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Ellie Kemper: I Never Fully Owned My Confidence—Until I Played Kimmy Schmidt


I played field hockey throughout high school and was ecstatic to earn a spot on my Division One team in college. That spot turned out to be on the bench—I saw a full one minute and eighteen seconds on the field my entire time there—but I learned some invaluable lessons. The first and most important was never to fart if I was wearing one of those huge team parkas on colder game days. The parkas were so thick and absorbent that a fart would remain forever in its fibers. The second, not quite as important, but close, was that new team members must pay their dues. I’m a huge fan of newcomers paying dues. When you’re the most recent addition to a team or a job or a wedding you weren’t technically invited to, it’s so crucial to be quiet and listen. I don’t think people do that enough these days, and it bothers me. Obviously, I don’t mean that newbies should be doormats—but if you’re not fully informed or acclimated, take a minute to observe and learn.

When I joined the cast of The Office in 2009, I was the newcomer. As such, I was quiet, obedient, and I tried really hard not to fart. (Only two of those things felt easy to pull off, by the way.) This cast and crew had already created five seasons of a hit sitcom together, so they knew what they were doing. I was quite aware that I had won the lottery by landing a job on this show; my primary goal was, appropriately, not to derail the train.

I have a tendency to confuse speaking up with being rude, but the two actions are completely different.

Unbreakable Kimmy Schmidt was a new situation for me, because I was the lead. While the actual stars of the show are its creators, Robert Carlock and Tina Fey, I was playing the title character. I had gone from being number 18 on the call sheet to number one. (A call sheet is the piece of paper that gives all cast and crew their call times for that day’s work, and cast members are all assigned a number.) We filmed the pilot of Kimmy in March 2014, and I felt that I had earned this job. I had worked on a television show for four years and paid my dues. Still, owning this feeling of entitlement and confidence was, honestly, a pretty unfamiliar sensation for me.

I once read that if you put a smile on your face even if you feel depressed, you will actually feel better. Somehow that smile sends a signal to your brain that you are feeling good, so your brain then releases happy hormones or what have you, and voilà! Look, I’m not a scientist. I might have glossed over some of the details. But my point in bringing up this example is that sometimes, pretending to feel confident in a situation where you don’t actually feel confident can be just as effective.

And so, when we started work on Unbreakable Kimmy Schmidt, I told myself to be confident. If I didn’t understand a scene or feel comfortable with a certain line, I spoke to Robert or Tina. If I didn’t like the way my hair looked, I asked if we could do it differently. I learned that I could be assertive without being obnoxious. I have a tendency to confuse speaking up with being rude, but the two actions are completely different. It’s not bad manners to make your voice heard. It’s essential.

Ellie Kemper with Jon Hamm on the set of Unbreakable Kimmy Schmidt

Universal Television/Getty Images

At the end of Kimmy’s first season, we meet Reverend Richard, who was played by our national prince and hero Jon Hamm. I’ve mentioned this before, but Jon Hamm taught me theater in high school; he had attended our high school, and then returned to teach for a year after he graduated college. I tossed and turned the night before my scene with him. I was a wreck. There could not, in the world, be a nicer person than Jon Hamm. To me, though, he was and forever will be my teacher. Oh, he is also Don Draper. I felt intimidated. It makes sense to me that I was experiencing some, ah, anxiety.

So what happened? I showed up to work, I got a big hug from Hamm, and then I promptly flubbed my very first line. “I’m sorry,” I said, turning red and looking away. “I thought—I’m sorry.” Jon Hamm smiled. Jon Hamm didn’t mind. “I’m really nervous!” I blurted out. Jon Hamm said, “Well, you shouldn’t be.”

Jon Hamm was right. I didn’t need to be nervous! I had earned my spot. And with that, I made the decision to focus not on my nerves, but on my work. (I still flubbed some lines. He’s Don Draper, people!!! But I flubbed those lines very, very confidently.)

I will trust my instinct, I will listen to my gut, and I will be clear about what I want.

Now that the show is ending, I feel sad—but I’m so proud of the work we have done. The biggest compliment any of us receives about the show is when fans tell us it’s helped them through a difficult time. To be a part of something that helped someone is the very highest honor. Robert and Tina created a comedy that has a heart, something I feel is nearly impossible to do.

