When it comes to making prestige TV in the streaming age, Michelle Williams is two for two. The first television project she drove and played in, 2019’s “Fosse/Verdon” from FX, got her an Emmy for actress in a limited series and a nomination for the Best Limited Series. Six years later, she has raised two more nods in the same categories for another FX production, “Dying for sex.” “I’ve been very happy,” she said humbly when asked about her track record. “I couldn’t believe I got to have this kind of material. I just wanted to be as good as writing.”
William’s stars like Molly, a woman in a stagnant marriage that begins an quest for sexual discovery after she has been diagnosed with terminal phase 4 breast cancer. The series is based on the 2020 Wonderry podcast with the same name where Molly Kochan and her best friend, Nikki Boyer, explore Kokan’s experiences, and it was adapted for TV by “The Dropout” And “New Girl” creator Elizabeth Meriwhether and his colleague “New Girl” Alumna Kim Rosenstock.
Ferty moves between tragedy, comedy and kink, Williams gives the type of depth, nuanced performance that has given five Oscar nominations and made her one of the most acclaimed actors in her generation. It was a workout for her in the very best way. “I love Liz’s sensitivity so much, because it’s the fun thing that hurts,” she said.
To develop your version of Molly, how much did you Draw from the real woman you knew from the podcast and how much did you make her your own?
It was really a combination. I was so overwhelmingly moved and inspired and unarmed by the podcast that I kept the real Molly and the real Nikki on the inside of my heart. It was my very strong desire to get as close to them as possible and at the same time admit that writing on our show takes some huge imaginative leaps and departures from the podcast itself. So I lived between these two places.
The relationship between Molly and Neighbour Guy (Rob Delany) blooms in such a natural way, and it was refreshing that he was not eclipse Nikki (Jenny Slate) as the most important person in Molly’s life. We are so adapted to the romantic love relationship that takes over in a story — but here, It is the women who are Platonic soulmates.
Yes, it is about how passionate female friendship can be. I know what it has been in my life, how central my female friendship is in my life and it really touched me. But it had not really been said (in this way in movies or TV). That’s what we were all there for. What we all gathered around was the love that existed between these two women, that they were undone in the podcast, and it was the spirit that had touched us all to meet and do this. So it really ran through each of us. Jenny’s devotion to the material was so obvious from the moment that we met her.
Molly’s courage is central to the series. She lets herself be vulnerable in her exploration of her sexuality and drives beyond what feels familiar to her. When you played her, did you feel vulnerable?
Yes, yes. There were many things that I had to take a big, deep breath before I did them and go into this space where the worst thing that can happen is that I embarrass myself. For example, I remember one of the first masturbation scenes I did. I felt vulnerable or nervous or scared or alone or something. I don’t know. I only had a lot of emotions.
And there is the stage where Molly masturbates and neighbor guy on the other side of the wall also masturbates. And I asked Rob, “Would you mind being there with me? Like, would you do, basically, masturbation outside the camera? Would you just be with me so I’m not alone?” And he said yes. That’s what I needed. It meant so much to me. I had many feelings of it, and then he was there and masturbated right by me. Now it’s a stage partner. (Laugh) One of one, that guy. One of one.
Sissy Spacek plays Molly’s mom, Gail. Their relationship is complicated, so You have to do some juicy scenes with her (including one where gail Going into Molly while peeing on a guy dressed in a fur dog costume). It must have been exciting.
Oh, God. (Sighs happily) I think any part of me is frozen in time. Shortly after pee on the puppy, this huge struggle opens between the two. It was a moment … How do I say this? How do I formulate this? I experienced the truth in that woman’s eyes in such a powerful way, but it is like a laser and it is attached to me to a moment in time. I go back there as often as I can to look in her eyes again. That’s how I say it. (Laugh)
After I stopped seeing about the series to prepare for our chat I went in my garden and my neighbor blasted “heart and soul”, as Playing in the final (During Molly’s last moments of energy before she dies, called “rally”). It’s not a song that I hear very often. I’m usually not one to read into things, but it was like Molly was there and said hello or something.
It just gave me chills. As my hair gets up on my arm. I’ve always loved that song. For decades it has been my driving, song-in-car song. And when it came up in that section, they were looking for a rally song. Immediately I was as “t’pau,” heart and soul! “” I was so excited that this thing I have carried on because my personal motivator was useful in this context. Yes, that’s my jam. I hope it now becomes known as the anthem that it rightly deserves to be.
This story first ran down to the Wire Drama issue of Thewrap’s Awards Magazine. Read more from the question here.
