SNL’s Iconic Photography Explored in Mary Ellen Matthews Book

Few can say they’ve had their hands on every episode of Saturday Night Live for the past 25 years. Even fewer can say they have carte blanche from famously hands-on creator Lorne Michaels. But Mary Ellen Matthews, SNL‘s in-house photographer, has bragging rights on both counts. For every (yes, every) episode since 2000, she’s snapped portraits of each guest host and musical act. Her “bumpers,” saturated images that intro and outro the show from commercial breaks, are instantly recognizable. An extension of the aesthetic pioneered by Matthews’ former boss Edie Baskin in the 1980s, they now have her irreverent stamp with live props and elaborate setups. A selection of her favorite shots used by the show, which now number more than 4,000, appear in the book The Art of the SNL Portrait (March 4). So how will Matthews be contributing to her series’ 50th anniversary special, airing Feb. 16 on NBC? Calling in from Studio 8H at the top of February, she confesses she probably won’t know until the last minute — not that she’d have it any other way: “Oh, honey. We’re so used to working like this.”

Lorne says you have free rein. Has he ever pushed back on anything?

No, never, but I’ve gotten notes from talent reps … Lord! “We’re not crazy about that” happens. Sometimes you hit a sour note, and you just have to fix it. I try not to show them to too many people beforehand because the host’s head is in the show — where it needs to be.

The number of photos in this book is a fraction of what you’ve shot. Of all the darlings you’ve had to kill, which hurt the most?

Helen Mirren wrestling an alligator. She got down on the floor and rolled around with this 4-foot taxidermied alligator. It was heartbreaking that one didn’t make the cut. I loved that alligator. Sadly, it’s since fallen apart.

You use animals as props a lot, especially birds. Are they all taxidermied or are some live?

They’ve mostly been live, but I got a note to back off the animals because they’re too expensive. This was another image that didn’t make the book, but I shot Amy Adams with two parrots — one in either hand. One of those parrots nipped her finger pretty good, which I still feel terrible about. But, wow, I do like birds. Maybe I shouldn’t use them anymore. (Laughs.)

What is a prop or a setup that you’ve retired from overuse?

Martini glasses! There’s even one on the cover. I could do a whole other book just on the people I’ve shot with a martini glass.

There’s a story about how you almost lost your job over an unsanctioned shoot with Sarah Silverman scaling a ladder to clean the 30 Rockefeller Plaza marquee with a feather duster. Is that true?

Well, it’s a bit of an exaggeration — but Tishman Speyer, which owns this building, was not so happy. It wasn’t a great look for me, but it was worth it. We went rogue. Sarah was so behind it. And, yes, in hindsight it was dangerous for her to be all the way up there, but it was punk rock.

What kind of collaborator was Donald Trump when he hosted during his 2016 campaign? None made the book, but I think some of those shots are actually pretty cool.

I hate to say it, but I think so too. Especially this one where I made a “Trump Hair Spray” bottle. I asked him to spray his hair with it, which he did not want to do, but I was like, “Just give me one shot and we can be done with this!” He did it, and we used it. But that was before all of what’s happened, so that’s all I’ll say about that.

How about Elon Musk, another one of the more controversial hosts?

He was game — easy and playful, nothing out of the ordinary about that one.

Of all the frequent hosts, who comes at you with the most ideas?

John Mulaney, and that’s why he gets his own chapter in the book. He and I share a love of music, so it’s been a recurring theme for us to come up with different homages. We’ve done him as Patti Smith, Lou Reed, David Byrne …

I’ve heard you never want to offend with these images. What’s one line you won’t cross?

Some people will get naked and then suggest they stand behind something. If somebody feels that free and comfortable, sure, we’ll shoot it … knowing full well it’s never going to make it to air. I’m protective of these people, and that’s just not what we do.

How much time do you get with these people, anyway?

It’s on Thursdays, usually for an hour and a half. If it’s somebody like John, who’s very comfortable there, we can make short work of it. But the first-timers are often walking around, like, “Wait, what? Paul McCartney’s rehearsing right there!” They’ll drift off, and I can never stop them. Those shoots take longer.

You also direct the opening titles, which situate the cast in different New York tableaus. Where’s your favorite place to shoot in the city — and where do you wish you could shoot but can’t?

SNL still has the energy of the party that you always want to be invited to — and you need to convey that in the opening. I’m always trying to shoot in the East Village and the Lower East Side, that’s just my stomping ground. I wish I could do more in Central Park, but it’s too difficult now. I’ve had all kinds of kooky requests from the cast that just couldn’t be done.

What are some of those kookier requests you had to turn down?

Mostly it’s people asking for helicopter or drone shots. Someone had the idea of a camera dropping down through a manhole and into the sewer. Guys, you are out of your minds! I’m not having someone ride a horse down the middle of the street in Manhattan.

You worked with Tina Fey for years, even shot her wedding. There’s an episode of 30 Rock during which her character is tricked by a photographer into posing on a toilet, clutching a rubber chicken. Were you her inspiration?

How could I not be? (Laughs.) I was once in the habit of using rubber chickens, and I consider it a great honor to be referenced by her in that way.

What is it about rubber chickens that keep us coming back?

They just represent comedy at its lowest common denominator. And that is what’s funny to me. Will Ferrell is rich with ideas, and he’s just funny by existing, but I have a favorite of him. We re-created this old tintype photo of a hunter holding a duck he’d shot — only Will is holding a rubber chicken. It still makes me laugh.

This story appeared in the Feb. 12 issue of The Hollywood Reporter magazine. Click here to subscribe.