‘Only Murders in the Building’ Boss on the Season 4 Killer, the One Star He Can’t Write Off and What Comes Next

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As a devoted fan of Only Murders in the Building and someone who has been lucky enough to work with this brilliant cast, I can confidently say that season four is nothing short of extraordinary. The way they managed to land such an impressive roster of stars is truly remarkable, making me feel like a kid in a candy store.

[This story includes major spoilers from the Only Murders in the Building season four finale.]

Fans of “Only Murders in the Building” found many long-standing mysteries resolved in the final episode of season 4. Could Loretta be in peril now? Which character might be the next target? Moreover, what could have driven Marshall P. Pope to kill Sazz?

The fourth mystery-filled episode of the Emmy-winning series, currently streaming on Hulu, opens with characters Charles (Steve Martin) and Oliver (Martin Short) perplexed about Mabel’s (Selena Gomez) silence after they informed her that Marshall P. Pope (Jin Ha), the screenwriter, is actually Sazz’s (Jane Lynch) protege. Simultaneously, Oliver frets over the possibility of Loretta (Meryl Streep) being their next target, while Mabel finds herself in a tricky situation, sharing an apartment with none other than this season’s murderer, Marshall P. Pope, whose true identity is revealed as Rex Bailey.

Mabel’s text to Charles warns, ‘Either contact the police or approach her door, and I’ll endanger her life.’ Peering out their window, they spot Mabel’s friend, Marshall/Rex, pinned down across the building. As Mabel pieces together that this is the very serial killer they’ve been battling throughout the season, she desperately seeks to stall him. To do so, she offers critiques on his script, which Molly Shannon’s character Bev had earlier in the season described as worsening with each draft.

Assisted by Westies (portrayed by Richard Kind and Kumail Nanjiani), Charles and Oliver navigate their path to Mabel. Upon arrival, they discover themselves trapped in a confined area with a shameless murderer possessing extraordinary agility, capable of leaping circles around them, all within the Arconia building.

In simpler terms,

In Mabel’s apartment, it doesn’t take long before the ex-stuntman gains control over the group. However, as he prepares to eliminate them all, he is suddenly shot by none other than Jan (Amy Ryan), who resides in Charles’ apartment nearby. The climax of Only Murders in the Building season four concludes with Oliver and Loretta getting married, while a woman portrayed by Téa Leoni seeks the trio’s aid in locating her lost husband. Furthermore, Lester (Teddy Coluca), the Arconia doorman, ends up being the casualty for season five.

As a gamer diving headfirst into the world of my favorite show, I can’t help but feel the thrill building up as John Hoffman, our showrunner, hints at the upcoming season connections that echo the pulse of New York. He shared this with The Hollywood Reporter recently, and let me tell you, I’m more than ready to follow where these city-inspired paths lead us!

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I want to start with Jan (Amy Ryan) shooting Marshall (Jin Ha). Talk to me about that decision.

There are certain events and instances that fill me with immense excitement when they’re initially planned and executed in a way I didn’t foresee. They make my entire year, to be honest, and those moments leave me utterly thrilled. During filming, Amy Ryan was present, wearing an odd outfit borrowed from another tenant. She sneaked in and apparently took a teacher’s best dress or something. I exclaimed, “What’s she wearing?” Then, when she gave her little salute with that wink and smile, I wasn’t ready for it. That was all Amy Ryan. So I said, “Well, that’s the most amazing thing I’ve ever seen.” I couldn’t believe she did it. And it was fitting for Jan. It was the perfect ending to that wild moment. However, in a brief moment of doubt, I wondered if we should perhaps take other shots without that just in case it seemed too much. But the more I saw it, the more I decided, “No, that has to be what we’re doing, and we’re not considering any other options.

The situation was both amusing and surprising. As she was being led away by the police, having allegedly taken someone’s life, she declared to Charles that they were destined for each other. Frankly, is that something you genuinely think could be true?

Indeed, I believe she does possess such qualities that could be seen as intimidating, yet I find myself deeply drawn to Amy and her character, particularly her madness and extraordinary abilities. Given these factors, my sentiments are akin to, “I can’t imagine ever wanting to part ways with her.” So, one might wonder, why shouldn’t Charles feel the same way at this juncture?

Let’s discuss the individual who committed the murder. I must admit, the revelation took me by surprise. Could you share your thought process behind choosing Marshall for this role?

I’m absolutely thrilled to learn that it worked out successfully for you! It’s a delicate situation because everyone reacts differently, and sometimes it’s tough to predict how they might feel. Some people jump right in, while others keep their thoughts hidden, making it hard to tell what they truly think. But the unexpected positive reactions always bring me joy.

