but yes, one definitely went one
way and that then ended and then it then picked
(48:05):
up for the other. But yeah, in no way, I
guess it is to a certain degree. Like I said,
it was the best in a not so great situation,
right in regards of like all press, yeah can be
good press. That I to be clear, I got lucky
because if they did say something nice, it was about
my characters. So even though it wasn't so great, right,
(48:25):
I was able to make the best of that moment
and then boom boom the next thing.
Speaker 2 (48:30):
Then being holders, you have another milestone this year, your
first Emmy nomination Outstanding guest Actress on Only Murders in
the Building Season four, coming out? Did you audition for
this show?
Speaker 1 (48:47):
I got a This is also why I think Dolamite
was the thing, because that like catapulted me or what
or at least open doors because Eddie's who he is
and because we countered on one another in our scenes.
There were several jobs last og was one of them
where you know, Tracy called and was like, I'm thinking
(49:11):
about potentially offering to her this role. What do you
think to Eddie? Eddie vouched for me. Then Steve Martin
was like, I really love dolo mine and it made
me think that you would be great for this. And
so Dolomine is a gift that keeps on giving. For sure,
that's awesome, But yeah, no, I didn't. It was during
the pandemic Jonathan Hoffman when Steve Martin began crafting this character,
(49:35):
and I remember thinking like, there's no way there were
going to be This is like peak pandemic where I
was like, no way, right, this one's not going to
get over the fence.
Speaker 2 (49:44):
And they did have a great time doing it.
Speaker 1 (49:48):
Oh, it's fantastic. One of my favorite jobs to do.
These guys are amazing. I mean I've never been on
anything before. I mean, you guys did how many seven? Eight?
How many seasons did you guys have?
Speaker 2 (50:00):
Well, ten years, nine seasons?
Speaker 1 (50:02):
Oh my gosh, so.
Speaker 2 (50:04):
You but I think you'd have to do like thirty
seasons because we did two hundred and something episodes.
Speaker 1 (50:12):
Yes, so real. Yeah, I've never This is for me,
the longest time I've been on I feel like your Guys'
show was like the last of the era of like
i mean, first of all, it was hugely successful. I
don't feel like shows go past. I feel like six
is the hurdle that they want to get across to
(50:33):
go to syndication, and then they just crap out.
Speaker 2 (50:35):
Yeah.
Speaker 1 (50:35):
So this is the longest that I've ever done of
a show. But it's so fantastic. These guys are legends
and they have such a child like zeel. I think
that's the key when I think about it, of like
legendary the people that I've worked with, and I'm sure
you can corroborate this, but it's like it's as if
(50:56):
it's their first gig, right, that this sense of like play, yes, yeah, exactly,
these guys, they have endless energy. Helena and I are like, okay,
I think we got it, and they're like, no, what
is it this way? And there's something fun about it too,
because it feels a little wad village. Yeah, it's like
(51:17):
physical comedy. It's just so much fun to see them
having a blast. It's also an amazing shooting schedule, which
is essentially nine to five or ten to six. I've
never been on a show like that before.
Speaker 2 (51:33):
And when you get legends that time for dinner. Yeah, yeah,
what are you talking about? Although you've got to shoot
nights some right, but when we.
Speaker 1 (51:46):
Do, it's usually towards the end. For whatever reason. They
usually save it for the end, and it's like in
one week and we just knock it out and then
it's done.
Speaker 2 (51:57):
You're a very very very fun person. But I mean no,
and that's not a butt. You're a very funny person.
And in this you play the straight person. Straight man.
The phrase is straight man. That's what do we call
it now? Right?
Speaker 1 (52:13):
I haven't heard it call it anything else. I don't
know of a new phrase for that, you.
Speaker 2 (52:18):
Know what I'm saying? Like, you play the straight man
to these two unbelievably, and as you mentioned physically gifted comedians.
Is that tough for you?
Speaker 1 (52:30):
It's actually it's nice. I like doing both. I like
when I'm playing those kind of roles and I like
when I'm the one that's the silly one.
Speaker 2 (52:38):
It's nice.
Speaker 1 (52:39):
I enjoy both. To me, it's kind of saying of
like comedy and drama. I like using all of those
different skill sets. And I like what I like about
when you're playing a straight man. It's finding the nuances,
oftentimes instill ill and minimalism and how impactful that can be,
(53:04):
you know what I mean. Yes, that's what ends up.
I'm always looking for what's the game, what's the right
And for me a lot of times it's how little
can I move?
Speaker 2 (53:16):
I love that.
Speaker 1 (53:17):
How simple can I be to make pack the biggest punch. Yeah, yeah,
it's nice. It's fun that way.
Speaker 2 (53:26):
Very smart. Good for you, very smart. Thank you. Oh.
By the way, there's there's some other newcomer on the
show too, right, Meryl. What's her name?
Speaker 1 (53:35):
Yeah, so she came in season three.
Speaker 2 (53:38):
Was a joke.
Speaker 1 (53:42):
We have had lots of really great people come in
and it's.
Speaker 2 (53:47):
Become like Amy Ryan, Yeah, I saw her. Paul Rudd.
Speaker 1 (53:53):
Yeah, so when they were like streep. I was like, Okay,
cut it out, guys, this is not funny. And I
literally was at a precedent for a holdover. It's like
an early President for holdovers. And because that season was
like a musical within the TV show, the composers was like,
(54:13):
oh my god, we can't wait for this year. We
can't wait to work with you. It's such a dream.
I cannot believe I'm writing a strong a song for MARYL. Street.
Speaker 2 (54:21):
And I was like what.
Speaker 1 (54:22):
And I immediately called John Hoffman and I was like,
figure it out. You didn't tell me, and I figured
it out, and you better figure out a way to
get me in there.
Speaker 2 (54:33):
Oh my gosh, good, what can you tell us about
season four? So Steve dies right right.
Speaker 1 (54:43):
So they're very secretive, though I will say if it
wasn't I'm a Marvel movie or something. But I will
say so the last season was a play within a
TV show, and this season will be another form of
media that's in this season.
Speaker 2 (55:01):
That's what they've allowed you to say.
Speaker 1 (55:03):
Yeah, because I don't know what people I don't know
what things they said, and movie or filmy Martin and
Martin Short's characters right for this season.
Speaker 2 (55:20):
Yep, all right, it's really helpful. All the outlets are
going to pick up that kid bit. Everyone that's gonna
they're gonna be all they're gonna be rushing to press
with that. Uh, Davin, thank you so much. Good luck
at them as I'll be watching for sure, and good
luck with the season. And I mean, really, honest to God,
(55:41):
with everything that you do, you're so unbelievably fun to watch.
