Live from Studio 8H: Meet the Saturday Night Live Crew Who Bring the Show to Life Each Week

What’s been your favorite sketch that you’ve worked on? 

Heather Spillman, Technical Manager: My favorite sketch was the aliens “Close Encounters” sketch with Kate McKinnon and Ryan Gosling.

Donna Richards, Wardrobe and Host Dresser: There are so many but one that stands out is "Mary Katherine Gallagher" with Whitney Houston, Penny Marshall, and Rosie O’Donnell - that was for sure one of the funniest. I can still hear myself laughing when I watch it back today.

Geoff Amoral, Lighting Director: "Diner Lobster" is one of my favorites. Whenever John Mulaney hosts, we know we are going to do a big musical number (which are all great) but the original is the best.

William McGuiness, Head Electrician: Chris Farley and Patrick Swayze were finalists for a Chippendales audition.  Sketch is a classic.

Josiah Gluck, Co-Music Mixer: Almost too many to mention, but from a music standpoint, “What’s Up With That” was always a fun one.

Eamon Cunningham, Head Prop Master: In a previous role as the studio floor lead, I got to hit Melissa McCarthy in the face with about 20 pies in a sketch! This was a game show sketch where a contestant got hit in the face if they answered a question incorrectly. The audience loved the sketch, and I got to play a small part! 

Rick McGuiness, Lighting Director: Basically, anything that brings a little challenge to it. There’s great satisfaction in not only doing the impossible, but in three days and for a live show.

Geoff Amoral and Rick McGuiness, SNL lighting directors in the early 1990s. 

What has been the biggest change that you've experienced since starting at SNL?

DR: The biggest change since I started (30 years ago) is definitely the size of the cast which is so much bigger.

WM: The technology and the lighting equipment have changed so much. Computers and new technology have us moving away from conventional fixtured and in the world of LED and data driven lights. All of this adds up to more complex lighting consoles and relay systems to control them.

JG: The big changes for me are the technology: digital mixing consoles, high definition, surround sound, and non-linear editing and mixing.

RM: The digital shorts. They started as tiny little productions that we would sometimes do in the hallways, and now they have become these grand, cinema-like epics with their own production teams and studios.

The SNL control room during the live broadcast.

What's been your favorite musical guest to watch from your POV in studio 8H? 

HS: I would have to say Ariana Grande. The performance with the LED screens behind her brought the songs to life. It really felt like she was sitting in her living room.

DR: I’ve watched Miley Cyrus sing ‘Wrecking Ball’, have seen Elton John and Paul McCartney play the piano while they waited for their sound check to begin, and many other incredible moments. These are the amazing pinch yourself moments that make you realize how cool your job is.

John Pinto, Crane Camera Operator: One memorable BTS moment was when Paul McCartney was the music guest on the show. It was late on a Friday night prior to the show when Sir Paul walked in off the street unannounced and sat down at the piano in 8H and started playing "Hey Jude" for the crew. Those are the moments that you realize how fortunate you are to work at SNL.

GA: Hands down Paul McCartney!  

WM: U2was always my favorite.  When they played Elevation, Bono left the stage unexpectedly and proceeded to walk around the studio floor while singing.  The audience went wild as the crew and cameras tried to maneuverer to stay with him. 

JG: My POV is basically from 200ft away down the hall. I’ve mixed so many music acts, but Prince, Raye, Coldplay, Lady Gaga, Foo Fighters, Billie Eilish, Brandi Carlile, Chris Stapleton, Miley Cyrus, Adele, Paul McCartney are just SOME that stand out.

Jim Leftwhich and Eamon Cunningham, studio 8H stagehands.

What has been the biggest production challenge that you have encountered?

HS: This would be the robots for our guest band “Travis Scott.” The weight of the robots and being moved in and out between songs and working with “The Garage” on the timing to give the illusion that Travis was on an elevator. 

WM: Every week encounters its own challenge; some weeks are a little easier than others. The fact that we are live, have sets, lights, cameras, booms, talent, and crew moving with tight time restraints, little room for error, and working in tight spaces, we all are constantly being challenged. That's the challenge as well as the thrill of live TV!

RM: Generally, the last-minute requests. Recently we had a very big "walk-through-the-studio monolog that we lit with lots of colors and moving lights - except when they went under the bleachers. After the dress rehearsal, we were asked to get the bleachers lit to match the rest of the sketch. Between the dress rehearsal and live show, our wonderful crew found small LED lights - they hung them, wired them, and programmed them just in time to start the show.

SNL lighting crew members sitting on the set of the sketch "Grinch Christmas".

What is the most outrageous sketch you've been a part of from a production standpoint?

HS: There was a sketch where they had to shrink Bowen Yang to fit on a shelf and on the couch. It was very cool to watch Frank Grisanti (video Engineer) and Bill Digiovanni (Technical Director) make this happen.

WM:  Early in my career I worked on a lot of special effects calls. We had one sketch with Phil Hartman where he played a heavy weightlifter. In the sketch, blood squirts everywhere as he lifts up a heavy barbell. No one was expecting the scene to take such a bizarre turn.

EC: We received a script at 11PM on a Friday night for Kate McKinnon making her final appearance as Jeff Sessions. She was supposed to be packing up her office and showing the audience all of the things that she was packing. For dress rehearsal, she revealed 17-19 items. We pulled this all together in under 24 hours - from receiving the first draft to the sketch to going live on camera.

What would viewers be surprised to learn about the BTS of how SNL comes together?

HS: If viewers could see the "dance" that staging, cast, and, crew must do between every sketch! You'll see everything from sets moving into place, props going on the sets, cast running out to get changes for the next sketch, camera and booms moving into place, and it's all done within a few minutes.

GA: I'm not sure if the viewer has any idea how much detail and work goes into all the aspects of the show.

DR: Viewers would be shocked to see how small our space is and how fast this show comes together! Nothing like it in our business!

WM: Probably the fact that between Wednesday night around 9:30PM when the read through ends and Saturday night at 11:30pm (a short 74 hours) - a complete show is created. Digital short films, about 10 sets built for sketches, guest band music, wardrobe, hair and makeup, and so much more.

JG: That the show is evolving even as it's on the air.

The SNL lighting crew with their Emmy win.

What's the biggest impact that Lorne has had on the show?

HS: Lorne is the Executive Producer in every aspect of the show. He watches all of the auditions, is at every table read, and doesn't miss a rehearsal. Lorne knows how to cut the show to perfection and keeps the momentum going between the dress rehearsal and the live show.

EC: Lorne is a calming presence in a notoriously not calm environment.

RM: His ability to pick talent, both on and off camera. For the best part of fifty years, he has been able to see the potential in mostly unknown comedians and writers and is able to draw the potential out of them. This has not only made SNL the iconic show that it is, but has also changed the face of comedy in all television, movies, and even Broadway.

WM: Lorne’s impact is immeasurable. Lorne is the face of SNL.

GA: Lorne is the show.