The fundamental details were established right from the beginning of our brainstorming sessions. As writers, we needed to thoroughly understand every aspect of the events, and then gradually introduce layers of mystery and misdirection. However, we ensured that these developments remained consistent with what truly occurred, even though we couldn’t disclose the full story until later. For instance, Sazz’s tumultuous relationship with Rex, her former protege who went astray, was carefully woven into the narrative. I have a soft spot for Sazz because, despite their heated confrontation in episode nine over Rex’s actions on Project Ronkonkoma, she still extends him an opportunity to pursue his screenwriting aspirations. Our characters, both victims and perpetrators, receive compelling background stories that are rooted in human emotions rather than forgiveness. This is the first time we eliminated one of our antagonists, but given the character and his actions, it was a justified decision, I regretfully admit.

You mention it was decided early on. How many options do you talk through?

We’ve been exploring themes related to the current season and realizing that our journey had been leading us towards this particular movie, which features a stunt double for Charles. This connection seemed significant, though it is important to note that the stunt double stands in for Charles. Throughout the season, we delve into the reflections experienced by our trio, examining their doppelganger counterparts and various other aspects. However, what truly matters is that Sazz and Charles have a shared background in the film and television industry. This professional history became crucial when we began investigating Sazz’s past, trying to identify who might want to harm her. While it’s clear that the setup for season four involves someone targeting Charles and unintentionally threatening Sazz, the question remains: Who wants to eliminate Sazz?

Initially, there were numerous complications to deal with. However, once we concluded that someone was indeed targeting Sazz, it became necessary to determine how the concept of an apartment situated opposite her could have been orchestrated and who would be capable of such a thing. These details must be carefully worked out before penning episode one, as we won’t delve into these matters until episode 10. I find this plot development consistent with her character. What other relationships does she harbor? She is a woman of deep loyalty, evident through her relationship with Charles, which we have portrayed. Her aspirations extend to preserving the legacy left by her father for stunt people and establishing a trampoline park in Jersey. These ambitions are significant. Thus, I believe that the idea of pursuing all these objectives is heart-wrenching, and when attempting to assist someone who is deeply scarred, sometimes you end up caught in the line of fire, as we witness in this narrative.

In the second-to-last episode, the viewers learn about Marshall/Rex as Oliver and Charles locate Ron Howard, the director from Project Ronkonkoma.

And lots of other ones. (Laughs)

How did you decide on Ron Howard? I mean, why not Ron Howard, but also, why Ron Howard?

For years, I’ve been a huge fan of Ron’s work, and I consider myself fortunate to call him a friend. Currently, I’m collaborating with both Ron and Brian Grazer on a project we’re producing together. Given our connection, I found myself wondering if there was any chance that Ron could contribute to the project I was working on. Alas, it seemed impossible as he was already fully committed. However, a simple phone call with Ron turned everything around. He graciously reshuffled his schedule and provided us with not just one, but the two crucial days we required. Truly, Ron is an exceptional individual who goes above and beyond for his friends and collaborators.

What were the conversations with him like about the part?

The discussion often revolves around his performances on the show, where many actors portray themselves. He’s appeared as himself quite frequently across different projects, and most recently in something I won’t disclose to avoid spoilers. The conversation was essentially about finding the right balance: he didn’t want to unintentionally overshadow others or create confusion regarding his actions. It was a considerate conversation, and I admire his current project. I initially thought our creative paths were divergent, but he concurred, which was reassuring. This agreement brought clarity to the situation.

Hey there! Remember our chat last year? We were in the middle of it when I heard about your show’s renewal for another season. This time around, we had a bit more notice. So, I’m curious: How did you come up with Lester as the next character to write off in the new season?

Wow, what a challenge this decision presents! So many aspects need to be considered, and it’s all about discovering new angles for the season’s narrative. We ponder over which facets of New York, our characters’ lives, or the building’s history we haven’t explored before. Plus, there’s the intriguing aspect of connecting with someone familiar. It’s a complex situation in many ways, but it promises plenty of unexpected twists. And let me tell you, working with Teddy Coluca has been an absolute joy since season one; he’s just fantastic!

Instead of calling him to discuss the news and check on his reaction before sending him the script, I regretfully missed that chance. The next day, I ran into him in the hallway after he’d read the script, and it seemed like he broke down in tears. So, I said, “Teddy, no! No, no, I love you,” trying to comfort him. In the show, as with Jane Lynch, whom I greatly admire, our characters continue to have a significant impact even after they’ve been affected by something tragic. As a character who has experienced this, Teddy is not escaping from that building any time soon. This emotional choice was powerful, and it sets up some intriguing developments for season five, serving as a surprising twist at the end and potentially leading to more captivating twists in the future.

“Just like always, Sazz’s last words circled back to Charles, which brought a smile to my face. Was it your intention all along for her parting words to be about him?”