And my conversation today, well, you're a good person too,
and you're super smart and thoughtful about your choices and
I respect the hell out of that.
Speaker 1 (55:56):
And you Thank you so much, Brian, I really appreciate that.
Speaker 2 (56:00):
Best of luck, all right, thank you, Davine. So great
to have you. Thank you so much for taking the time.
I know it has been a busy, busy ride for you.
(56:24):
Good luck at the Emmys next month. You've got my vote,
and then just do yourself a favorite. Take a break,
all right, listeners, go and watch her Emmy nominated performance
in Only Murders in the Building, and go hit that
subscribe button and make sure you come back here for
our next episode. We've got another award winner coming up next,
(56:49):
So come back next week. Off The Beat is host
did and executive produced by me Brian Baumgartner, alongside our
executive producer Lang Lee. Our senior producer is Diego Tapia.
Our producers are Emily Carr and seth Olansky, and our
(57:12):
talent producer is Ryan Papa Zachary. Our theme song Bubble
and Squeak, performed by the one and Only Breed Bretton
Hi. My name is Avine Joy Randolph, and I'm an actress.
Speaker 2 (00:15):
Hi everybody, how's it going. I am so glad to
have you here. You are off the beat with me,
your host, Brian Baumgartner. I'm so excited for my guest today,
both for you and for me, because we get to
learn today about drum roll please, Davine Joy Randolph. Davine,
(00:42):
she is a phenomenal actor and truly a legend being
made here right before our eyes. You know her, of
course from the Holdovers Only Murders in the Building. Dolomite
is my name. Empire, people of Earth, this is us
and much much more. We all need to be paying
attention because she has done, is doing, and will certainly
(01:05):
continue to do great, great things. In fact, I believe
she is on her way to the coveted title egot.
You know what that is, Emmy Grammy Oscar Tony. Hear
me out. She's already got the Oscar for the Holdovers
that's in the bag at this moment. She is an
(01:26):
Emmy nominee for her Outstanding Guest Actress performance in Only
Murders in the Building. So we're gonna know about the
e here very shortly. She almost got a t a
tony back in twenty twelve when she was nominated for
her very first Broadway performance in Ghost the Musical, So
(01:48):
next time she's she'll probably win. And then this is
the clincher. She is a trained opera singer and a
musical theater major, so she could very very easily down
a track of music and steal the deal with that Grammy.
I'm telling you this is gonna happen. So, ladies and
gentlemen of Off the Beat, for your consideration, here is
(02:12):
Davine Joy Randolph, Bubble and Squeak. I love it.
Speaker 1 (02:22):
Bubble and Squeak, gonna Bubble and Squeaker cook get every
mole lift over from the night before.
Speaker 2 (02:41):
What's up, Davine, Hey, how's it going?
Speaker 1 (02:45):
How are you?
Speaker 2 (02:46):
I'm good? How are you doing?
Speaker 1 (02:48):
I'm doing fantastic. I'm so happy to be here.
Speaker 2 (02:52):
Well, I'm happy that you're here as well. It's been
a hell of a year for you.
Speaker 1 (02:57):
Thank you.
Speaker 2 (02:58):
I mean yeah, you feel good.
Speaker 1 (03:02):
You feel good, and I'm trying to catch up on
my rest. So I've been having a good summer.
Speaker 2 (03:09):
It's been good resting the summer. Where do you go
to rest?
Speaker 1 (03:13):
I'm never home, So sometimes it's just being home, to
be honest with you, because I'm always traveling every which away. Yeah,
but I'm trying to think of LA spots that feel
good for rest. Have you ever been to Tarranna and
Palos Verna?
Speaker 2 (03:30):
Oh yeah, yeah, you're very fancy, very fancy.
Speaker 1 (03:36):
Yeah. Sometimes I remember when I used to book the
big ones for me that I was like, oh my god,
I booked it, or like write that weekend that you
got to wait to find out if you got the job. Yes,
I would take myself there and to like woo song,
try not to think about it too much, treat yourself between. So, yeah,
(03:57):
I love Tearraning. That's my little get a. I like
it because it's it's a way, but it's not like
it's not a full committing of going to like oh
High or Springs right drive forty five minutes.
Speaker 2 (04:11):
Yes there, but depending on where you live, it feels
like another world. Yeah, sure, which is what I love. Yes. Yeah, well,
full disclosure, I moved out of LA, so I've been
a place like that all the time.
Speaker 1 (04:25):
Now, what are you in California state? Still?
Speaker 2 (04:29):
I am still in the state of California.
Speaker 1 (04:32):
Isn't California. Amazing. Yes, there's so many areas. It's beast.
I'm a fan of California. I'm into it.
Speaker 2 (04:41):
Well, yeah, and I know your East coast East coast based.
How long have you officially been a Californian? I guess
that's how you'd say it.
Speaker 1 (04:53):
Oh, that's tricky, right, when you come here for work.
That's tricky to right. That doesn't spot of when I would.
Speaker 2 (05:00):
Say forty years.
Speaker 1 (05:03):
Yeah, sure, forty years been in years. I first came
here for a pilot in twenty fifteen, I think. Okay,
But honestly, I've never I've only done two projects in LA.
So that may give you a bit of an idea
of just how much I am never in Los Angeles. Yeah,
(05:26):
I've only in the ten years that I've been doing this.
I did a movie with Eddie Murphy, and then I
did a TV show last summer, The Idol, that filmed
in LA. That's it here. That's why I say like
coming back here feels like a vacation.
Speaker 2 (05:39):
I get it. You know, I worked for a long
time there, but yeah, a lot most things are gone now,
that's for sure. But I do want to talk about
your time growing up. I know that you grew up
in Philly, in or around Philly as a kid, and
I read you went to Interlock In. Now how old
(06:01):
were you when you started that?
Speaker 1 (06:03):
That was my junior year of high school, the summer
of my junior year of high school.
Speaker 2 (06:06):
Oh my gosh, I'm wondering if our stories are exactly
the same. So was that transformative for you?
Speaker 1 (06:13):
Absolutely? But everyone says that went there everyone, but you know,
it was so great. It really what I loved most
about it. It fortified my love and like reverence and
commitment and devotion to being an artist. Yes, like right,
like that was I think that was the greatest. It
(06:35):
gave me so many gifts, but I think that would
be the greatest gift. That place gave me that sense
of like the reverence or how lucky and blessed and
special we are to be artists and like refect it
and be disciplined and do the work, and oh my god,
I love that place.
Speaker 2 (06:55):
See what I would say to you is exactly the same.
