Catherine O’Hara on Her Career, Sexism in Comedy, and Her Favorite Impressions

This interview first appeared on March 20, 2019. We are republishing it in memory of Catharine O’Hara, who recently passed away at the age of 71.

Catherine O’Hara, despite a long and successful career, remains remarkably down-to-earth – she even complimented my hair! She actually developed a knack for hairstyling early in her career with Second City and SCTV, helping create looks for herself and her colleagues to bring different characters to life. This talent has served her well in a wide range of roles, from films like Beetlejuice and Home Alone, to Christopher Guest and Eugene Levy’s mockumentaries (Waiting for Guffman, Best in Show, A Mighty Wind, and For Your Consideration), and most recently, her acclaimed role as Moira Rose on Schitt’s Creek. “Some actors prefer to play similar characters, but I love variety,” she explains. “I don’t want to be limited – I want to explore different roles and not be defined by just one thing. I’m still figuring out who I am!”

I’m completely fascinated by Moira Rose on Schitt’s Creek – everything about her is just so unique! Her wigs, her clothes, the way she talks… it’s all wonderfully eccentric. People always ask if she’s based on someone real, and I love explaining how I created her. For me, it starts with the exterior – the hair, makeup, and clothes completely transform how I stand and walk. I always say her voice is like a collection of souvenirs from all my travels, bits and pieces of people I’ve met around the world that I’m sharing with everyone. I was initially inspired by someone I knew who had a very specific way of speaking, and a really difficult-to-understand accent. But I also thought about how Madonna used to change her voice and persona, and I remember seeing Kathleen Turner on TV sounding like she was Brazilian! It’s amazing how someone like Madonna can completely reinvent themselves and just say, ‘What do you mean? This is how I’ve always been!’

You mentioned being hesitant about taking on the show initially. What eventually convinced you to do it? Well, honestly, a bit of it was just not wanting a long-term commitment, and not knowing how long it would last. But mostly, my background at Second City has spoiled me. I’m used to having a lot of creative freedom – developing my own characters, writing my own material, and improvising. I enjoy the variety of playing different roles and having something new to work on each day. That was my biggest worry about doing a series – I’ve seen friends get stuck in a situation where their creativity was stifled. They committed to a show, and then the people in charge ignored everything they’d accomplished and tried to completely control them.

Were other actors’ approaches more dictated to them, rather than being a team effort? I wondered if my hesitation stemmed from fear, not from what was actually happening. You never really know how things will go. When considering a long-term commitment to the show, I was hoping for a strong character, and Daniel and Eugene Levy gave me that opportunity as an actress, which opened up a lot of possibilities. I also discussed how I envisioned the character speaking with Eugene, and then I asked about using different wigs. They were incredibly supportive and even offered me a whole collection of wigs! The whole experience was so appealing, and I’m thankful that something – whether it was intuition or luck – led me to take the role.

You mentioned that some actors create characters based on their own personalities, while others use characters to distance themselves. I’m curious, do you tend to lean more towards one of those approaches? Well, I think it’s impossible not to draw on your own experiences, especially in improv. That’s all you really have to work with – it’s like accessing your own internal memory. But you can also start by thinking, ‘How would I respond to this situation?’ and then intentionally change that reaction. Once you start understanding how a character thinks, it becomes easier to improvise as them. I don’t think any of us had a clear idea of who our characters would become when we started the show. Even with time to prepare, you’re constantly influenced by the other actors, and the characters evolve through those interactions. It’s a collaborative process, so you’re never really working alone.

When asked about the most personally relatable character they’ve played, the actor paused, admitting it’s a tough question. They initially resisted the role of Temple Grandin in an HBO movie because she seemed simply “nice” – not necessarily a reflection of themselves, but a character they found challenging to portray.

Claire Danes, right? I really admire her work. She was fantastic in that role, and she actually kept apologizing to me between takes. She felt like she wasn’t fully connecting because she was portraying someone with autism – Temple Grandin – and she was worried about not giving me enough to work with. I told her she was being ridiculous! She was Temple Grandin, and that was more than enough. It was easy to just be present with her and feel protective.

When I first read it, my initial impression was that it was simply about a kind woman. However, truly memorable characters are rarely just nice; even people we know in real life are much more complex than they appear. Everyone has hidden depths. The writing didn’t immediately captivate me, likely because I often misinterpret things on a first read. It requires patience and a willingness to relax and stop trying to impress others. I don’t consciously approach work with that mindset, but I think we all need to let go of the need to show off and simply be ourselves. That’s a key to life, really – just be.

