More than a decade ago, Da’Vine Joy Randolph sat across from Al Pacino in need of inspiration. They’d crossed paths at an “unassuming café” on 49th Street in Manhattan during her Tony-nominated run in Broadway’s Ghost. She had lost her voice during the musical’s West End engagement and was struggling to fully regain it, something that left Randolph feeling “lost,” as she wrote in a November 2019 Instagram post. Pacino invited her to his table, where he advised her to “keep climbing the ladder,” guidance that she’s embraced in the years since.

The Philadelphia native turned to film and TV after Ghost, earning acclaim for her role as comedy titan Lady Reed in 2019’s Dolemite Is My Name. Her performance got the attention of both Steve Martin, who cast her in Only Murders in the Building, and filmmaker Alexander Payne, who asked for Randolph when casting The Holdovers. “I knew some magic was going to happen if I did an Eddie Murphy movie,” Randolph tells me from a hotel room in London. “It’s the gift that keeps on giving.” We’re thrilled to have her as part of our 2024 Hollywood issue.

Randolph’s performance as grieving school chef Mary has earned her an Academy Award nomination, as well as dozens of trophies. On her climb up the ladder, Randolph turned to another of the greats for wisdom: her Only Murders season three costar Meryl Streep. “It doesn’t even sound right,” she says, shaking her head slightly. “Meryl Streep gave me advice.”

Streep told Randolph to pace herself and stay present—easy in theory, tougher in practice. “I have not had time to process,” says Randolph. “It is a very blessed experience. It’s just really me and my best friend getting through this day by day—my publicist, Marla Farrell. We’re in it to win it,” she continues, before stopping herself when she realizes what she’s just said. “Oh, and by that I mean…”

“Win at life?” I offer.

“Win at life,” she concurs with a twinkle in her eye. “We’re in it. We’re focused.”

Vanity Fair: Amidst all of your awards season success, the internet was very happy to see a photo Henry Winkler posted of you and him on a plane with Charles Melton. What can you tell us about that plane ride?

Da’Vine Joy Randolph: Charles and I were going to the New York Film Critics Circle Awards. Mr. Winkler was going to New York because his son was directing something, and he was telling us that this is the first time that his son asked him to be in his own project. He was like a new mother—glowing, telling us how proud he was and what an honor it was for his son to ask. Charles and I were in the galley chitchatting and then Mr. Winkler came up, and I thought he had to go to the bathroom. [But he wanted to tell us] he was proud of us, that what we’ve created is something special, just showering us with compliments. Which is crazy. Then the flight attendant was like, “Do you want me to take a picture?” He was like, “I’d be honored.” It was like, We’ll honor you?! It was a lovefest.

From the Golden Globes to Critics Choice, you’ve won nearly every award you’ve been nominated for this season. It’s an actor’s dream, but what is the biggest misconception about the road to the Oscars?

This is equally a job within itself. It’s a lot of planning. The right move can propel you, and you have to be conscious of what you do and say. It’s a job, so I treat it as such in the best way possible. These things matter to people; people are inspired by this. So I really try my very best to revere these moments.

What did you bring to the role of Mary at this point in your life that you may not have brought five years ago?

The level of my authenticity and honesty. It would’ve been a completely different character if I would’ve done it 10 years ago. I’m a bit more grounded in just telling women’s stories. When you truly understand the climate of this industry and who’s telling the stories, it’s marginalized. I’m a woman of color. And then on top of that, a woman of color who is curvy. Those stories don’t get told often. So I really take my time and do due diligence to tell relatable, authentic stories. What Mary does—I know a lot of women who are selfless. My mother’s that way. My aunts were that way. I just wanted to show the complexities and the power of a woman.

What was it like to see the film for the first time?

I saw it two days after the strike ended. I don’t want to see my work. It freaks me out. But they set up a private screening room for me, and I was really taken aback. I didn’t say too much the rest of that day, actually. It was just ruminating in my mind. I’ve never felt that before. Normally, I’ll be like, Oh, wow, I did a good job, or, Yeah, I did okay. But I was just speechless, trying to compute what I just saw. It was amazing. I’m so grateful to be a part of Alexander [Payne]’s legacy, or Paul [Giamatti’s]. That’s a very special thing. So in many scenes when I was watching myself, it felt surreal.

The Holdovers has been widely celebrated. How do you look back on The Idol, which was met with more of a mixed reception? Does it sting?

No, because I know what I did, and I’m very proud of what I did in the role that I created. How people respond and people’s feelings don’t have nothing to do with me. And I don’t have anything to do with contributing to that narrative either. So I just let it go. I enjoy my contribution.

A second season was ostensibly supposed to happen. When it doesn’t, how do you find closure on the character?

It’s just the nature of the business. My first TV show [ABC’s short-lived sitcom Selfie] didn’t get the back nine for network television. I’ve done pilots that don’t get picked up. I’ve done movies where they’re on hold for three, four years. High Fidelity was the same way. They immediately picked us up, and then the pandemic hit. It’s unnatural, but you have to get cozy next to rejection and loss. I don’t know if that’s a good skill to develop or not, but you really must love what you do because there’s so many nos. You gotta love it in spite of the nos, and that’s hard.

As a performer, is there something exhilarating about being in both the coziest and most controversial projects of last year–to be able to occupy both spaces?

I love diversity. I can’t ever, ever, ever be like, Okay, now I’m going to play single moms who are sad. But the industry will give it to you. They’ll throw every script at you that does the same thing you did last time.

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You have played such a diverse array of characters. Maybe the only thing that binds them together is that you tend to play someone who is good at what they do. What is it about competency that attracts you to a character?

Because I’m a woman. I’m a woman. Unless you tell me this lady’s an idiot, I’m not playing her as an idiot. By producing and beginning to write myself, I know that if you wanted her to be an idiot, you would’ve written her to be an idiot. So what purpose do I serve to create a character as a place of lack? It’s not interesting to me. I want women to feel seen, heard, and understood. It’s like a form of activism. I’m literally in the trenches fighting for this woman and her rights, every single detail. It’s not saying that she has to be perfect, but in a sense of whatever she is, let’s do that at the highest level of proficiency. I hope the luxury of getting these awards will result in that I can fight a little less hard.

People often ask, “What’s the role that got away?” But I want to know, is there a role you’re afraid will never come?

Nah, nah. I know what’s for me is for me, and I manifest a lot. In the beginning of my career, trade magazines would make announcements of the next project, and I would be like, Ooh, I want to get seen for this. I want this so bad. Never booked it. Everything on my résumé is stuff that has been attracted to me. This outdoes the dreams that I dreamt. So I let go of the wheel in that respect a long time ago. I don’t fear anything’s gotten away from me. If anything, I’m excited to see what I can continue to attract. Being authentic, the right people will always see it.

This interview has been edited and condensed for clarity. For fashion and beauty details, go to VF.com/credits.