I didn't go to Interlock and so it was Northwestern
Institute of the Arts. I think that's what it was
called at Northwestern University. I was a cherub. You were
a cherub, which is weird. That's like a chubby baby,
I think, but that's what it was like, the Cherub program.
And so for me how I always describe because I
(07:18):
started out in the theater and we'll talk about that too,
but I think prior to that, it was a hobby, right,
It was an activity. It was something that I did,
and I had fairly good instincts, and I was loud
and could like command a presence. But it was that
time there where I was like, oh, this is like
(07:42):
oh I get oh like creating a character and oh
like this is the hard work that you put in
and voice and movement and all those things. So was
that it for you too? Was it like, oh, I
want to do this but you were music maybe right?
Speaker 1 (07:59):
Yeah. I was a major and I was coming from
the city. To be really honest, I hadn't been I
went to prep schools like in the suburbs and stuff
like that, but I had never been around that much
like greenery and nature. So I actually got sick that
I had like really bad sinuses and allergies issues and
I ended up losing my voice. So it was even
(08:20):
more deeper and like meta and introspective. And all because
I literally couldn't talk, so I'm literally like with my
thoughts all day in this beautiful manager. It was it
was deep. Yeah, that reverence of the arts, being of
the arts and just how special it is, and like
I would sit in on the musical theater classes or
(08:42):
watch the plays with the theater kids, and I remember
being like I kind of liked that too a little bit,
but I remember just being like, Wow, I feel so
lucky and we are so cool. It was like, I
don't know, I guess it's like in our world, right,
it'd be like band camp being cool, Like, wow, it's
so cool to be artists. Everyone that goes there is.
Speaker 2 (09:04):
Like, Yeah, you go to Temple and you're studying classical vocals.
That's singing, right, and an opera. Now, at one point
you switched to musical theater. Now what happens there? What's
the what's the process behind that decision.
Speaker 1 (09:25):
To musical theater? Well, I graduated from Yale at that point, and.
Speaker 2 (09:32):
So this was after you went to Yale for acting
for yeah no, but before that, so where do you
change from like singing and an opera?
Speaker 1 (09:43):
Yeah? Yeah, yeah? So no, I mean, well, of a
lack of better word. I got kicked out because I
think it was because when I don't.
Speaker 2 (09:53):
Thank you for your honesty, I appreciate that.
Speaker 1 (09:56):
So no, I think I found that this was a
thing that occurs when institutions don't truly have a musical
theater department. So that time, Temple did not have a
musical theater department, but their theater department would do musicals
from time to time, like maybe like one a year
or whatever, so I guess what was happening, which was
(10:17):
actually not the case for me. A lot of times
singers and actors would flee, I guess, be changing their
major and being indecisive and going from one to the other.
So they all each department had their feelings about that,
and was not the case for me. At that point.
I was fully committed due to interlock in, which introduced
me to classical arts. Right like, I'm all in now,
(10:39):
I'm like, oh, I'm an opera singer. This is what
we're doing. I'm about to travel the world. This is great,
And so we were preparing for Aida and the opera
and I just remember feeling like disconnected or like it
just feeling very like an old, antiquated thing you know,
I was like, well, my parents and family or friends
are coming see this. I wanted to be something, but
(11:01):
they can connect to It's like Shakespeare right, like you can.
I want them to know what's going on. And the
only way that they're gonna know and be able to
follow this and not just be like snoozefest opera is
if I do my job right of like understanding what
I'm saying so that that can convey. And so I
ended up working with one of the acting teachers basically
(11:23):
as like a coach, to work with me on the
scenes that I was singing so that it could be conveyed.
And so then the music department found out. I mean
I wasn't trying to keep it a secret, but they
found out, and so they kicked me out. And so
it was my mom who was like, you need to
go across the street to the theater department because a
(11:43):
logically most of your credits can transfer and be you're
gonna graduate on time, so you just need to get
that diploma and we'll figure it out after there. And
so that is literally like literally crying, kicking, and screaming
going to the theater department. It was never something that I
wanted to do. I thought the theater kids were weird,
(12:06):
and then yeah, and so then it just so happened
that they had a musical. I think it was Into
the Woods, so like I got that experience, and then
the musical later happened just because post graduating, they were like, oh,
it'll be a great job that you can do. Is
like your hustle job essentially a swing right like the
(12:27):
understudies understudy. That's how they pitched it to me. But
then when I auditioned to this day, I don't know
if that was actually what it was because I was
nannying at the time. Loved my job, I had great kids.
It was dream job.
Speaker 2 (12:41):
Are you talking about ghost? Is that what you're doing?
Speaker 1 (12:43):
So it ghost? Yeah, so it ghost. That was a
fluke they were saying it. I was nannying, and they
didn't really love that I was nannying, even though I
was an afternoon nanny, so you had me from you know,
the morning to like one thirty to audition and stuff
like that. But they didn't. My team at the TI
in love that I had that job, and they wanted
me just like you know, be broke and be a
(13:04):
full artist available all day for them. They didn't like
those time restraints, and so they were like, oh, yeah,
this will just be like a hustle, like your side
hustle job, while we find you the job. To this day,
I still don't know if that was exactly the case,
but I auditioned and ended up getting one of the
(13:24):
leads of it and doing it, but then doing it
first on the West End because the lady who was
doing it there had got hurt, and so instead of
them going for another one of their understudies in London,
they decided, well, let's just get it started early, and
so I went and did it on the West End
for several months, and then I came and did it.
Speaker 2 (13:47):
I'm Broadwick Tony nomination for your first Pray and.
Speaker 1 (13:52):
I was sick voice. That was another time when I
lost my voice. I was so I had like forty
percent of my I could not believe that nomination because
I literally had forty percent vocal production and I was
literally performing on less than half of these, so that
blew me away.
Speaker 2 (14:11):
Here's the thing. I'm always performing at less than half
of a voice when I'm singing, so I know the feelings.
Oh my god, very well.
Speaker 1 (14:19):
Get it?
Speaker 2 (14:20):
But but to back up half a second, you end
up at Yale School of Drama, and at that point
are you committed full on to a life in the theater.
Speaker 1 (14:30):
No, No, it was just for me. It was just
like because timeline wise, right, it was only a year
that I began to branch into acting in my undergrad
and so I just knew. It was the dean of
the school that was like, you're good, I'm going to
apply you to these graduate acting programs. I didn't even
(14:50):
know about this stuff, so he applied me. I did
the interviews and the you know, auditions and whatnot, and
for me, it was just like I knew because it
was this major change of now no longer in my
mind never singing again that I was like, whoa, I
have to figure out what my life is because when
I was ready to be on this one track, it
(15:12):
quickly changed. And so that then was where I think
while in graduate school, I was figuring it out and like, Okay,
is this the life I want? Do we like? This?