I worried I’d fall into playing the typical mean wife, like I sometimes did at Second City, where I often defaulted to playing characters who were either crazy or unpleasant. I really didn’t want to do that with Eugene, and I’m glad neither of us played a character who didn’t genuinely love the other. I think we portray a truly loving couple in the show.

I’ve noticed a pattern in the characters I play – they often feel insecure and live a bit in their own world. I’ve come to realize that this resonates with everyone, and it’s especially clear online. Social media feels like a way to manage how people see us, but honestly, we’re always trying to control that impression. Think about following someone on Twitter – what’s that really about? I’ve never felt like I was deliberately hiding who I am, but I also don’t consider myself particularly fascinating. I occasionally think, ‘That’s a clever idea, I should share it,’ but isn’t that true for most people?

Honestly, it feels like everyone’s sharing everything online these days. But I wonder if people really know who they are yet? I think a lot of what people post now, they’ll probably cringe at later – like looking back at old photos and thinking, ‘Did I really say or do that?’ It’s like, some things you just keep to yourself, you know? Back in the day, if you did something silly, only the people there saw it. Now, everything’s permanent! Once it’s out there, it’s out there forever, and that’s a little scary.

Many people carefully manage how others perceive them. But ultimately, won’t you eventually need to interact with the world face-to-face?

You know, it’s funny how quickly things change. I used to try and get my kids – they’re 24 and 21 now – to step away from their video games, and their counterargument wasn’t just stubbornness, it was economic! They’d tell me about this professional gamer, someone who actually makes money playing online. Honestly, I didn’t get it at first. But then I saw this guy interviewed on The Colbert Report, and it all clicked. He showed clips of his gameplay, and suddenly I understood. It wasn’t just a hobby; it was a legitimate career. The conversation shifted instantly – I had no argument left!

To what extent is your work a commentary on society? Well, that’s really the heart of improvisational comedy, like what we do at Second City. It’s about noticing the little things – something you see on your commute, or a snippet of conversation. You hear how people talk, and a unique turn of phrase will stick with you, and you think, ‘I need to use that.’ It’s about collecting those observations and then finding the humor in everyday human behavior – both our flaws and our strengths. We’re all a little ridiculous, but also wonderful, kind, and sometimes a bit frightening.

On SCTV, we all collaborated on the writing. Someone might suggest, “Wouldn’t it be funny to have Meryl Streep on?” or “What about Brooke Shields?” And I’d jump at the chance, even though I was in my 30s and thought, “Brooke Shields? Really?” Thankfully, we had a fantastic hair and makeup team. Back then, there was no internet, so I’d record anything I could on VHS – often in terrible quality. I’d watch people on talk shows, and I remembered Brooke Shields trying to do a funny bit when she was on Johnny Carson. It was a bit of a disaster, though. Because she was so young and beautiful, people just assumed she was clumsy and kept asking if she was okay instead of realizing she was trying to be funny. Nobody let her get away with it—except in my mind! I thought, “They just won’t let a beautiful girl be silly!”

Many of my impersonations were actually based on Marty Short’s work, since he famously did Katharine Hepburn and Elizabeth Taylor. It’s funny how watching a really good impersonator can make you realize quirks about the original person you never noticed before. They give you a glimpse into what the impersonator discovered while studying them. For example, Frank Caliendo on Mad TV did a Bush impression I hadn’t heard before, and Will Ferrell’s take was completely different, but just as brilliant.

When we were working on SCTV, if someone suggested impersonating a celebrity, I wouldn’t do it if I didn’t find them interesting. It just wasn’t worth the effort and energy for me.

It’s understandable why people might be upset by impressions done of them, but it really depends on how those impressions are done. If someone puts a lot of effort into accurately portraying you, it could even be seen as a compliment – a sign they’ve spent time really observing you. However, if the impression is quick, exaggerated, and unflattering, then yes, someone has a right to be upset. It also depends on the person – if they’re a public figure, dealing with impressions, both good and bad, is often just part of the job.

Let me tell you, you absolutely have to check out Anthony Atamanuik’s Trump impression on Colbert. It’s not just funny, it’s genuinely fascinating. He breaks down how he created the performance, and it feels like watching a masterclass in impersonation unfold. He talks about finding Trump’s physical center – or lack thereof – and then, right there on stage, he becomes him. And the crazy part? He doesn’t even need the wig or any makeup! It’s a solid, impressive performance, and honestly, I think he’s the best Trump impersonator out there.

