An Interview with “Only Murders” Co-Creator John Hoffman

The award-winning TV show Only Murders in the Building is back.

This fifth season breaks format a tad with a murder discovered outside the building — in the courtyard, to be exact, where podcasters Charles-Haden Savage (Steve Martin), Oliver Putnam (Martin Short) and Mabel Mora (Selena Gomez) discover the body of doorman Lester (Teddy Coluca) in the fountain.

The season’s surprises, cameos, and grace notes are best discovered fresh, but here’s what we will tell you: Along with the core trio and recurring cast members, season five boasts a next-level roster of A-listers, including Téa Leoni, Renée Zellweger, Christoph Waltz, Dianne Wiest, Logan Lerman, Keegan-Michael Key, Beanie Feldstein, Bobby Cannavale, and, yes, Meryl Streep as Loretta, whose wedding to Oliver in the season four finale was an emotional highlight of the entire series.

We spoke with series co-creator John Hoffman about the upcoming season, how Only Murders became Hollywood’s quickest “yes” for actors who do not normally do television, and how Lester’s death underscores one of the series’ most resonant recurring themes.

Donald Liebenson: When did you land on Lester as last season’s victim?

John Hoffman: It wasn’t until toward the end of season four. I always have a small list of potential victims and what their death would mean for the show. How much do we care about this person? I’ve loved Teddy Coluca ever since he came in to audition as Lester. In my estimation he is the soul of New York. I found him to be a connective actor; you feel a Teddy.

DL: His death underscores some of the series’ most resonant recurring themes: connection and encroachment on old New York.

JH: Lester was the classic New York doorman and a role which is very full of possibility for those themes. While making the show, I’ve been living in a great, pre-war building with a doorman, and I notice the feeling every time I walk in — a feeling of security and a connection. That feels deeply old school New York in a way that points to respect and devotion to a job. And his murder felt like a great opportunity to talk about that in contrast to what is happening to ownership in New York. Lester was a beloved character who was the eyes and protector of our stalwart Arconia and has formed decades-long connections with the trio and the other residents.

DL: The series has boasted some incredible guest stars, but the casting for season five is especially exceptional. Was Meryl Streep joining the cast in season three a game-changer for the series in attracting actors who don’t normally do television?

JH: She helped a hell of a lot. I’m looking to cast characters and the best actors to play those characters. Meryl came to us, which no one expected to happen. All I care about is making a good show, a good story that makes sense, and most importantly making sure everyone you’re so privileged to be working with is happy doing the stuff they’re doing. I found that to be the case with her. I was thrilled with how everything played that third season. From the moment she was going to be a part of the season, it was like a very strong kick in the ass, like, ‘Step it up, fella.’ I think that spirit emanates through the screen.

DL: You’re looking for the best actors to play specific characters. This season you literally have four Oscar-winning Best Actors to show for it. Has it gotten easier to approach such distinguished actors?

JH: Actors sense that everyone here is having a fantastic time, but they don’t lean in unless they see complex characters they can have fun with. And we are very fortunate that our three stars are brilliant magnets. So now I will go to a Renée Zellweger, a Christoph Waltz, a Dianne Wiest, and to my utter delight, they say yes.

DL: Richard Kind, who was introduced last season as one of the Westies, is back. Was his character necessary to the story you wanted to tell, or do we all just love Richard Kind and you had to bring him back?

JH: [Laughs] Richard Kind is a necessity at all times. I’ve known him for years and he has paid off in ways that only he can as far as the spirit he brings to the set and his character Vince Fish brings to the mix of our tenants. He’s just pure gold.

DL: No spoilers, but episode two is one of my favorites in the series. I look forward to the episodes that tell the backstories of the victims and flesh out our understanding of them.

JH: The show is built on a very podcast type of storytelling, chapter by chapter. We are able to step outside of the narrative flow at times. We do it earlier this season than we usually have. It takes us into places that feel bigger, that provide a moment to step back to see where we have missed opportunities for connection. That feels lovely, and passing glances at people we love seem very much a doorman experience.

DL: Again, no spoilers, but there are a couple of lovely scenes later in the season, one between Meryl and Dianne Wiest, and another between Meryl and Martin that takes place in a theater. On those days, do people not on the call sheet show up just to watch?

JH: The scene between Meryl and Dianne was very special. But it was also one of those days where I told people to back away and let the actors do their work. We made a room for them where they could just sit and be with each other, but I would pop my head in because I was selfish. I was looking to do whatever I could do to make their jobs easier, but I also just wanted to be there.

DL: In season one, these three strangers bonded over true crime podcasting. As the series has progressed, have the characters’ journeys surprised you?

JH: Over and over and over again. There are so many unexpected turns, like the depth of feeling Martin Short has brought to what looked like a classic purely comedic swing for him as Oliver Putnam in his romance with Meryl’s Loretta. Mabel has quietly stepped out of the feelings of trauma that she was carrying. There is an ease and openness in her partnership with these two men that feels like a new lane for her. I’ve heard that the droll lacerating way she cuts those two guys at the knees is a millennial thing and I say no, It’s a Selena Gomez thing. I tell her all the time that nobody plays the moments of quiet discovery that we need for our show investigatively; putting two and two together and understanding anew what just happened. She is remarkable in these moments that she creates. It’s a classic movie star thing, the camera loves her and her wit and cleverness as an actress. It’s amazing to watch.

DL: You co-created the series with Steve Martin. Can you talk about your collaboration?

JH: The most inspiring part of my job is watching his engagement with his character and the material after the brilliant career he’s had. He is always in my ear with “What ifs.” He’s like a surgeon preparing for an operation. He’s doing things in this show that I think are underestimated. [In one scene] that’s Steve masterfully shuffling a deck of cards. He worked with Michael Weber, co-founder of the consulting company Deceptive Practices; they’ve been friends for years. He had to get his hands ready, just as he’s been working the banjo, he’s been working cards this year. I don’t feel like this is a swan song for him. I feel him going for more and aiming higher.

The initial three episodes of season five of Only Murders in the Building drop September 9 on Hulu, with the remaining seven episodes airing weekly.