Is this something that we're into? But again, I think
I did feel a bit of comfort or familiarity in
regards to like again, the devotion, the reverence, the pedigree,
(15:36):
the studying, the classical training as it were, that was
something that I was like, Oh, I can geek out
over this a little bit. And then too, I just
love people and how people take and work, and so
I really enjoyed like certain classes of like text analysis
and stuff like that of really getting into the like
(15:57):
I love getting into the psychology of my care. That's
really where I get a lot of mileage. And so yeah,
I think like while I was going through school in
those three years, I was kind of like not warming
up to it, but like it was a whole new world. Yeah,
so I was like, Okay, let's see what this is about.
Speaker 2 (16:20):
Ghost. So did you say you did that seven months
on the West End?
Speaker 1 (16:25):
No? I think at the end of it all it
was maybe like four or five months it were. Yeah,
I think it was like four or five months.
Speaker 2 (16:32):
Yeah, and then on in New York. So how long total?
Speaker 1 (16:36):
So total, I think it would have been about a
year and a half. Oh, my year and a half. Yeah, Now,
how was.
Speaker 2 (16:44):
That for you? So you're out of school, you haven't
worked on a character for an extended period of time.
Speaker 1 (16:52):
I had graduated in June. I booked it in August
or no, November. It was it's November because it was Thanksgiving,
so I was I remember I booked it and I
was like, can I be home for Thanksgiving? Because it
was like my first job, you know what I mean,
Like I'm not used to like working on holidays, And
I was like, can I please be with my family.
Speaker 2 (17:12):
I've got Eagles tickets back in Philly. I need to
get back home.
Speaker 1 (17:16):
Yeah, exactly, And so literally the day after Thanksgiving they
put me on a plane and then literally within days
I had to get off book And sorry to those people,
but in paid performances was my rehearsals?
Speaker 2 (17:35):
Crazy?
Speaker 1 (17:36):
I hope they discounted those people, because that's crazy.
Speaker 2 (17:40):
Did you did you enjoy it? I loved it the
whole time.
Speaker 1 (17:45):
I loved it. The West End was my favorite. I
love it. The way that they treat theater artists is
how they treat movie stars. Yeah, and I think it's
almost interchangeable too, because right like, you can go and
see it play and you're like, yo, is that Hella Mirrin?
Like British movie stars who will happily or Olivia Coleman
(18:06):
happily pop into a play. So for them, there's no
real delineation how it is for us right for them,
it's your artists, you all one big things. I had
never that was my first experience of really being treated
so well in that way that I was like, oh,
I never want to leave and Broadway it was just
(18:31):
it was harder, and so it was a more aggressive schedule.
And then there's the summer schedule. In the holiday schedule,
you're already doing eight shows a week, and so now
it's like twelve shows a week, so it's just like
a burnerout. And then on top of it, you're being
six So it felt more of like survival and maintenance
and just like get through the show. Let's get through
(18:51):
this show, and let's see what tomorrow brings. So it
was intense. It was really really intense. I think it's
the hardest thing I've ever done. Musicals, even more so
than a play. That is a real even I've done
movie musicals now and it's not even at the same voltage,
I guess is the.
Speaker 2 (19:11):
Right word, because of the stamina it takes.
Speaker 1 (19:13):
The Yeah, it's constantly moving, there's no breaks. Once the
curtain goes up, it's on for the next two and
a half to three hours, depending on your musical musicals
are long?
Speaker 2 (19:25):
Yeah? When you were done, yeah, were you like? I
want to work in film and television.
Speaker 1 (19:31):
So what was funny was we got maybe three weeks
notice that the show was closing, and I remember saying
to my team at the time, I was like, I
think that I want to dry out this pilot season thing.
I remember, I didn't know anything about it, right, and
I was like, and I would like to do a
(19:54):
play and a TV show before I leave New York.
I was like, I want to be able check everything
off the list, and I want to try that pilot thing.
And they were like okay. And I remember I had
five auditions in one week and I ended up booking
a TV show I think it was a Good Wife.
And I booked Robin Williams's last movie. And I originated
(20:20):
a new role in a new play at the Atlantic
Theater Company, and that literally took me up to at
that time January, which right before when pilot season was
more formal timing in that regard. Then the play ended
literally January second. I ended up booking, well, not booking,
but getting auditioning or final call back or whatever you
(20:42):
want to call it for a pilot that brought me
out here. It ends up not going through, and then
I stayed for a little bit and then it went
off on the races for me.
Speaker 2 (21:11):
I got to ask you about working with Robin on
The Angriest Man, one of his last films. So I
had the opportunity to work with him a few times
and loved every bit of it. Tell me about your
experience working with him on that, and.
Speaker 1 (21:27):
It was perfect. It was perfect. It happened at the
perfect time in my life, and I hope that it
was equally enjoyable for him at that time in his life.
I had just well, yeah, you know, I've I had
just graduated, I hadn't even been a year out. That
was still in the summer. I remember it was hot.
But anyways, I remember I could not believe how much
(21:54):
time he gave me and how much he talked to me.
And in some cases the other actors would joke and
be like, you're talking to her more than you talk
to us. And I was the youngest person on the set,
and I remember we just had the most amazing conversations
in which I remember he told me, he was like,
you know, you can do this whole TV and film thing.
(22:15):
I think you should do it. You're gifted, blah blah blah.
And I remember him distinctly saying to me like, think
about San Francisco though, like I remember, he was like
it was like it was not He was like, I
don't know, He's like, you gotta hear a good person.
You have a good heart. I don't know about la.
He was like, think about San frian and he was like,
I love it there and it's so peaceful for me.
(22:37):
But we just we had a ball. That man is
a wonder And I don't know about you, but I
could almost feel his brain thinking when he was silent,
I could like I could almost like a sneeze about
to happen. Does that make sense?
Speaker 2 (22:58):
It does make sense that I.
Speaker 1 (22:59):
Could feel like he's about to say something and I
don't even have to look at him. And I remember
describing it before to a friend like how the like
New York Penin station. I don't know if other train
stations have this, but that ticker thing, that's how it
felt to me being near him, of like his brain,
like I could feel like there was a buzz within
(23:20):
him that I could tell. I was like, it really
feels like his brain and his thoughts truly moved at
that rate, and it almost was like, for the lack
of a better word, Torett, you know what I mean,
like it just all came out. But it was so so,
(23:41):
so amazing, And then you just didn't have these quiet,
super intimate moments with him, and You're like, what the
only other person that I've ever met, first of all,
no one liked that, but of someone who can be
larger than life, and then very very quiet and intimate
was Eddie, but still nothing like that. That man was
(24:03):
so giving and so kind and I couldn't believe it.