SCTV was mostly run by men. Was it hard to share your ideas when the show was being written or during brainstorming sessions? Yes, it was. When I first started, I would quietly suggest ideas to Dave Thomas, and he would then present them as his own – without giving me credit. If the idea didn’t get a laugh, I’d immediately fall silent. I was very insecure! I wouldn’t speak up again unless an idea did land well, then I’d quickly chime in and say, “I came up with that!” It felt like my ideas had to be ‘tested’ through Dave before anyone would listen.

It’s amusing looking back. There was still a lot of sexism back then. The men of that generation were raised with certain views about women, depending on their upbringing. However, because they were actors focused on character work rather than stand-up, they were generally open-minded and never intentionally cruel. It was simply a matter of representation – a reflection of the times. At Second City, casts rarely had more than two women. Just recently, I asked Andrew Alexander if he’d ever had a cast with more women than men, and he said he had all the time. I then asked about diversity beyond white performers, and he confirmed they’d had plenty of non-white actors. The same went for LGBTQ+ performers. Things are much more open now, but back then, it was usually limited to two women.

People always ask about working with Andrea Martin, and yes, I did! But I actually worked with several amazing women on the show. I started out understudying Gilda Radner, then Rosemary Radcliffe, who was already part of the cast with Gilda. Later, I got to work alongside Andrea, and also Robin Duke. There was even a really fun time when the cast got a break and they put together an all-women show with Robin, Andrea, Mary Charlotte Wilcox, and a few others. It was great, though sometimes the writers would have a scene about men and then just add, ‘And then the women come in!’ like we were all connected at the hip! We’d try to push back and ask if we could play different, individual characters. But it was a different time back then, women’s liberation was really just taking off, and things have definitely changed since then.

Were you ever restricted in the types of characters you could create due to gender roles? Absolutely. We based our work on real life, and we were satirizing society. We could only create comedic versions of women who were actually allowed to do things and have public lives back then. I think comedy has evolved because the world has evolved. More women are now able to pursue and achieve their goals than in the past, although there’s still progress to be made.

Early on at SCTV, the writers weren’t officially credited or paid. It didn’t make much sense, and Andrew Alexander, the producer, apologized, explaining it was just how things were done back then. He’s since made things right, and we’re all treated fairly now. He was always great creatively, but it’s frustrating to think about how often women still aren’t paid the same as men for doing the same work, or even better work.

Initially, I was just thrilled to be making a TV show – it felt incredible that we had the opportunity. I’ve never been very focused on money. Even at Second City, I was happy just to be performing and getting paid for it. I never felt like I deserved a certain amount. That carried over to the TV show; it was all about the excitement of creating something new. I don’t think I immediately realized we weren’t being paid, but John Candy told me. He wasn’t getting paid either, along with Andrea and me. John was a strong advocate for himself and made it clear that we weren’t earning the same as the other cast members. He really inspired me, and I’m sure he gave me the confidence to speak up. I remember being encouraged by his support. I’m sure I talked to [Alexander] about it and expressed my frustration.

I suddenly realized all my negotiation skills came from watching the comedy show SCTV. It dawned on me that when someone tries to devalue your worth, it simply means they’re trying to pay you less, not that they genuinely believe you’re less valuable. They’re just trying to save money. I also learned to always ask for more than you expect, so you can negotiate down to a price you’re actually happy with. The biggest takeaway is to not take these negotiations personally.

I’m a huge fan of Christopher Guest’s films, and I’ve always been curious about how they’re made. It turns out the ‘script’ is really just a basic outline! And honestly, the final movie is pretty much exactly what that outline is. It’s all about giving the actors freedom to improvise and run with their characters. There isn’t a lot of back-and-forth unless you’re playing a couple, then you might chat things through a little. We actually did have some discussions for Best in Show about dog training and showing, just to get things right. I remember the first day of makeup, Eugene Levy and I saw each other and we hadn’t shared what our characters would look like at all! It’s so much funnier when you react naturally to what your co-star is doing, like discovering ‘Oh, that’s who I’m married to!’ You have to be willing to adjust whatever ideas you had and just go with the flow.

After the initial setup, we’d often improvise scenes. Chris would let us keep going, and after a couple of tries, he’d ask us to revisit a specific part of the conversation – like how the characters met. He wasn’t necessarily looking for the same lines, but wanted to recapture a key moment from the outline or emphasize a particular idea. We’d constantly be asking ourselves, ‘Should I try something completely different?’ or ‘Can I fit in this new joke?’ It was a bit nerve-wracking, but also really exciting and freeing.

