Martin Short on Emmy Noms, Steve Martin, and a Late Bloom into Show Business
A celebrated comedic actor, Martin Short, 75, is enjoying a remarkable career moment with nominations for both his role in “Only Murders in the Building” and his hosting gig on “Match Game.”
Martin Short has built a career on inhabiting larger-than-life characters, from the manic energy of Ed Grimley to the flamboyant, perpetually failing Broadway director Oliver Putnam in Hulu’s hit series, “Only Murders in the Building.” This summer, the Canadian-born actor has added another feather to his cap, becoming eligible for an Emmy in a new category as the host of ABC’s revival of “Match Game.”
“You reach a point where you’ve done everything,” Short said recently via Zoom, reflecting on taking on the game show role. “But you haven’t done that. It could be fun—or it could be a big mistake. And that kind of challenge is still provocative to me.”
The recent Emmy nominations sparked conversation between Short and his “Only Murders” co-star, Steve Martin, who was not nominated this year. According to Short, Martin called him mid-afternoon, inquiring about the results after a day spent hiking. “Heard anything about the Emmys yet?” Short recounted Martin asking. However, he added, “I think Steve’s pretty confident in who he is, what he does.”
Short’s own Emmy journey began in 1982, when he won for his writing work on “SCTV.” Reflecting on receiving an American award as a Canadian, he emphasized the pervasive influence of American television. “Being in Canada, you weren’t in an igloo somewhere; you were living 50 miles from the border,” he explained. “You got CBS, NBC, ABC—my whole world from the time I was born was watching American television. I knew every show that was on in every hour or half-hour of prime time, on all three networks.” He noted the communal aspect of television viewing in his youth, where family viewing habits were often dictated by parents.
This early exposure to American television profoundly shaped his own comedic sensibilities. In his 20s, Short would annotate scripts with reminders to emulate his comedic idols. “When I was in my 20s, I’d put in a circle beside some script ‘DVD’ or ‘SL’—‘Do Dick Van Dyke’ or ‘Stan Laurel,’” he revealed. “You’re not going to do your own style. You don’t have one. I had a lot of ‘JL,’ Jack Lemmon. There was a kind of rhythm, a fast staccato he could get. You were just delighted to see him.”
His influences extended to the golden age of variety shows. “When I was 12 and 13, television was mainly variety shows, Jackie Gleason, Red Skelton, Danny Kaye,” he recalled. “And you respond to the sketches and you’re influenced by them. I mean, I was most influenced by Nichols and May; they had a Broadway show that was basically variety, and they played sketches.”
However, Short’s path to a career in entertainment wasn’t immediate. He described discovering his passion for performing relatively late in life, in his mid-20s. Prior to that, he was pursuing a degree in social work. “I was about to do a master’s [degree] and I took a year off to explore this interest I had in theater—’cause I was doing plays, Shakespeare and all these things, with [future “SCTV” co-stars] Eugene Levy and Dave Thomas at McMaster University in Hamilton [Ontario],” he explained. A role in “Godspell” proved pivotal, leading to further opportunities. “But I thought of myself as a musical performer, an actor—maybe I’d be Sinatra someday,” he said. “That’s where I was thinking. Not, ‘I want to be Jerry Lewis.’”
The working environment on “Only Murders in the Building” is a key factor in the show’s success, according to Short. He described it as “loose, fun, laughs on the set, mistakes laughed at, no tension.”
The dynamic between Short, Steve Martin, and Selena Gomez is also central to the show’s appeal. Short reflected on his experience with ensemble work, recalling that even during his time on “Saturday Night Live,” he often appeared in only two segments per show. “I think less is more,” he said. “What’s great about sharing a stage or sharing a television show is that the camera is not always on you. And then when they see you, they kind of like to see you again—hopefully.” He drew a parallel to classic films, citing Cary Grant’s reactive performance in “The Philadelphia Story” as an example of comedic brilliance.
Working with Gomez, who represents a different generation, has been a positive experience. “She’s a different generation, but she’s also just a sweet, lovely person—you can be lovely at 80, lovely at 20, or the opposite,” Short said. “But also she’s a pro, she knows her lines, she’s on time.” He emphasized that the shared approach to creating a relaxed and collaborative atmosphere has been instrumental to the show’s success. “Because that’s the only thing you can control. You don’t know if the film’s going to be any good, but you can control the working situation.”
Short’s physicality is a hallmark of his performances. While acknowledging the role of genetics and luck, he noted his long-standing practice of Pilates, which focuses on stretch and core strength. He also touched on the psychological aspect of aging, stating, “I think it all goes to health.” He recounted a back injury sustained shortly before turning 30, which temporarily hampered his physical activity. “But I have great health; I don’t get up [and] go, ‘Oh that’s right, I’m not spry anymore,’” he said. “That might affect my behavior. But I don’t put an age on myself, because I don’t feel restricted by age.”