He paid for my sad card because that was my
first Oh wow, So in order for me to have
done the movie, you know, I was gonna have to
pay broke. I mean, well, I had the Broadway show,
but I wasn't making that much money where I would
have to basically pay in order to get in the movie.
(24:24):
And I was just like, it was an amazing, amazing experience.
Speaker 2 (24:30):
Wow. Yeah. When I worked with him, he was a
person and I worked with a lot of kind, very kind,
generous people before a sense, but there was a way
that he interacted on the set with the crew yep,
(24:52):
that I attempt to do a bad impersonation of on
every set that I worked with. And there was an
energy from him that was like, this is such a
cliche phrase, but like what we're doing is and this
is not rocket science, Like let's have a good time,
let's enjoy each other. And the phrase that I always
(25:13):
say to people is it takes just as much energy
to be nice as it does to be an asshole.
And he always chose nice. And there was a it
was very clear just in people's faces of the crew
that it was like we were going to have a
good day, but we're just going to have a good
(25:33):
day today. And I attempt to do the same thing.
Sometimes I do it a little snark here, I'll be honest,
that's just but snarkier in like a play snarky way.
He was just always That's what I know. I learned
that from him. That was the gift that he gave me.
He did not pay for my sad card, but he
gave me. He gave me that you worked with my pal,
(25:57):
Oscar Nunez. In fact, you've worked with a lot of
my old pals, which is starting to hurt my feelings.
We have are you okay after working with him? Are
you Are you all right? Are you scarred in any way?
Are you fine?
Speaker 1 (26:13):
I've since healed. I have definitely.
Speaker 2 (26:16):
Yeah, Well you worked on People of Earth? What else
did you work on with them?
Speaker 1 (26:20):
Lost City? And we were like low key each other's
love interests a bit.
Speaker 2 (26:25):
In Lost City.
Speaker 1 (26:27):
Yeah, he plays like this rogue crazy man that's like
he flies exotic animals all over the world. And I'm like,
on this track to find my client. I play like
a publicist. Look is this author? And so I'm on
this journey because she's gotten kidnapped. And along the way
(26:50):
I meet him and he's like, you can get on
my rigged plane. So I'm sitting there with animals and
stuff and he's like, I'm in love. It's the whole thing. Yeah,
I was gonna do it twice. Wow, he's brain. He's
another one the things that he comes up. I'm like,
where did this even come from?
Speaker 2 (27:10):
I'll tell you what of all of the people that
I worked with on the office, Because you get you know,
you get the question like who is your favorite or
who was and it's like, oh, yeah, I'm gonna answer
that question. But I do answer this off camera. He's
the funniest is he makes me laugh. He makes me
laugh harder than anybody else.
Speaker 1 (27:30):
Yeah, I actually find that it's more it's the people
off camera that can sell it the most. For him,
it's like he'll be quiet and then he'll be like no, no, no, no,
it'll just literally just roll out of his mouth and
you're like.
Speaker 2 (27:43):
What, where did that? I know, I know he's insane.
He's like he has a.
Speaker 1 (27:50):
Whole story, he's in a whole world, and you think
you're in the same scene with him, and then he'll
say something and you're like, I gotta catch up with you. Yeah,
I don't know where you're at. I'm going to get there,
give me two seconds. He's a genius. Yeah, I've never wow.
(28:11):
There's never anytime the camera's rolling or let's try another option.
He never repeats anything. It's always something new, and it's
you're just like, whoa where is this coming from?
Speaker 2 (28:24):
Speaking of people who are pretty damn good at improvising.
I have heard that you have said the role and
movie that catapulted you. I don't even know if you
use that word, but that's how I'm interpreting it. Dolomite
is my name with Eddie Murphy. Why did that film
feel so special to you?
Speaker 1 (28:45):
For a couple of reasons. I think that was my
first Well, that was for sure my first big movie.
In regards to the cast, it was my first. Yeah,
I think that was my first. Like if we want
to call like a studio movie, okay, first, well, it
wasn't my first movie with a big star, because I
did do it with Robin. But like with the Robert Williams.
Speaker 2 (29:08):
Movie, I'm Gonna Oscar, you said that by the way,
Oscar you said that too.
Speaker 1 (29:13):
Get at that point. But so it was that and
getting to work with someone of that stature, but that
it was a bigger size role and I had more
to be responsible for. I think also too, there was
something just very special about it. It was very pared
for and loved on. And at that time I believe
(29:37):
it had only been a year or two. I could
be wrong. Eddie's brother had passed and that was a
passion project they had had, and that I believe. Actually
Eddie wanted his brother to play the lead, and Eddie,
I think was gonna end up playing Wesley Snyder's character.
I could be wrong. So there was a lot of
(29:58):
like care and around it. We had phenomenal writers on it.
It was really taken care of very well, and Eddie
was very kind to me as well. And even when
we then did began press, he made it a point
that he was like, whatever press I do, I want
(30:19):
her to do too, So what could have potentially you
know how that stuff goes, Especially when it's ensemble cast.
Sometimes it's like number one and number two in the
call sheet, and those are the people that go out
and do the press. Because he did that, which interestingly enough,
was good practice for me for last year, because he
took me on this like tour with him and just
(30:44):
that whole experience, it was like great media training for
me and all those things. I never had that before.
I was always you know, oh I'm in this TV show,
or I did this independent movie, you know, and then
the movie got on or it came out. I never
had like a post life press life experience before. So
I think in many ways it kind of endoctored me
(31:06):
into this industry by having that experience, even just for myself.
Speaker 2 (31:12):
That's awesome. Yeah, that makes a ton of sense. And
you did get award buzz around the role. You were
nominated for an NAACP Image Award. I can imagine that
feels like a great gift for him.
Speaker 1 (31:27):
Yeah, I couldn't even believe it the whole thing. Netflix
was very kind and they helped me find the publicist
that I have now, Like I felt ushered in. Does
that make sense? Like everything. I was very gentle and
it was the best way that I would hope any
other young actress could experience of getting ushered into the
(31:50):
business in a really lovely way. And I just was
quickly exposed, you know, to this world and what it
could be, especially because I would do always press with him,
so then being around him and all those super fans
and everything that he has to deal with, it was
like really eye opening that I was like, oh wow,
(32:10):
it could for some people. It looks like this.
