How Lorne Michaels’ Biographer Convinced ‘SNL’ Chief to Reveal Rare View of Life Off-Camera

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This statement can be rephrased as follows: Susan Morrison’s work on “Saturday Night Live” has significantly impacted many journalists covering the late-night television industry, possibly making it more intriguing for them.

Morrison spent numerous years conversing with Lorne Michaels, the influential figure behind NBC who’s watched Saturday Night Live (SNL) evolve from a daring, innovative show into a cherished American institution comparable to Apple, Disney, and McDonald’s. Known for his silence regarding the program, it’s no wonder Michaels remains tight-lipped – he doesn’t need to utter a single word about the enduring weekend comedy-and-music spectacle to captivate viewers or inspire journalists to discuss it. SNL has the power to speak for itself through around 20 episodes per television season, and any comment from Michaels would only expose his comedic strategies and diminish the allure surrounding the program.

Nevertheless, he opened up a conversation with Morrison about topics that few ever engage on with him.

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In spite of everything, it was Morrison with whom he shared all the unspoken subjects.

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Despite the usual barriers, they talked about the hidden aspects with Morrison.

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Even though many topics remained untouched when speaking to him, it was Morrison he confided in regarding everything.

Approximately a decade past “SNL’s” 40th anniversary, Morrison, an articles editor at The New Yorker, found herself intrigued and decided to write a biography about Michaels. She was aware of the difficulty in doing so, as Michaels is known for his solitude. However, having worked with him previously during her stint as an assistant on “The New Show,” one of Michaels’ unsuccessful ventures during his departure from “SNL” after its fifth season, she felt equipped to take up the challenge.

She contacted Michael directly without involving NBC publicity and shared her idea with him. “I don’t require anything from you since I have contacts in your field,” she said, “but if you wish to discuss this matter, I invite you to be open and honest, as it would make for a more compelling, more profound book.” She added, “Your legacy warrants such treatment.

Michael appeared as if he might lose consciousness, remembers Morrison. Indeed, she clarifies, “He’s always been careful to avoid being in the spotlight. He’s a very private individual.

Lorne Michaels’ 600-page biography, named “Lorne,” provides an all-encompassing account following numerous weekend discussions with the individual behind a show that has remained fresh and engaging for various generations, even amidst the manipulations of numerous TV executives who may not always have had the best intentions.

Are you curious as to why “SNL” frequently sets up two women dressed like showgirls, a man portraying Abraham Lincoln, and a llama named Pierre backstage on numerous occasions? Here’s the answer. The popcorn that Michaels has been munching on since he quit smoking might make you catch a whiff of it. If you’re interested in Michaels’ opinions about organic blueberries and goat cheese (he runs a business in the U.S. northeast), it could pique your appetite.

However, these are merely basic requirements. The audience is given a rare insight into the true treasure for any journalist aiming to uncover “SNL” – an in-depth look at a week behind the scenes, where Morrison gets to witness the authentic process of creating this production. On the written page, concerns about ensuring Leslie Jones remains content are evident; managing various players who aren’t merely broadcasting to liberals (Michaels is overheard telling the cast, “We can’t be the official organ of the Democratic Party”); budgets for sketches that must inevitably be cut due to time constraints; and, undoubtedly causing NBC some frustration, unfiltered Lorne. As the week progresses beyond dinners with hosts and brainstorming sessions for an exceptional “cold open,” matters often culminate in the 90 minutes between the end of dress rehearsal and the commencement of the actual broadcast. Here, Michaels makes a flurry of notes regarding staging, jokes, and costumes before making the final decisions about which sketches will air and which cast members will be visible on screen. He is compassionate yet relentless in his approach.

Most of us aren’t familiar with the real Lorne Michaels as we don’t truly know him well.

As a die-hard fan, I’ve often seen him on Saturday Night Live, portraying the mysterious host of the show. Yet, off-screen, he can be an enigmatic character; I’ve had brief encounters with him, discussing ad placements on SNL and his behind-the-scenes collaborations with Jimmy Fallon, Maya Rudolph, Martin Short, and Seth Meyers. When he agrees to converse, it’s usually in chunks of 12 to 20 minutes, often after multiple reschedules. If the subject piques his interest, he might extend well beyond those timeframes (if not, the conversation tends to be brief).

