Only Murders in the Building Official Podcast – S3 E3: Grab Your Hankies (Part 1) August 16, 2023 | Host: Michael Cyril Creighton (Howard), Hulu
Episode Overview
This episode dives deep into the making of "Grab Your Hankies," the third episode of Only Murders in the Building season three. With the writers and actors unable to participate due to external factors, hosts Maggie Bowles and Ryan Tillotson instead chat with co-creator/showrunner John Hoffman and director Adam Shankman, alongside production team members. The episode is a revealing insider’s look at new musical ambitions, behind-the-scenes adaptations, unique set moments, and the emotional core that ties the show together.
Key Discussion Points and Insights
1. Recapping Episode 3: Plot and Clues
- Plot Highlights ([01:32] – [03:25]):
- Kimber’s voiceover starts the episode.
- Oliver, Howard, and Jonathan try to save "Death Rattle Dazzle" and need a showstopper song in three days.
- The trio revisits suspects; Kimber seems particularly suspicious.
- Charles investigates missing hankies, while Mabel and Detective Tobert snoop in Ben’s penthouse, discovering new clues and a possible romantic spark.
- Ultimately, a nanny’s lullaby, not the bombastic original number, becomes the musical’s emotional anchor.
- The episode ends with Oliver and Loretta sharing a kiss and Cliff deciding to keep producing the show.
2. The Genesis of the Show’s Musical Element
- Collaborating with Top Talent ([06:40] – [09:08]):
- John Hoffman excitedly discusses how composers Benj Pasek and Justin Paul (of La La Land) and Sara Bareilles came on board, thanks to a fortuitous connection through writer Sass Goldberg.
- The creative team discusses how songs must serve the plot and character arcs, involving even more big-name composers like Mark Shaiman, Scott Whitman, and Michael R. Jackson.
- The arrival of a new, young director of photography (Kyle Volschlager) and a fresh directorial slate is also highlighted.
John Hoffman [07:55]: "For the first song in the season, the Nanny’s Lullaby, 'Look for the Light'... Pasek and Paul, Sara Bareilles... just a great collaboration. Unbelievable."
3. Meryl Streep’s First Encounter with “Look for the Light”
- A Memorable Moment ([10:24] – [11:18]):
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John shares Meryl’s reaction to hearing "Look for the Light" for the first time in a Zoom session:
John Hoffman [11:05]: "Meryl on her zoom, literally just toppled out of the frame. She was so blown over by it, bowled over by it. And we all were."
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He credits Sara Bareilles, Pasek, and Paul for crafting such an emotionally resonant piece.
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4. Integrating Music without Making a “Musical Episode”
- Balancing Story and Song ([12:19] – [13:26]):
- Hoffman explains their conscious choice to let music be organic, meaningful, and embedded in the reality of the show—never breaking the fourth wall for song-and-dance numbers.
- The Nanny’s Lullaby is performed live on set for authenticity, overseen by musical director Ian Eisendrath.
John Hoffman [15:00]: "That she [Loretta/Meryl] will deliver a song—the direct opposite of [the showstopper Oliver wanted]—but that gets to the heart of the show. That was the brief given to Pasek and Paul and Sarah, and they produced that song which just bowled us all over."
5. On-Set Magic: Recording the Lullaby
- Performance and Process ([15:26] – [17:14]):
- Most of Meryl’s song was performed live on set, mixed with studio tracks for seamless experience.
- Meryl embraced the process, enjoying multiple musical takes, and stunned the cast and crew with an emotional, authentic performance.
John Hoffman [16:24]: "That day was magical because it’s Meryl Streep... actors were a mess watching her sing that song over and over... She came to me and said, 'I’m having the best time.'"
6. Arconia Apartment Realities
- [18:15] – [20:01]:
- Listeners are treated to insider real estate trivia: Ben’s apartment is Amy Schumer’s former place, mentioned as an in-passing joke.
- Jan and Tim Kono’s former apartments are discussed as problematic listings in a building with a notorious history.
7. Directing Episode 3: Adam Shankman’s Process
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Preparation and Clues ([20:30] – [23:58]):
- Shankman reveals his high-energy, pre-visualized approach: “I’m definitely not a lazy director... I have it in my head already.”