Speaker 2 (32:14):
Also, Yeah, you know, he is obviously well one of
the best comedians to ever do it.
Speaker 1 (32:20):
Yeah.
Speaker 2 (32:21):
Another buddy of mine was in that film, Craig Robinson. Yes,
on a stand up stage, there are not many funnier
than him. If you've ever had the opportunity to see him,
he is unbelievable. Yeah. You go on to work on
Jordan Peele's The Last Og with some other comedians Tracy Morgan,
Tiffany Cedric the entertainer. Here's my question. Yeah, right, you
(32:43):
and I have a similar path. We came from drama
then eventually made our way into doing some sitcoms and
comedic acting roles. Yeah, do you consider yourself a comedian?
Speaker 1 (32:59):
No? And oh what's interesting when I when we did
we did showcase, we did like a showcase when we
graduated from Yale, and I remember thinking like, I didn't
even think LA was an option, And it was ironic
because I got more interest in LA and in TV
(33:20):
than I did in New York, which I was like,
what the heck, Like I did three year, what does
this even mean? But I always get asked that question,
and if I auditioned for someone for the first time,
it's always like, oh, you're a comedian or oh are
you one of the U TV kids or what you
know I like, And.
Speaker 2 (33:38):
I'm like, now not, yeah, see, I'm the same. I'm
an actor and sometimes maybe even more often than others now,
I do comedic roles, but I'm not a comedian. I
don't view myself in that way. And also I love
that you said that no.
Speaker 1 (33:54):
Because also to like, if you haven't gathered already I'm
big on like technique and training and so even like
with a writing like, yeah, I could write something, but
I would never call myself a writer, do you know
what I mean? So I kind of see it in
the same vein like the skill set and what is
required and then writing their jokes and touring it on
the road and all. I don't do that. So I
(34:15):
would feel disingenuous almost to be like, yeah, I'm a comedian,
Like what I don't what are you?
Speaker 2 (34:22):
Yeah? Exactly, I'm not doing that. I know. It goes
both ways, right On the one hand, it's like there
is a connotation of like, oh, you're just naturally funny.
There's not the there's not a work there, right, And
on the other hand, I'm like, yeah, I don't want
to do what they do. I have no desire going
to around the laugh factories, Like I can't do that.
Speaker 1 (34:45):
Yeah.
Speaker 2 (34:48):
Do you do you still sing?
Speaker 1 (34:50):
Yeah? Yeah I do?
Speaker 2 (34:52):
Do you want to do more musical theater at some point?
Speaker 1 (34:58):
Is tough? Yeah? I think I.
Speaker 2 (35:03):
Did the ho a week thing too, by the way,
not singing so much. But it's no, it's no joke, right,
it is no joke.
Speaker 1 (35:11):
I always say never say never, But I do think
it would have to be something that I am so
passionate about and so in love with to give of
my time and my energy to that, because also it's
longer runs. How only is it more performances? Is actually
(35:33):
when you look at it. I remember when I first
started working in TV and film, I was like, wait
a minute, we're done. Okay, it's done. We don't have
to work on the weekends. What do you mean? Floored me?
And it's like triple sometimes ten times the amount of money.
So I was like, wait what. But I do think
(35:53):
an all seriousness, theater is a very beautiful and a
sacred art form. So I do think that will I'm
I will never turn my back on theater at all.
And I do think and I'm grateful that I have
that in my toolbox. And I just think it's you know,
something that I really love, or you know, something that's
a limited run or a director I've always wanted to
(36:16):
work with, or a role I've always wanted to portray.
It's actually in my mind less of a Broadway thing. Ironically,
if it's like, oh I could work the Geffen or
what you know, I mean whatever kind of like a house,
a theater that's well respected with a great director. It's
not even for me of like, oh I need to
go back on Broadway and be in the machine of
(36:37):
that necessarily, But if I did go back into that machine,
it would definitely have to be worth it, because it's
a big commitment, and if you're not from New York,
you're basically paying them to let you go do a play.
Speaker 2 (36:49):
Yeah. I have a friend who has a number, and
that's how expensive it was for her to do a play.
Speaker 1 (36:58):
Yeah, it's really sick. It's a whole another beast. And
the only reason why I left New York because I
love New York was that even when I was auditioning
for New York movies or New York TV shows that
take places in New York, the whole cruise from New York,
I was realizing, oh, wait, the decisions are still being
(37:18):
made in LA And so originally it was just like, oh,
let me go to like the mecca where it happens.
I'll book something and then I'll come back. But then
it just started moving and I was like, Oh, I
got some beer.
Speaker 2 (37:51):
I gotta ask you about the holdovers. You blew me
and everybody else away with your performance that thank you
and the Oscar. The film was up for so many
different awards. You got to work with an amazing cast,
(38:11):
an amazing director, and artistic mind. I'm going to try
to ask you some questions that hopefully you haven't answered
a thousand times. Were you surprised by the attention that
the movie ended up getting or did you feel that
you had something special with the film?
Speaker 1 (38:34):
I would say yes and no. So walking into it right,
like when your agent calls you and you're like, hey,
so there's an Alexander Payne movie. You're like, oh, okay, So,
like there's a possible, there's a flight chance, this is
gonna be good, right, you know what I mean. There's
gonna at least get eyes on it, which was at
that point a big deal for me because I was
(38:55):
working and I was working consistently, but I had yet
to be a part of it is like a critically
acclaimed thing or a phenom like yours. I remember even
with People of Earth. I remember Greg was like, you know,
well it took like what was it? Three was it
for you guys? Three seasons before? Like really like yeah too?
And so I remember my brain right, I'm just being honest. Actually, actor,
(39:19):
I was like, oh, yeah, it's a guy from the
office people have about to blow up, but huge and
so to a certain degree, yeah, right, Like if we're
really honest, you when you know you are working with
a director that has a certain track record and it's
so beloved and for many obvious reasons because of his gift,
(39:42):
When you know that your co star is Paul Giamatti,
you're like this did I think like, oh, yeah, it's
gonna get an Oscar No. But at least that I
was like, this could be something critically acclaimed because also
at that point I realized the difference between a hit
something that's critically acclaimed, Like there's there's sometimes a different
(40:04):
uned a difference. There's like the commercial value of something,
and then there's like, well the critics loved it, and
so I thought, for sure, this will probably maybe intrigue
from a critical point of view, But the life that
it took on I never could have imagined. Also, timeline wise,
(40:28):
we were in the middle of a strike and literally
the strike and the only reason I know this is
because of the premier day. The strike ended November eighth,
and the movie came out November tenth, so I will
never forget. I was here in La going through my
closes and clothes, like you know, you're a bored actor,
(40:49):
so you're like, go through my closset. Let me actually
claim and organize my house. Got nothing else to do.