I definitely try new things with each take, reacting to what’s happening in the moment. You quickly realize everyone is working spontaneously, and it’s the same as in life – you’re not alone. When making these kinds of movies, you learn to collaborate and build characters with others. You can influence their performance through your interactions, maybe by sharing a made-up story from the past. It’s all about building on each other’s ideas. The core of improvisation is accepting what’s offered – saying ‘yes, and’ or, if you disagree, ‘no, but’ – and then adding something of your own. For example, if someone says, ‘Do you remember when you tried to kiss me in school?’ you don’t deny it. You might say, ‘I don’t remember that specifically, but I do remember what happened later!’ or ‘Yes, I remember, but I think you were the one who initiated it!’ It’s about constantly offering something to keep the scene moving forward and building together.

Was the whole “For Your Consideration” campaign made up on the spot? Absolutely! They predicted I’d get a makeover and become obsessed with awards season, which is what’s happening now. They even suggested using tape to create a temporary lift, but I refused. I learned early in my comedy career that you have to be able to show your real face eventually. And I definitely wasn’t in my thirties when that all happened… when was “For Your Consideration,” anyway?

In 2006, I knew I’d eventually need to look like myself again, so I focused on facial exercises, holding the poses for as long as possible. I even tried to mimic a specific look I’d noticed in women who’d had cosmetic work done. The only truly artificial thing was a set of custom-made teeth. I’d observed that many women with extensive procedures often have their nose lifted or their upper lip lowered, creating a larger gap between their nose and lip. My original teeth were covered, so they created longer teeth to fill that space – big, white, and straight, which wasn’t my natural look. Then, our makeup artist, Kate Shorter, gave me a very glossy, almost plastic-looking, and unusually highlighted complexion.

Someone asked how I practiced this technique and if it was exhausting. It’s simply about lifting and repeating – the more you do it, the better the results become! We have muscles in our face and skin, and my mother practiced this her entire life. She never had any cosmetic surgery, like a face-lift. Even at 81, when she passed away, she didn’t have wrinkles on her forehead and her cheekbones were quite high. I wish I had photos to show you! She started with lower eyebrows in her twenties, but they lifted significantly as she aged into her eighties. She would manually lift her face, and she was always conscious of how she looked, constantly asking herself how to best maintain her appearance. And it worked – she naturally lifted her face over time.

Have you ever thought about how your career could have taken a different path? I used to have meetings with studio executives and directors, and it always felt like an audition – trying to gauge whether they were people I’d enjoy working with. I remember one lunch with Miloš Forman, who I worked with on Heartburn. I was incredibly nervous on that set, surrounded by Jack Nicholson, Meryl Streep, Stockard Channing, and the director. We were supposed to play a group of close friends, and I kept wondering, ‘What am I even doing here?’ I was so anxious I almost panicked during the first rehearsal. I just told myself to stay quiet and listen. Mike Nichols, who was a brilliant director, had a knack for spotting potential in people. He’d take a chance on someone he found interesting and give them an opportunity to shine. He chose me to be part of that group, and it was a wild experience.

After the film wrapped, Milos Forman invited me to lunch a month or two later. I never really knew what he wanted to talk about, or if it could have led to something more, but it was a chance to hear about his life in Prague and his upbringing – which, from what I’ve learned since, was fascinating. I wish I’d taken that opportunity. Instead, I was completely preoccupied with wondering what he was thinking – if he was interested in me romantically, or if he was considering me for a job and evaluating me. Looking back, I was incredibly naive and insecure. It bothers me more than missing out on a movie; I missed chances to connect with someone truly interesting. I pride myself on being observant and learning from people, but I was too caught up in my own anxieties to do so. He shared some amazing stories, and I’m ashamed to admit I even doubted some of them! That’s probably the saddest part of the whole thing.

Looking back on filming Home Alone, it’s surprising to realize it wasn’t initially seen as a huge project. When I first signed on, it just seemed like a good script with talented people like John Hughes and Chris Columbus. I never really think about whether a film will be a big hit because you can’t control that. It wasn’t until I was negotiating for the second movie that I realized just how popular the first one might become – that’s when I received a very large upfront payment! I used that opportunity to negotiate a shorter shooting schedule. They offered more money if I was available for the full 12 weeks, but filming in Chicago during winter meant they’d often switch between indoor and outdoor scenes based on the weather. On the first Home Alone, I was there for the entire shoot. But for the sequel, knowing I wasn’t in every scene, I wanted more freedom. I took less money in exchange for a condensed work schedule. That was the only time I really leveraged the film’s success – it was a sequel to a movie that was, and still is, incredibly popular.

