When it comes to bold, raw, and unforgettable stories, Michelle Williams knows how to pick them. And her latest choice is earning her awards buzz yet again.
The five-time Oscar nominee and 2019 Emmy winner for Fosse/Verdon is back in the spotlight with FX’s Dying for Sex, which scored nine Emmy nominations, including one for Williams’ heartbreaking — and often hilarious — portrayal of late podcaster Molly Kochan. Diagnosed with metastatic breast cancer, Molly leaves her husband of 15 years to embark on a journey of sexual exploration and self-discovery. (The real Kochan died in 2019.)
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As both the star and a producer of Dying for Sex, Williams spoke with Gold Derby about shaping the show’s distinctive tone, fostering a collaborative, woman-driven set, and embodying a character who confronts life, love, and loss with fearless honesty — and a dash of wit.
Gold Derby: First off, congratulations on your Emmy nominations and the show’s incredible nine total nods.
Michelle Williams: Yeah, how exciting. That was really the most exciting news, to see the show recognized across so many categories and to feel like what was so unusual — and not lost on me — was how many women in positions of power there were, in directing and producing, in costumes, in showrunning. So that was a really exciting moment for us. The threads were really popping that day.
You’ve been through this before with Oscar and Emmy nominations. Do Emmy mornings feel different than Oscar mornings?
I suppose what I would say is that it’s changed as I’ve gotten older because you realize how extremely difficult it is, first of all to get something made; second of all to make something that people like; and third of all to make something that has found its way into a conversation about awards. As time goes on, it feels more and more miraculous each time.
How did it feel different being a producer this time?
That felt very different for me. I felt like I had my arms wrapped around the entirety of this project. To see how encompassing the recognition was for all of the people that I loved and worked with so closely and worked hard to make a safe and equitable workplace — that did have a little special touch for me.
Jenny Slate and Rob Delaney both earned acting nominations as well. How did their comedic backgrounds enhance the show’s tone?
The tone of the show is so strange, and it may not be for everyone. People were signing on after reading one or two scripts and then going into uncharted territory that dealt with sex, death, grief, and female friendship. When Jenny put her hand up, when Rob put his hand up, when Sissy [Spacek] put her hand up, I thought, oh my gosh, maybe this isn’t as niche as I thought it was.
The series weaves together heartbreaking and hilarious moments. How did you balance that?
There was a lot of conversation in the beginning around, “What is the tone here?” We could never really answer that. So we just decided that the tone was this mashup and that it could be multi-directional and it could be hitting your funny bone where it hurts so good.
Rob Delaney plays Neighbor Guy. What was it like to build that unique relationship with him?
I can’t think of a lot of men who would want to show up to a show about women — and their name is Neighbor Guy — and yet there he was, all in. We went to each other’s most vulnerable places, and I hold those memories incredibly dear. What a tremendous partner I got to have.
Your co-stars said you created a warm atmosphere on set. What’s important to you about leading a set?
I’ve been doing this since I was 12, so I’ve had a multitude of experiences. For me to be a lead now means that I get to have a hand in creating what I think makes enough space for people to do their best. We can’t control the outcome of the show, but we can ensure the experience for the 120 people employed on it. That’s one of the things I’m most excited about right now.
How has Molly’s story impacted you?
She continues to move me. It comes down to human bravery and how she faced the news that, by the way, we’re all going to get. I try not to dwell upon it too much, but it definitely crosses my mind and I hope that I use her memory as an example.
The final episode was heartbreaking. What was filming those scenes like?
When Episode 8 landed, there was a big collective cry. We were all in awe of what Elizabeth Meriwether and Kim Rosenstock had conceived of as our goodbye. As actors, you’re excited to work on that material. And as people, you feel the sadness of the impending separation.
The show is also very frank sexually. Do you think it could have been made 10 or 15 years ago?
I don’t know that it could have. I don’t know that we would’ve been able to liberate a woman on these terms and rejoice in her feeling sexual pleasure without shame and judgment. It’s a “now” story.
Who inspired you when you were starting out?
I love this question! Samantha Morton, Emily Watson, Gena Rowlands, and obviously Meryl Streep. I was coming of age in such an exciting time for independent cinema. I was influenced by the women in Paul Thomas Anderson films. And the Dogme 95 wave hit me hard. Those sort of became my heroines.
Another co-star of yours, Jay Duplass, thinks you should do more comedy. Will we see that?
I want more Jay. That man — wow. What lessons he gave me. I was like, “Why is he doing so little and it’s so funny?” It’s just his extreme bar of talent. Please tell Jay that I would like to go work with him and learn from him. That’s a yes. I hope he comes knocking on my door.
This interview has been edited for length and clarity.
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