I think that happened in the midst of developing the scripts. Episode two was very potent. Kristin Newman wrote a beautiful episode called “Gates of Heaven” that dealt really specifically with Sazz and Charles’ relationship in ways that we hadn’t really seen. It’s a great visual joke. It’s a delight to watch the two of them interact and mirror each other and all of those things. But when we got a little deeper with them, and when we started looking into stunt artists and their relationships with the people that they work with most intimatel over years, that idea of an actor being a stunt person’s number one — he’s my number one — it gets me choked up even thinking about that being her last words. Once I heard it, and knowing once we also landed on what she was writing on the floor, then it all connected that it would compel a story to her friend to say, “I believe in you again, still and always.” In that moment, it felt very potent to tell directly to her killer as her last words.

Mabel remarked at one stage that the movie script could be seen as a love letter Sazz wrote to Charles. Similarly, this season can be interpreted as a tribute to both Sazz and stunt performers. How did it feel to narrate her story, given your enthusiasm about it last year, and tell the entire tale of stunt doubles?

In this movie lies a personal love letter from Sazz to Charles. The transformation he underwent in his life, particularly through podcasting with two eccentric individuals he discovered living in his building, sparked an idea in her. This idea was that she didn’t have to continue suffering from osteoporosis passively for the rest of her life. Instead, she decided to take action, unsure if it would work but determined to try. Using this inspiring experience as a catalyst, she chose to express herself through a love letter…and a film.

In episode four, we delve into the secretive world of stunt doubles, where if you immerse yourself in their research and lingo, you’ll encounter phrases like “You’re just a face.” This term signifies that a stunt double can be replaced if they reveal their identity by exposing their face – this is akin to being ruled out for future shots because viewers now recognize the stunt person. The stunt industry is an intricate, labor-intensive one, filled with unacknowledged contributions and perilous risks taken for others’ fame. It’s fascinating to me how deeply these ethical considerations shape their work.

I was eager to pay tribute to it. In essence, this whole season seems like a heartfelt tribute to films and cinematography. Just as we explored various theater themes in the previous season, this one delved into the world of film from every angle – at times, we paid homage to movies within an episode; other times, an entire episode felt like a single movie; often using film itself as a medium; venturing behind the scenes in episode nine; and witnessing Sazz’s work for the first time, which was a highlight not only in episode nine but also at the end of the finale. It was all quite thrilling to acknowledge.

One of my queries was about how each episode seemed to evoke a distinct cinematic era in its underlying themes.

We pay close attention to each episode we create. I often ask myself, “What makes this one unique? What story are we trying to tell here? Which moments will stand out in memory?” It’s satisfying when someone recognizes an episode based on its distinctive features rather than just the details of the plot. This approach applies to films for me. While some people can recall a vast array of movies, I don’t. However, there are specific ones that when described, immediately resonate with me as exceptional, memorable experiences. For instance, “Young Frankenstein” during the “Putting on the Ritz” scene is one such film that left a lasting impression. It was the most hilarious moment I’ve ever experienced in a theater, and remains unparalleled in my memory.

Towards the end of season five, with the identity of the next victim still unknown, I found myself quite anxious, fearing it might be Lorella (Meryl Streep). Could you elaborate on the reasoning behind this choice?

We imagined you, for sure. We all felt that way too. It was like, “Oh, the audience is going to be seeing this one.” And so when Oliver, right up top is talking, “Now, why would you say that? Loretta’s just on her way now for my wedding, of course, we’re going to kill her. That’s just so us.” (Laughs) I wanted to hold that, but I also knew, unavoidably, it would just be there. So there are certain things I just can’t do, and one of those things I can’t do is kill Meryl Streep. Granted, she has many other things she will be doing and should be doing, and yet, every time we even begin to have a discussion about anything like that, or her ending her time with us, I say, “Stop talking. I can’t talk about this.” I can’t promise that might be true, forever, but for this season.

Is Loretta’s departure at the end of the season intended as a strategic move to allow Streep flexibility for other projects while keeping her character relevant in the narrative? Or is it simply an opportunity to delve into her experiences in a new and distant location like New Zealand?

As a huge fan, I can’t help but share my thoughts on why the decision to film a certain scene in New Zealand appealed to me so much. While there were numerous factors at play, what ultimately drew me in was the authenticity and humor it brought to the industry. It’s no secret that productions often seek out cheaper locations or fresher talent overseas, and this choice seemed to be a nod to that trend.

Meryl Streep and Melissa McCarthy have a fight in episode seven.

Was there more than just that single push, or did it stop there? I’m a bit unsure about what happened next. Could it be that there were additional pushes? (Laughs)

Could you describe the atmosphere during filming, and how did Melissa and Meryl respond when they first encountered this scene in the screenplay? I’d appreciate a step-by-step account.