It’s become much harder for mid-range films to get made. The film industry no longer offers a solid middle ground for actor salaries; it’s either very high pay for a few stars or very little for everyone else. While television still provides decent income, I’m now offered movie roles that pay only $1,500 a week – these are small, independent projects. It’s a situation where you’re either working on a blockbuster with major stars like Tom Cruise, Sandra Bullock, or Jennifer Lawrence, or you’re making a film purely for artistic reasons with no financial reward. It’s mirroring what’s happening in the broader economy. When I started out, I received good money for my early film roles, and I was thrilled! But the independent films I’m offered now pay far less than those first jobs.

It’s not only actors who are facing changes in the industry. My husband, a production designer, has experienced it too. He used to get jobs after a simple interview, but now, even experienced and talented designers have to put together detailed ‘look books’ – essentially designing the movie’s visual style – before they even get a chance to interview. I don’t mean to sound like I’m complaining, just pointing out that things are different now.

I knew the SNL job was short-lived, but I was curious about what you originally hoped to achieve there. I wanted to do the same kind of comedy I’d been doing on SCTV. We were pretty low-profile on SCTV, and I really liked everyone at SNL – it felt like the coolest show on television. I thought I could bring the energy of Second City and SCTV to a much larger, live audience. But SCTV was often facing cancellation; Andrew Alexander was always negotiating new deals, constantly changing the show’s length and network. I got the SNL offer during one of those quiet periods for SCTV, and then Andrew called with a new deal for SCTV on NBC, a 90-minute show. So I explained to Dick Ebersol, the SNL producer at the time, that I had to return to my team. There was a rumor that I backed out because I was scared, but that’s not true. Honestly, what I saw at SNL wasn’t scary, it was just…boring. They even painted “Danger” on the wall, but it didn’t faze me. It felt like a bad first date – polite, but ultimately not a good fit. Looking back, I’m not proud of how I handled it – taking the SNL job, leading them to believe I was committed, and then leaving. I really wanted to stay with my friends at SCTV.

So, you were hoping to continue working on SCTV? Yes, it just happened unexpectedly. Andrew worked out an arrangement, and thankfully, no one did anything terrible. Even if they had, I would have been okay with it, but it all worked out smoothly in the end.

I still enjoy watching Saturday Night Live when it’s good, and I really miss Mad TV – they had a lot of talented performers. I also check out shows at The Groundlings from time to time.

When it comes to SNL, Kate McKinnon is fantastic – she’s definitely the show’s biggest star right now. I also really enjoy Cecily Strong. For a while, she seemed limited to playing news personalities, but I think she’s incredibly talented. Thinking about the old show SCTV, I’d compare Andrea to Kate McKinnon and see myself as Cecily Strong. I probably identify with Cecily more because she’s a bit more understated in her performances. That’s not to say Kate isn’t bold – she’s amazing and hilarious, of course.

After working on SCTV, you shifted away from writing scripts, and I was curious if you ever wished you’d written more of your own material. Actually, I ended up selling an idea for a half-hour show to HBO quite by accident. I was having lunch with Carolyn Strauss, who was running HBO at the time, and she simply asked if I had any show ideas. I just started telling her a funny story my husband and I had experienced – it was about being parents and dealing with a school event. She liked it and immediately said she wanted to make it into a show! I hadn’t even intended to pitch anything, but because I was just casually sharing a story, I ended up with a deal!

Oh man, the show was called Everyone Has One. It was all about marriage, and how things change when you start having kids. Honestly, the pilot episode was a little rough around the edges – it didn’t really have a clear ending. But you know what? I actually thought that was kind of cool! Looking back, I think it was ahead of its time. It didn’t get picked up, sadly, but I really enjoyed working on it, it was a great experience.

People tell me I was creating high-quality, character-driven television long before it became popular! Whenever I have a writing opportunity with a deadline, I realize how much I enjoy it and gain confidence, and I think, ‘Why am I not doing this regularly?’ But then life gets in the way – family, friends, acting… all the good things! ‘Schitt’s Creek’ has given me the chance to work on the dialogue, which I love. Daniel Levy has encouraged me to contribute, and I even have a producer credit. It’s just great to be able to write again. Every year I tell myself, ‘This is the year I’ll finally start writing some of my own ideas,’ but I always get stuck. I think I need the pressure of a deadline to really motivate me and stay disciplined.

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2026-01-30 23:01