Go Behind the Scenes with SNL’s Artist-in-Residence and Her Iconic Portraits

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For over two and a half decades, only a select few can claim they’ve been involved with every episode of Saturday Night Live, and even fewer still have complete creative control from the show’s creator Lorne Michaels. One such person is Mary Ellen Matthews, SNL’s resident photographer since 2000. She has taken portraits for each guest host and musical act featured in every episode. Her distinctive images, which introduce and conclude the show during commercial breaks, are widely recognized. These “bumpers,” characterized by a style initially developed by her previous boss Edie Baskin in the 1980s, now bear Matthews’ unique, playful touch with live props and intricate setups. A collection of her favorite photos, totaling over 4,000, can be found in the book The Art of the SNL Portrait, available from March 4th. As for how Matthews plans to celebrate her series’ 50th anniversary special, airing Feb 16 on NBC, she admits that she likely won’t know until the last moment – a state of affairs she’s quite accustomed to: “Well, darling, we’re so used to working like this.

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

Of course, I’ve received feedback from talent representatives, and occasionally they express that something doesn’t quite work for them. Sometimes, mistakes happen and need to be corrected. I usually avoid showing my work to many people beforehand because the host is deeply focused on the show, as they should be.

In this book, the number of photos is just a small portion compared to the ones you’ve taken. Out of all the pictures you’ve had to discard, which one was the hardest to let go of? (In this version, I tried to maintain the original’s tone and meaning while making it more conversational and easier to read.)

In a unique scenario, Dame Helen Mirren was playfully interacting with a four-foot replica alligator. She got down on the floor and engaged in a pretend wrestling match with this prop. Regrettably, one of these memorable moments didn’t make it into the final cut. The alligator, which I adored, has since deteriorated over time.

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

They were primarily alive, but I received a warning to avoid handling the animals due to their high cost. Unfortunately, this scene didn’t make it into the book, but I captured an image of Amy Adams with two parrots – one in each hand. One of those parrots bit her finger quite hard, which I still regret. However, I must admit, birds are fascinating creatures. Perhaps I should reconsider using them in future shoots. (Chuckles).

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

Notice those Martini glasses! They show up in many of my photographs, even gracing the cover. With so many fascinating individuals I’ve captured on camera while they were sipping Martinis, I could easily write another entire book!

Is it accurate that there was an incident involving you, Sarah Silverman, and a feather duster on a ladder at 30 Rockefeller Plaza, which nearly resulted in your dismissal due to an unauthorized photo shoot?

To put it mildly, I may have stepped on Tishman Speyer’s toes with my actions regarding this building they own. It wasn’t a decision made lightly, and looking back, it could have been risky. But in that moment, I felt the rebellious spirit of punk rock coursing through me, and Sarah was right there with me, fully supportive. In retrospect, her being so high up was probably not the safest choice, but the thrill of our defiant act made it all worthwhile.

During Donald Trump’s 2016 campaign, what type of collaborator was he? According to the book, none were involved, but I found some of the photos quite interesting.

As a gamer putting my thoughts into words, let me confess: I share the same sentiment. There’s one game mod I found particularly amusing, which I jokingly named “Trump Hair Spray”. I suggested he use it on his virtual character, but he initially showed reluctance. I tried to persuade him with a casual, “Why not just give it a try once and we can move on?” Eventually, he gave in and used it. However, that was all from the past, and I’d rather focus on the present and beyond.

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, who merits his own chapter in the book, is someone I share a passion for music with. Our shared enthusiasm has led to numerous tributes between us. We’ve paid homage to him in various ways, depicting him as Patti Smith, Lou Reed, and David Byrne.

In this version, the focus remains on the shared love of music and the recurring themes of creating homages, while also emphasizing that John Mulaney is the subject of these tributes and not just a casual mention.

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

Occasionally, some individuals propose a scenario where they would disrobe and then ask to be hidden by an object. If someone feels so free and at ease in such a situation, I’d say it’s not something we would capture on camera… because it wouldn’t air. I value these people, and that’s simply not our practice.

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

Every Thursday afternoon, for about an hour and a half, I find myself immersed in a unique world. If it’s someone like John who’s been around the block, we breeze through it. But newcomers are often left in awe, exclaiming things like, “Wow, Paul McCartney is rehearsing right there!” They tend to wander off, and I can’t seem to keep them focused. Consequently, these sessions stretch out longer than usual.

In addition to overseeing the introductory credits that depict various New York City landscapes featuring the actors, what’s your preferred location for filming within the city, and is there a spot where you’d love to capture footage but haven’t been able to?

In the opening, convey the lively, inclusive vibe of an unmissable party that SNL offers. My preferred shooting locations are the East Village and Lower East Side, they’re my go-to places. I wish I could capture more moments in Central Park, but it’s proving challenging now. There have been countless quirky demands from the cast that simply couldn’t be fulfilled.

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

Frankly speaking, it’s usually folks requesting aerial perspectives via helicopters or drones. Yet, an innovative thought emerged: a camera plunging into the sewer through a manhole. Friends, I must admit that idea is far from ordinary! As much as I appreciate creativity, I draw the line at someone galloping a horse down the bustling streets of Manhattan.

For quite some time, you collaborated with Tina Fey and were even present at her wedding as the photographer. In one of the episodes from “30 Rock,” her character is duped by a photographer into taking a photo on a toilet, holding a rubber chicken. Could it be that you served as the inspiration for this scene?

Of course, it’s quite flattering! You see, I used to employ rubber chickens, and it’s truly an honor to be associated with such a thing by her. (Smiles broadly)

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

They embody the most basic form of humor, which I find amusing. Despite his abundance of creative ideas, Will Ferrell simply exudes humor, but I have a particular fondness for him. We recreated an old tintype photograph of a hunter with a duck he’d shot, except in our version, it’s Will holding a rubber chicken. Even now, it continues to make me chuckle.

You can find this article in the February 12th edition of The Hollywood Reporter magazine. To keep up with future issues, consider subscribing.

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2025-02-13 20:25