And I remember getting a call saying the strike was over.
Literally thirty minutes later, my phone was ringing off the
hook and it did not stop until March whatever the
(41:10):
day is after the Oscars. So it literally was a whirlwind.
And I did not foresee that that was going to
have such traction because before you know, it was like
we remember they were like, Oh, we're just so lucky
that we have such an amazing director speaking on our
behalf right, because at this point we would have already
(41:30):
missed Tell your Ride and Tiff. He was doing those
by himself, and he was so guind He would send
us text messages and be like they really liked it,
and we'd be like, aha, everything went over. Well, they
really enjoyed your part in this part, and so we
were so removed. But unbeknownst I guess it was like
(41:51):
slowly picking up steam. In the moment that the strike
was over, it was full speed of hint.
Speaker 2 (41:58):
Yeah, were you and meately attracted to the role of
Mary or she grow on you?
Speaker 1 (42:05):
She grew on me because of how which I thought
was really smart, how Alexander positioned or propositioned her to me.
It wasn't a big cell. It was very He was
very casual of like, there's this role. I think you'd
be grateful it. I saw you in Dola Mine and
I thought, you know, I saw things that I feel
(42:27):
as though you could bring this role to life. Give
it a read. I remember it was over. It was
right before Thanksgiving weekend and he was like, and I'll
give you a call on Tuesday, and I was like, okay.
So it was real casual and nice and easy, and
there was some parts that was like intentionally left open,
(42:48):
and he expressed of like the writer, and I want
to figure this out with you and how we see
her coming to life and what she say this? Would
she not say that? What would this look like? So
it was this nice and easy approach. But then we
shot in January, so it went really fast. So it
was like the moment I said yes, I got cigarettes
(43:10):
delivered to me and I'm working over dialect and we're
going over tech stuff. And what are we wearing. So
once I said yes, it moved very quickly leading up
to when we began filming because we filmed right after
New Year's Day.
Speaker 2 (43:27):
Right, it's like you're looking at my notes here because
you kind of touched on this a little bit. But
I'm interested in your perspective. So, right before all this
holdover buzz happened, you were in a show called The Idol.
Speaker 1 (43:43):
Yeah.
Speaker 2 (43:44):
I had a lot of great people involved, Sam Levinson, Yes,
the Weekend. The critics were not kind, right, The Idol.
It's currently at nineteen percent on Rotten Tomatoes, which I
don't know if you know this or not. That's not
great now? Was it strange or is it strange or
(44:04):
somewhat confusing that at the same moment in time you've
got two projects going, one that everyone is loving and
the other. Although the La Times was very nice to
you in an article I read today, well.
Speaker 1 (44:21):
That don't have to say that was an interesting thing, Okay,
interesting experience, right, Like I gave my best right and
I at the same time had a really great relationship
with Sam and we were able to He gave me
a lot of creative leeway that we really collaborated on
(44:42):
my characters. So who Destiny became I actually felt great about, okay,
I felt as though what I contributed was contributed was decent,
and what was an interesting experience for me was though
for a lot like scandalous salacious reasons, they didn't enjoy it.
(45:05):
I had an interesting experience because they were like, but
Destiny blah blah blah blah blah blah blah blah blah.
Speaker 2 (45:10):
Right, so that's fair.
Speaker 1 (45:12):
Yeah, So for me, it's something that I would definitely
not hide or try to make disappear because I actually
am really stand by and am really down for the
work that I created, and also too, to be honest,
like it was nice to do something different. I always
(45:34):
want to continue to reinvent myself or keep people guessing.
And it may change, I don't know why, might get
older and be like I might be okay with this,
But for me right now, I love the idea that
people can't really pigeonhole me just yet or be like, oh, yeah,
she's that type. I feel like even with a comedy,
(45:57):
like I do different types of things intentionally and I
think now too, yes, there's more opportunity, but I think
it also requires me to have more discernment of what
roles I choose. I'm really specific and strategic about it.
So in a way, I guess you could say it
was like the best in a not so great situation
(46:20):
that I could have had. I think for sure, out
of all the other characters, I got lucky in that
regard that if they did say something nice, it was
usually my character. And I will say that everyone worked
really hard and sometimes people just.
Speaker 2 (46:34):
Don't like it, you know what I mean.
Speaker 1 (46:36):
But I cannot not give credit where credit is due
to everyone involved. They were committed to it, and this
is what the story they wanted to tell, and yeah,
it just didn't hit.
Speaker 2 (46:48):
I'm not even talking about one being good or bad
or the other. I more mean psychologically for you. I mean,
it's the whole, Like is all press good press? Right?
Like I mean, you're you're having people like loving this
one thing that you're doing and not so much a
fan to be kind of this other thing, and you're
getting it all at sort of the same moment. That's
(47:12):
more what I'm saying.
Speaker 3 (47:12):
Yeah, you're right because I remember because during well so,
I was in a way pseudo doing press for it
as well, and because it wasn't going so great.
Speaker 1 (47:23):
Halfway through, I was the only one that was doing press.
No one else was doing press. Idle, no one did
the press unbeknowns because people, you know, they just made
a decision of oh, it's for whatever reason it's not
being received. Well, I don't want to give more time
to that. But you're right because that was during the strike.
I remember because it was a whole lot of phoners.
(47:44):
So at that time it was too soon actually timeline wise, Okay,
I did not know yet that holdovers was becoming a thing,
so I would say, but yes, one definitely went one
way and that then ended and then it then picked
(48:05):
up for the other. But yeah, in no way, I
guess it is to a certain degree. Like I said,
it was the best in a not so great situation,
right in regards of like all press, yeah can be
good press. That I to be clear, I got lucky
because if they did say something nice, it was about
my characters. So even though it wasn't so great, right,
(48:25):
I was able to make the best of that moment
and then boom boom the next thing.
Speaker 2 (48:30):
Then being holders, you have another milestone this year, your
first Emmy nomination Outstanding guest Actress on Only Murders in
the Building Season four, coming out? Did you audition for
this show?
Speaker 1 (48:47):
I got a This is also why I think Dolamite
was the thing, because that like catapulted me or what
or at least open doors because Eddie's who he is
and because we countered on one another in our scenes.
There were several jobs last og was one of them
where you know, Tracy called and was like, I'm thinking
(49:11):
about potentially offering to her this role. What do you
think to Eddie? Eddie vouched for me. Then Steve Martin
was like, I really love dolo mine and it made
me think that you would be great for this. And
so Dolomine is a gift that keeps on giving. For sure,
that's awesome, But yeah, no, I didn't. It was during
the pandemic Jonathan Hoffman when Steve Martin began crafting this character,
(49:35):
and I remember thinking like, there's no way there were
going to be This is like peak pandemic where I
was like, no way, right, this one's not going to
get over the fence.