A more intricate character emerges within Morrison’s writings. Throughout these pages, readers discover how the death of Michael’s father has been a long-standing torment for him, and his efforts to shield his family from the dazzling whirlwind of managing “SNL” cast members, numerous Hollywood projects, and the growing sense of ownership that the public seems to have over the show. Morrison expresses his admiration for how deeply Michael values his family, stating that he believes the sudden loss of a father figure has driven Michael to assume that role for others. “He is deeply moved by the importance his family holds for him,” says Morrison, who attributes this protective instinct to the void left by the absence of a father figure. “A significant part of his legacy lies in shaping the culture” among “SNL” members, both current and past, according to Morrison. He describes it as a tribal bond, similar to that portrayed in “The Godfather,” where one belongs to the family.

He’s a peculiar sort of sage, using enigmatic phrases reminiscent of koans, as Morrison puts it, such as “There are two types of people in the world: those who construct homes, and those who purchase them.” He has a knack for humor, what works best for “SNL” and its performers, and he decides whether they should stay or go. He often offers guidance to those leaving and even collaborates with them on various projects later on.

The success of “SNL” might appear as if it were destined, with Chevy Chase and John Belushi becoming household names rather than obscure figures. One might think this show, initially, had no business airing. However, according to Morrison’s book, the program is merely a manifestation of what Michaels has been striving for all along – bringing together talent in hopes of achieving a fortunate outcome. As a young man, Michaels organized a talent showcase at college and a musical revue at summer camp. In his later years, he orchestrated celebrity funerals and even played a part in preventing Keith Richards from being jailed in Canada. Morrison describes Michaels’ life as resembling a coming-of-age novel, with every event in his life prior to SNL being like a step on the path to redemption.

In the fictional series “Lorne,” Michael is portrayed as an individual who is both ambitious and imperfect. He insists on unwavering loyalty, housing young talent like Dana Carvey at his Hamptons residence and covering expenses for Amy Poehler’s dental work. However, he tends to withhold expressions of genuine warmth. To maintain a luxurious lifestyle, services such as barbers and doctors frequently visit NBC’s 30 Rock headquarters to attend to him. He often regales lesser associates with tales of his encounters with notable figures like Paul McCartney, Paul Simon, and Jack Nicholson. There were even moments when he considered taking over as the third editor at The New Yorker, a position perhaps equal in prestige to his current one.

The opulence he cultivates appears to be the cost he pays for managing a show that has stood as a cultural institution for over half a century and generates vast sums of money, while simultaneously facing intense criticism and backlash, all at once.

Michael’s career journey isn’t always smooth sailing. He bounces between comedy in Canada, collaborating with Lily Tomlin and “Laugh-In”, all while questioning if he can continue thriving in the entertainment industry. An unexpected scene shows a young Michael, a comedian himself, attempting to sell jokes to Woody Allen, but without much success. The years spent away from “SNL” (Michael left for four years during its initial five, trying to balance personalities and politics) don’t yield significant results, leaving him concerned about his standing in show business. These challenges equip him with valuable lessons when NBC executives like Don Ohlmeyer start interfering with his creative choices. Despite the hurdles, Michael perseveres.

Morrison’s scoops aren’t limited to llamas, goat cheese, and self-management; they also delve into business deals. During the 40th anniversary of ‘SNL’, Steve Burke, who was the CEO of NBCUniversal at the time, proposed purchasing half of ‘SNL’ from Michaels for several hundred million dollars. Michaels contemplated the potential increase in value by the fiftieth anniversary and pondered over his desires: “Do I want to spend this money myself, or do I want my children to have it?” He made the deal, investing some of the funds into a property in St. Barts, marking the end of decades spent renting. This transaction has never been disclosed by NBC.

The disclosure might lead to further conversations since Michael, currently at 80 years old, remains the driver of this program. Is there a time when the corporation might bring up the topic of succession? Could Michael potentially have a say in who takes over?

He’ll undoubtedly handle the situation on his own, without needing to converse with us. In Lorne Michaels’ realm, idle chit-chat is often unnecessary. As Morrison puts it, “There seems to be an aura around Lorne that will persist,” and many will continue trying to understand it.

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2025-02-10 18:47