- As a guest director, he executes story and clue moments as instructed—sometimes without knowing their narrative significance:
Adam Shankman [22:44]: "I [tell the showrunners], just tell me on the day if there's a specific shot that you need in order to help episode eight... I don’t need to know why, just tell me how to do it."
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How He Got Involved ([21:52]):
- He texted Steve Martin after season two, joking about wanting to direct an episode, which directly led to his involvement.
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Musical Sequence Logistics ([24:13] – [26:57]):
- Shankman red-flagged the lullaby as a major production challenge, requiring more music than originally provided, leading to additional song-writing and careful planning on how to film the final scenes.
Adam Shankman [26:57]: "It was like having this really kind of fun, fun puzzle... so by the time editor Peyton got it, he was going to have a lot to play with."
8. Directing Martin Short’s Vulnerability
- Romance, Drama, and Quiet Intimacy ([29:30] – [32:23]):
- Shankman describes the piano scene with Oliver and Loretta as a masterclass in vulnerability and chemistry.
- He praises both Martin Short and Meryl Streep for approaching the scene with subtlety, authenticity, and understated emotion.
Adam Shankman [29:30]: "It was a moment of vulnerability... and also the first very obvious sign that sparks were flying between them."
- Shankman loves directing dramatic scenes:
Adam Shankman [31:27]: “He [Martin Short] could be a silent movie star because it happens on his face and in his eyes..."
9. Meryl Streep’s On-Set Generosity
- Going Beyond the Call ([35:30] – [38:52]):
- Shankman recounts how, after wrapping her side of the lullaby scene, Meryl stayed on set in costume, repeatedly singing off-camera for the benefit of her castmates’ performances.
Adam Shankman [36:28]: "She proceeded to sing every take, every camera angle, full-on, out loud, crying. Every single take, not just off-camera, but behind the cameras..."
- The emotional authenticity in everyone’s reactions was real, heightening the impact of the scene.
Notable Quotes & Memorable Moments (with Timestamps)
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On getting Pasek & Paul involved:
"They texted back—we're in." — John Hoffman [12:14]
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On Meryl hearing the lullaby for the first time:
"Meryl on her zoom literally just toppled out of the frame." — John Hoffman [11:05]
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On live musical performances:
"We let the actors sing and perform the song in the space while we're shooting... It's a weave of live singing with track recording and the mix, but it's all seamlessly put together." — John Hoffman [15:26]
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On Meryl’s presence:
"She never even got out of her drag... singing in full out with Ashley, so it was a pretty remarkable thing." — Adam Shankman [36:28]
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On directing Martin Short’s drama:
"He could be a total... he could be a silent movie star because it happens in his eyes." — Adam Shankman [31:27]
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On approaching the set:
"I am not a lazy director... there's very little random." — Adam Shankman [20:39]
Important Timestamps
- 00:28: Show intro and guests announced
- 01:32: Episode 3 plot recap
- 04:11: John Hoffman describes the murder mystery plot within the play
- 06:40: Discussing new musical talent and creative collaborations
- 10:24: Story behind “Look for the Light” and Meryl’s first reaction
- 12:19: On integrating music—musical vs. musical episode
- 15:26: How they recorded the lullaby with Meryl on set
- 18:34: Real-life Arconia apartment trivia
- 20:30: Director Adam Shankman joins; on his approach to directing and clue management
- 24:13: Shankman discusses preparing for musical sequences
- 29:30: Insight into the piano scene’s vulnerability and romance
- 35:30: Shankman recalls Meryl’s selfless off-camera singing and its emotional impact
Tone and Style
The episode is witty, warm, and filled with awe at the artistic talent on set. The speakers are candid, effusive, and precise when honoring their collaborators, especially Meryl Streep’s dedication and the show’s ambitious musical turn.
For Fans & Listeners
This is a must-hear episode for anyone fascinated by musical storytelling on TV or the collaborative magic that sets Only Murders in the Building apart. It’s especially rewarding for fans of Meryl Streep, behind-the-scenes process, and the inner workings of great ensemble performances.