Da’Vine Joy Randolph is having a great 2024. After sweeping through an awards season that culminated in an Oscar for her portrayal of a bereaved cafeteria manager in The Holdovers, she’s now received her first Emmy nomination. But “breakout year” isn’t quite how Randolph would describe her recent windfall. “What I appreciate is that with every role that I’m doing, yearly it’s having an effect in a way that feels new, in a way that feels like, ‘Oh, she’s making an impact again,’ ” says the Only Murders in the Building guest star. “Now it’s kind of my goal to be a breakout every single time I do a project.”
Randolph is nominated for her role as Detective Donna Williams in the Hulu dramedy’s “Sitzprobe” episode — her only appearance in season three. Here, she chats with THR about leaning into physical comedy with the show’s co-creator Steve Martin and the new doors that are opening following her Academy Award win.
Your profanity-laced entry into episode eight, “Sitzprobe,” is hilarious. How much was improv, how much was scripted?
It was blended. The beauty of being able to mature with a character for that many seasons is that now I feel like both the writers and myself, we get this character very well. I was told that season three was going to be action-packed, just everything being thrown at it in the best way, so many new variables, more castmembers, a play within a TV show, so in the beginning it was actually a conversation of, “Can we get Detective Williams in this season?” I was in conversation with the showrunner, and I was like, “Please, I would love to! I don’t care what we do, please, something with Meryl Streep, anything,” and he stayed true to his word. John Hoffman was like, “If I can make it happen, I want it to be worth your while,” and he definitely delivered. But that first line, that was all them.
You’ve been going toe-to-toe with these two comedy giants — Steve Martin and Martin Short — for three seasons now. What’s the experience like on set?
It’s the best. First of all, it’s amazing to work with two best friends. That’s such a unique experience. There are no egos. They’re busting each other’s chops constantly. It’s really down to earth. But what I’m most impressed by is that they approach the work as if it’s their first time. There is such a sense of childlike wonder and excitement doing this show. As much as they’ve accomplished and done, nothing is beneath them. They’re constantly trying to figure out how to make it better. They’re so playful, and I think it speaks to why the show has been going so well. There’s just a real appreciation, value and love. They don’t take it for granted.
This may be an impossible question, but do you have a favorite scene with them?
Not all of it was able to be seen, but in this [“Sitzprobe”] episode, what I really enjoyed is it allowed us, especially Steve and I, to use more physical comedy, which I really enjoy in general. It’s this bit with him staying in the dressing room while I’m doing the investigation, and it was this whole thing with a weighted blanket and then headphones, it was really fun. I enjoy when we can just be silly in the sense of play. I find that it makes the words jump off the page in a much more unique and authentic way.
Coming off of your Oscar victory, how have things changed in terms of the roles that are coming your way?
The volume has changed. There’s more of it. But, more than ever, it requires you to be very keen and selective and clear on your vision and what it is that you want. Just because you’re getting more doesn’t necessarily mean that it’s the right thing for you. I’m extremely grateful for more abundance and access, but it requires discernment of knowing if this is what I want to do or not. It’s keeping all those plates spinning, being open to do more art house independent films and then switching it up and doing something more commercial as well. I want to be able to show all of my gifts in as many ways as possible. I don’t ever want to be pigeonholed, especially being an actor of color. The goal is to get to where you get to be a part of projects and gigs and opportunities in which that doesn’t have to be the main driving force as to why you got the job. Before it was like, “We’ll make the best of what we get,” and now there’s abundance. Now, we have the privilege to have strategy and make the right decisions to make the necessary impact and legacy that I want to have and create.
This story first appeared in an August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.
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