Dakota Johnson Opens Up About Her Most Difficult Role

It’s often said that what matters most is not the hand you’re dealt, but how you play it. Dakota Johnson, whose career has seen its fair share of ups and downs, knows this all too well. After the critical mauling of Madame Web—a Marvel outing so poorly received it became a byword for cinematic misfires—Johnson’s resilience was put to the test. The film’s reception was so dire, it swept the Golden Raspberry awards and threatened to cast a long shadow over her burgeoning career, which had already weathered the storm of the latter Fifty Shades instalments.

Of course, being the daughter of Don Johnson and Melanie Griffiths, Dakota’s professional setbacks might not have the same consequences as they would for most. Still, she’s not immune to disappointment. Reflecting on her past, she’s spoken about a particular experience that left a mark: her brief appearance in the final season of The Office US. Cast as a new accountant brought in by Dwight Schrute, Johnson was initially thrilled at the prospect, especially as a fan of the series. There was even talk, for a moment, of her character leading a spin-off.

Behind the Scenes at Dunder Mifflin

Johnson’s excitement quickly faded once filming began. She recounted her experience to Seth Myers, saying,

“That was honestly the worst time of my life. I loved that show [The Office] so much. And they were like, ‘Do you want to be in the series finale?’ I was like, ‘Of course,’ thinking that I’d show up for like half a day. I was there for two weeks, and I’m barely in the f***ing show.”

The reality of the shoot—long days with little screen time—left her feeling sidelined, a far cry from the cameo she’d imagined. Despite the letdown, Johnson didn’t let it derail her ambitions.

Within a year, she landed the lead in Fifty Shades, a role that brought its own share of critical brickbats and Golden Raspberry nominations. She also appeared alongside Johnny Depp in Black Mass, a crime drama that offered a change of pace. But it was her turn in the 2018 remake of Suspiria, directed by Luca Guadagnino, that marked a turning point. The film, with a haunting score by Thom Yorke, earned Johnson praise for her performance and opened the door to more intriguing projects.

From Setbacks to Acclaim

Suspiria’s success led to a string of roles that showcased Johnson’s range, including a part in the offbeat comedy The Peanut Butter Falcon and a key role in Maggie Gyllenhaal’s directorial debut, The Lost Daughter. These choices signalled a shift, as she moved away from franchise fare towards more character-driven work.

Then came Madame Web in 2024, a project that quickly became infamous for all the wrong reasons. Johnson, however, took the backlash in her stride.

“…you can’t do anything about it. Like, what am I going to do, fucking cry about Madame Web? No. I’m gonna laugh.”

Her response was as pragmatic as it was wry, refusing to let the criticism define her.

Looking Ahead

Johnson’s career shows no sign of slowing. She’s set to appear in Verity, a psychological thriller featuring Anne Hathaway and Josh Hartnett, and is preparing to step behind the camera for her directorial debut, A Tree is Blue, starring Jessica Alba and Charli XCX. Whatever the future holds, it’s clear that Johnson’s approach—equal parts candour and resilience—will continue to serve her well.