Prior to commencing filming season four, I arranged a meeting with Meryl Streep to discuss her role throughout the season. Given that we had her for three episodes, we needed to strategize how to use her effectively. She then suggested dinner with Martin Scorsese, and it was agreed upon. During this meal, I mentioned the upcoming intense argument between her character and Melissa McCarthy’s character. Upon hearing this, Meryl excitedly declared, “I’m taking this one!” This confirmed that she was ready for the challenge. When I discussed this scene with Melissa, she responded enthusiastically, expressing her eagerness to participate in this significant conflict with Meryl Streep. Thus, we were confident that everyone involved was on board.

After consulting with our stunt person Chris Barnes, along with two skilled stuntwomen, we discussed and prepared an impressive fight sequence. I initially thought it was a bit too intense, but decided to gauge their comfort level. We tried it out during rehearsal on set that evening, and Melissa and Meryl both appreciated it, commenting it was “very good” and “funny.” They then glanced at each other and simultaneously suggested, “We’d like to push it even further.” I was taken aback and responded, “What? You want to go further?” To which they replied, “Yeah, we’d like to take it a step further.” So, I paused for a moment to ensure everyone was on the same page.

After witnessing the scene they were filming, I found myself thinking, “Meryl, this stunt where you flip a couch over your head will be repeated multiple times, and it’s too risky for me to watch.” That night, I decided to step back and let them take control. I was with the Director of Photography (DP) and directors Shari [Springer Berman] and Bob [Robert Pulcini], who managed the situation exceptionally well. Everyone pitched in because they could sense that this night on set would be extraordinary, given the large number of people present. As I watched, I was amazed by their performance – they were fully immersed. Although I was terrified something might go wrong, when I could watch, I was struck by how experienced these women were, knowing exactly where the camera was even with a moving, handheld camera. They made subtle adjustments while still performing, ensuring we didn’t miss any important shots or angles. It felt like a professional night par excellence.

Could we discuss a possibility raised by Eva Longoria, Zach Galifianakis, and Eugene Levy in the same episode? They hinted at the idea that the murderer might be someone who has been present since the start of the series. Although this wasn’t true for this season, is it an intriguing concept you’d consider developing further in future seasons?

The topic has been raised earlier, and I do believe some questions were addressed in episode eight regarding the suspicion and anxiety stirred up by their podcast in season one. However, there are still many unanswered aspects to it. In our series finale of season one, Mabel mentioned on the rooftop with Charles and Oliver that she felt there were a few loose ends left untied. Every murder mystery has its loose ends, and things are rarely neatly wrapped up. I appreciate such ambiguity, which is why we’re keeping many theories about these unresolved aspects alive and well.

In our previous conversation, you expressed a strong interest in having Paul Rudd rejoin the cast in some way. You successfully achieved this by casting him as Glenn Stubbins. Could you elaborate on how this decision was made? Additionally, I find it amusingly ironic and comical that Paul Rudd was brought back only to be killed off once more.

As a gamer, I’ve got a soft spot for Paul Rudd – almost as much as I adore him in our beloved TV series and real life. I can’t express enough my affection for that guy, and the fact that he seems to enjoy our show and the whole experience just makes me even happier. Who knows where this might lead, but knowing Paul’s knack for circular jokes, I’m keeping all cards on the table when it comes to his future roles. It’s a mix of sorrow and excitement to see him move on. In episode nine of this season, while filming his hospital scene, we were all chuckling over his lines and adding some improv. Then, suddenly, we’re watching it. Performing the whole scene required total belief, which we’ve cut out here. Watching the entire scene, he was simply brilliant and convincing. It was tough to watch, but boy, was he good!

As each star’s casting for season four was revealed, it seemed like a whirlwind of excitement. I’m curious, how were you able to attract such big-name actors, and might we see them return in future episodes?

The influx of talented individuals wanting to participate in our show broadens possibilities significantly. The addition of Meryl Streep and Paul Rudd in season three significantly impacted the volume and quality of calls we received for our program. As a result, I had to decline several potential candidates for this year. Interestingly, more calls have been made since then.

In the last episode of the series, it appeared as if they were subtly suggesting a mafia-style, film noir narrative for the upcoming season. Could I be mistaken? Can you clarify this for me?

I’ll say this. There’s certainly… there are two beats in the end of the season, in episode nine and episode 10, again with the great Téa Leoni, who I love. There are connections to be made with the very last beat of this season and that storyline, and I’m excited to go in that direction that feels particularly New York in certain ways. But also, I’m really excited to explore, what does that look like today? And, what new thing can we say about all of that that will feel both fun and enlightening, and a little bit resonant in ways to actual events around New York and our world today in ways we haven’t done before? That gets me excited.

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Only Murders in the Building season four is now streaming its full season on Hulu.

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2024-10-29 19:26