Speaker 2 (49:44):
And they did have a great time doing it.
Speaker 1 (49:48):
Oh, it's fantastic. One of my favorite jobs to do.
These guys are amazing. I mean I've never been on
anything before. I mean, you guys did how many seven? Eight?
How many seasons did you guys have?
Speaker 2 (50:00):
Well, ten years, nine seasons?
Speaker 1 (50:02):
Oh my gosh, so.
Speaker 2 (50:04):
You but I think you'd have to do like thirty
seasons because we did two hundred and something episodes.
Speaker 1 (50:12):
Yes, so real. Yeah, I've never This is for me,
the longest time I've been on I feel like your Guys'
show was like the last of the era of like
i mean, first of all, it was hugely successful. I
don't feel like shows go past. I feel like six
is the hurdle that they want to get across to
(50:33):
go to syndication, and then they just crap out.
Speaker 2 (50:35):
Yeah.
Speaker 1 (50:35):
So this is the longest that I've ever done of
a show. But it's so fantastic. These guys are legends
and they have such a child like zeel. I think
that's the key when I think about it, of like
legendary the people that I've worked with, and I'm sure
you can corroborate this, but it's like it's as if
(50:56):
it's their first gig, right, that this sense of like play, yes, yeah, exactly,
these guys, they have endless energy. Helena and I are like, okay,
I think we got it, and they're like, no, what
is it this way? And there's something fun about it too,
because it feels a little wad village. Yeah, it's like
(51:17):
physical comedy. It's just so much fun to see them
having a blast. It's also an amazing shooting schedule, which
is essentially nine to five or ten to six. I've
never been on a show like that before.
Speaker 2 (51:33):
And when you get legends that time for dinner. Yeah, yeah,
what are you talking about? Although you've got to shoot
nights some right, but when we.
Speaker 1 (51:46):
Do, it's usually towards the end. For whatever reason. They
usually save it for the end, and it's like in
one week and we just knock it out and then
it's done.
Speaker 2 (51:57):
You're a very very very fun person. But I mean no,
and that's not a butt. You're a very funny person.
And in this you play the straight person. Straight man.
The phrase is straight man. That's what do we call
it now? Right?
Speaker 1 (52:13):
I haven't heard it call it anything else. I don't
know of a new phrase for that, you.
Speaker 2 (52:18):
Know what I'm saying? Like, you play the straight man
to these two unbelievably, and as you mentioned physically gifted comedians.
Is that tough for you?
Speaker 1 (52:30):
It's actually it's nice. I like doing both. I like
when I'm playing those kind of roles and I like
when I'm the one that's the silly one.
Speaker 2 (52:38):
It's nice.
Speaker 1 (52:39):
I enjoy both. To me, it's kind of saying of
like comedy and drama. I like using all of those
different skill sets. And I like what I like about
when you're playing a straight man. It's finding the nuances,
oftentimes instill ill and minimalism and how impactful that can be,
(53:04):
you know what I mean. Yes, that's what ends up.
I'm always looking for what's the game, what's the right
And for me a lot of times it's how little
can I move?
Speaker 2 (53:16):
I love that.
Speaker 1 (53:17):
How simple can I be to make pack the biggest punch. Yeah, yeah,
it's nice. It's fun that way.
Speaker 2 (53:26):
Very smart. Good for you, very smart. Thank you. Oh.
By the way, there's there's some other newcomer on the
show too, right, Meryl. What's her name?
Speaker 1 (53:35):
Yeah, so she came in season three.
Speaker 2 (53:38):
Was a joke.
Speaker 1 (53:42):
We have had lots of really great people come in
and it's.
Speaker 2 (53:47):
Become like Amy Ryan, Yeah, I saw her. Paul Rudd.
Speaker 1 (53:53):
Yeah, so when they were like streep. I was like, Okay,
cut it out, guys, this is not funny. And I
literally was at a precedent for a holdover. It's like
an early President for holdovers. And because that season was
like a musical within the TV show, the composers was like,
(54:13):
oh my god, we can't wait for this year. We
can't wait to work with you. It's such a dream.
I cannot believe I'm writing a strong a song for MARYL. Street.
Speaker 2 (54:21):
And I was like what.
Speaker 1 (54:22):
And I immediately called John Hoffman and I was like,
figure it out. You didn't tell me, and I figured
it out, and you better figure out a way to
get me in there.
Speaker 2 (54:33):
Oh my gosh, good, what can you tell us about
season four? So Steve dies right right.
Speaker 1 (54:43):
So they're very secretive, though I will say if it
wasn't I'm a Marvel movie or something. But I will
say so the last season was a play within a
TV show, and this season will be another form of
media that's in this season.
Speaker 2 (55:01):
That's what they've allowed you to say.
Speaker 1 (55:03):
Yeah, because I don't know what people I don't know
what things they said, and movie or filmy Martin and
Martin Short's characters right for this season.
Speaker 2 (55:20):
Yep, all right, it's really helpful. All the outlets are
going to pick up that kid bit. Everyone that's gonna
they're gonna be all they're gonna be rushing to press
with that. Uh, Davin, thank you so much. Good luck
at them as I'll be watching for sure, and good
luck with the season. And I mean, really, honest to God,
(55:41):
with everything that you do, you're so unbelievably fun to watch.
And my conversation today, well, you're a good person too,
and you're super smart and thoughtful about your choices and
I respect the hell out of that.
Speaker 1 (55:56):
And you Thank you so much, Brian, I really appreciate that.
Speaker 2 (56:00):
Best of luck, all right, thank you, Davine. So great
to have you. Thank you so much for taking the time.
I know it has been a busy, busy ride for you.
(56:24):
Good luck at the Emmys next month. You've got my vote,
and then just do yourself a favorite. Take a break,
all right, listeners, go and watch her Emmy nominated performance
in Only Murders in the Building, and go hit that
subscribe button and make sure you come back here for
our next episode. We've got another award winner coming up next,
(56:49):
So come back next week. Off The Beat is host
did and executive produced by me Brian Baumgartner, alongside our
executive producer Lang Lee. Our senior producer is Diego Tapia.
Our producers are Emily Carr and seth Olansky, and our
(57:12):
talent producer is Ryan Papa Zachary. Our theme song Bubble
and Squeak, performed by the one and Only Breed Bretton
Host
Brian Baumgartner
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