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While her infamous “ shitting in the street” moment was mostly just stressful - you try sliding to your knees in a wedding gown across a full lane of traffic - she fondly remembers the setup of everyone sweating through food poisoning before all hell breaks loose.
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Then again, Rudolph’s also partial to less glamorous comedic turns, like so many of the scenes in “Bridesmaids” that made the movie such a standout 10(!) years ago. “Whether I realized it or not, I was watching these women that I wanted to be, who were gorgeous and funny - which to me is the ultimate combination of perfection,” she says. Rudolph didn’t have to know exactly what Kahn was imitating to know that she was always, as Rudolph puts it, “the beautiful woman doing something hilarious.” Later, as she became more aware of comedians like Catherine O’Hara, Gilda Radner and Jan Hooks, she realized this niche of comedian was her ideal. Growing up with Mel Brooks films as a household staple, Rudolph would watch in awe as Kahn outshone everyone else as an impetuous empress, a jaded madam, a film noir heroine climbing out of a pristine Cadillac in a matching jumpsuit. Take Rudolph’s comedic idol Madeleine Kahn, a forcefully funny woman whose impeccable glamor came arm-in-arm with her ability to make every line a standout. And while her flowered smock isn’t exactly the crisp white button-down for which Stritch became famous, Rudolph draws inspiration from brassy broads like her who insisted on being themselves, expectations be damned. Her distinctive voice turned down from 11, she blinks into the Zoom camera through clear-rimmed glasses, her dog Daisy curled in her lap. I’m just going to become Elaine Stritch and wear a shirt.”Įven over Zoom, Rudolph already seems perfectly content with this ethos. My thighs haven’t seen pant legs in a year. “And I no longer have a waist, so there’s that. “Heels and I were already on the outs, but now we’ve gone our separate ways, which is fine by me,” Rudolph laughs. On a smaller, more immediate level, that just might mean wearing whatever the hell she wants.
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On a macro level, that might mean taking on fewer projects even if she loves everyone involved in them. “Something that I feel has been a big awakening for me as I look at work is what makes me happy, what makes me unhappy, and how do I establish those boundaries?” she explains. Speaking from her home in Los Angeles a week after hosting “SNL” for the second time, Rudolph is contemplative about this potential turning point in her life and career. “It took a toll, and I was tired.” So when the opportunity came for her to pump the brakes, she gratefully did. “I was just saying ‘yes’ to everything,” she sighs. (The only reason she lost the third was because she had been nominated twice in the same category.) But the constant stream of obligations left her exhausted, burned out by her own enthusiasm for being a part of as much as possible, as often as possible. “bwuuuuhbble bayaaaath”).Īll three of those roles landed Rudolph Emmy nominations and then her first two wins in 2020. “bubble bath”) into a luscious dessert (e.g. Her malleable voice had become ubiquitous across the wide world of animation, especially with her portrayal of a gleefully filthy “hormone monstress” on Netflix’s “ Big Mouth,” a brilliant showcase for her ability to turn any single phrase (e.g. She had once again become an “SNL” mainstay to play then-Senator Kamala Harris, while her portrayal of a goofy, almighty judge on “ The Good Place” made her one of the show’s most memorable guest stars. I feel less ashamed to admit that I would like to go a bit slower.”īefore the pandemic hit, Rudolph was booked solid. “I was weirdly well on my way to retooling, and I think I’m still there. “Before any thoughts of quarantine, I was feeling very burned out,” she admits.