As I move forward to the next project, I’ll take a lot of lessons with me. The most important one will be to bet on myself. I will trust my instinct, I will listen to my gut, and I will be clear about what I want. After all, if I don’t bet on myself—who will? (Besides Jon Hamm, I mean. True prince.)



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Fuller House Focuses on Kimmy Gibbler Being Stephanie Tanner's Surrogate This Season


When Fuller House premiered on Netflix nearly three years ago, a whole generation of ’80s and ’90s kids were excited to check back in on the Tanner family. What followed was a fervor of binge-watching, trend pieces, and Michelle Tanner GIFs, but the buzz tempered by the second season. (How rude.) There were still milestones—an Emmy nomination for Outstanding Children’s Program in 2018, for example—but the sitcom mostly settled into a comfortable routine.

By the end of season three, though, that shifted. Fuller House returned to its roots while simultaneously laying the groundwork for its future. Becky, Jesse, and Danny decided to move back to San Francisco so Danny and Becky can host Wake Up, San Francisco again; DJ and Steve reunited; and Fernando bought the Gibbler house. These events allowed the series to keep the family-friendly vibe, while tapping into more modern storylines: namely, the non-nuclear family structure.

Full House (and, as a result, Fuller House) has always been about a non-nuclear family—but it was because of circumstances like the death of Danny’s wife or DJ’s husband, not choice. That’s not the case in season four, which premieres on Netflix today: One of the main storylines will center on Kimmy Gibbler (Andrea Barber) being a surrogate for Stephanie Tanner (Jodie Sweetin).

PHOTO: Mike Yarish/Netflix

The seeds for this actually began back in season one, when it was revealed that Stephanie is unable to have children. Then, in season three, she discovered she had a few eggs left but wouldn’t be able to carry a baby. Enter surrogacy as an option. But Stephanie was in a serious relationship with her boyfriend (and Kimmy’s brother), Jimmy Gibbler, and wasn’t sure if she felt comfortable asking him to be the father should one of her eggs be viable. Turns out he was, and by the season’s end an embryo was implanted in Kimmy. Now she’s pregnant—whether it’s a single or multiple birth is TBD.

It’s a sign that Fuller House isn’t stuck in ’90s nostalgia that Stephanie and Jimmy aren’t married or engaged or even concerned about it. They’re just a couple in love who want to have a baby together. Imagine that happening on Full House with Jesse and Becky? For 30-something Stephanie, her biggest priority is starting a family—not worrying about her forever partner.

“It’s definitely not your traditional sitcom storyline of boy meets girl and they have a baby. I think this is more relevant.”

“It’s definitely not your traditional sitcom storyline of boy meets girl and they have a baby,” Andrea Barber tells Glamour.com. “I think this is more relevant. For a lot of people having a child is not so straightforward—it’s complicated and messy. I’m glad the show went there and didn’t just drop it in season one. It’s been evolving for four seasons.”

The story of Stephanie’s fertility was originally creator and former executive producer Jeff Franklin’s idea. When season one premiered, he told TV Line he wanted one of the three lead women to not have kids—for now. “The backstory I created for her was that she’s a free spirit, traveling the world. She’s into her career and into having fun, and I thought this would be a really interesting aspect to that character—and touching,” he said at the time.

However, executive producer and co-showrunner Steve Baldikoski says that before Franklin departed the series last year he made it known that he wanted season four to be about Kimmy’s surrogacy. “In the last moments of season three, we revealed that Kimmy was pregnant with Stephanie and Jimmy’s baby,” Baldikoski says. “The challenge for [executive producer and co-showrunner] Bryan Behar and I was exactly how that would play out for the year. We wanted to have something that was real and tangible to pull Full House into the modern era of Fuller House.”

So, unlike other sitcoms that have tackled surrogacy (see: Friends, Superstore, The New Normal), the focus will be more on the relationship between Kimmy and Stephanie rather than the baby.

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PHOTO: Mike Yarish/Netflix

“Kimmy is so happy that she’s finally an important part of Stephanie’s life,” Barber says. “She’s been rejected by Stephanie for many years; now these characters are bonding in a way they’ve never been able to before. Kimmy doesn’t want to let go of that. [She doesn’t want] to feel like an incubator. She wants to feel more important than that, which I think is pretty valid.”

It is valid, given viewers have watched these two evolve from an eccentric 10-year-old and a precocious 5-year-old to the adult women they are today. “They’ve literally watched us grow up on TV,” Barber says. “To watch this fictional character go through such important life moments is incredible and so poignant.” That’s why she wanted the writers to explore Kimmy and Stephanie’s “mature friendship” as a sisterhood. “I’ve just been delighted for the last two seasons to have these wonderful, funny, tender moments with Jodie [Sweetin].”

Of course Full House has always tackled big subjects—DJ’s eating disorder; the death of a close family member—but they were settled in the span of a 22-minute episode. For that reason alone, Baldikoski and Behar wanted to see Stephanie’s fertility storyline through. “Bryan and I like dealing with these real issues over the entire season, not just a single episode,” Baldikoski says. “We like to think that if you’re going through something, it’s best to deal with it in a realistic way and carry it through a season. It’s not just one and done.”

“It’s a life-changing moment that we’re all going through—and as realistic as it can be for a sitcom.”

Baldikoski relied on personal stories and research to prep for the storyline. “While Fuller House is not a medical show or a drama, we do have writers who are very familiar with [surrogacy] and had different experiences with that. So we relied on a little bit of that and also sent people off to do research. Without invading anyone’s privacy, there was a lot of sharing about our writer’s experiences and the experiences of friends and friends of friends.”

Barber, a mom of two, hasn’t had personal experience with surrogacy, so she turned to one of her closest friends who did. “Her cousin was her surrogate,” she says, adding that she understands the complexities that come with that. “I would suspect…surrogates don’t want to feel just like baby machines. They want to feel important too.”

As for the birth scene, which will happen toward the end of the season, Barber had a request for the writers: make the labor as realistic as possible. “Sitcoms tend to do really silly births with lots of screaming, and it isn’t like that,” she says. “I wanted there to be an emotional connection, a tender moment between the women. They honored my request—and Jodie’s request—that it just not be a silly birth. There’s silliness trying to get to the hospital, of course, but when it comes to the actual birth scene it’s not gratuitous or over the top. It’s just a wonderful moment, and that’s what I had been hoping for for two seasons. They did it.”

Barber adds that you’ll still see lots of realistic sweat and awkward expressions. “It’s not a flawless, beautiful, ‘my makeup is perfect’ birth. It’s a life-changing moment that we’re all going through, and as realistic as it can be for a sitcom.”

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PHOTO: Adam Rose/Netflix

The producers also got the rights to Joni Mitchell’s “The Circle Game” to play over an emotional montage. “I’m choked up as I talk about it,” Baldikoski says. “If it doesn’t make Fuller House fans choke up, I don’t know what will. It’s a beautiful scene. Andrea is amazing, Jodie is amazing, Candace is amazing, Adam [Hagenbuch, “Jimmy”] is amazing. We are very proud of it.”

As to whether the episode will serve as a series finale or season finale, Barber and Baldikoski hope there’s a season five in Fuller House‘s future. After all, there are plenty of stories that can stem from this surrogacy. “Usually surrogates don’t live in the same house as the birth mother,” Barber says. “I would love for them to explore that.” And what effect will this new baby have on Kimmy’s teen daughter, Ramona, and her partner, Fernando? How will Kimmy’s relationship with Stephanie change once the baby arrives? “Those are some pretty rich story areas that we have to deal with going forward,” Baldikoski says.

Whatever happens, Baldikoski hopes this will resonate with viewers. “Families come in all shapes and sizes. You don’t have to be a nuclear family anymore. People can feel comfortable with whatever family situation they have as long as they are loved. We want to show that the Fuller/Tanner clan is very inclusive. We’ve even included the first openly gay teenager on the show [this season], who is a friend of Ramona’s. As DJ says, ‘The door is always open.’ That’s our guiding philosophy of the show: Everyone’s welcome.”

Fuller House season four is now streaming on Netflix.



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