About
"[My] contribution to Saturday Night [Live] is how the studio is laid out. People don’t recognize that because they just accept it."
In his nearly five-hour interview, Eugene Lee (1939-2023) talks about his early years growing up in Wisconsin. He recalls attending the University of Wisconsin, Carnegie Tech, and the Yale School of Drama, and details his early theater work and success as the production designer for the play Candide, which caught the attention of Lorne Michaels. Lee then describes how he was hired as the original production designer on Saturday Night Live, how he re-designed Studio 8H and its legendary balcony specifically for the show, how he staffed his department, and shares stories of working with various directors, crew and cast members, hosts, and musical guests over the years. Lee details his designs for the original Home Base for Saturday Night Live and talks about later re-designs of the space. He explains why he followed Lorne Michaels when Michaels left SNL for five years (1980-1985) and talks about his work with Michaels on The New Show and The Kids in the Hall during those years. He then describes his return to Saturday Night Live with Michaels in 1985, how the show had changed in the interim, how the design shop works, and how the production design team splits up work and gets through a typical week on SNL. He outlines the few sets that get saved from week-to-week and why, and tells of his work designing for talk shows, including Ricki Lake, Late Night with Conan O'Brien, The Tonight Show Starring Jimmy Fallon, and Late Night with Seth Meyers. Lee talks about the craft of production design and offers advice to aspiring designers. He comments on his then-current plan for how long he would stay with the show and his vision for his life after work, his plans for a pencil factory, and concludes with thoughts on the successes in his life (designing for Candide, Wicked, and Saturday Night Live) and his proudest career achievements. Jenni Matz conducted the interview on August 16, 2018 in Providence, RI.
In their two-hour joint interview, the Saturday Night Live production design team, Eugene Lee, Keith Raywood, Leo Yoshimura, and Joe DeTullio, talk about how each of them came to join the staff of Saturday Night Live. They recall designing the various “home base” sets for the show over the years, and consulting with executive producer Lorne Michaels for his input. They describe how they collaborate with each other, and with other departments on the show. They describe working with the various directors of the show, and on the unique challenges of doing production design for a live broadcast. They chronicle some of their favorite sets and most memorable moments, and working with the musical guests. Finally, they opine on why Saturday Night Live has endured, and speculate on how much longer they might stay with the show. Jenni Matz conducted the interview on May 17, 2017 in New York, NY.
Highlights
Eugene Lee on how he got hired as the original production designer at Saturday Night Live
Eugene Lee on his original design for Saturday Night Live in Studio 8H and why he wanted a balcony
Eugene Lee on preparing for the very first Saturday Night Live show with host George Carlin, and lessons learned from that experience
Eugene Lee on working with the three other Saturday Night Live production designers on non-SNL projects and how the four of them work together
Eugene Lee on the role of a television production designer
Eugene Lee on his proudest career achievement - the balcony in Studio 8H for Saturday Night Live
Full Interview
Chapter 1
On his early years and influences; on his family not being able to decide what to name him; on his parents and grandparents; on his interests growing up; on his love of painting and boats; on his early memories of television and always liking the scenery; on enjoying being backstage in theater productions
On being in the ROTC program; on attending the University of Wisconsin; on doing set design for a theater in Madison, WI; on deciding to go to Carnegie Tech; on working in Chicago; on attending Yale Drama School
On theater work in Brooklyn; on how he became the original production designer on Saturday Night Live; on his first thoughts on Studio 8H; on the original office spaces for Saturday Night Live; on needing another designer to work with him on Saturday Night Live and hiring Leo Yoshimura; on Dick Ebersol wanting him to hire Norman Davis instead of Leo Yoshimura
On the original Saturday Night Live design department on the seventh floor of 30 Rock; on his original budget restrictions on Saturday Night Live and interviewing directors; on his original design for Studio 8H and why he wanted a balcony; on Lorne Michaels needing to get the original model for Studio 8H for Saturday Night Live approved and money not being an issue after it was approved
Chapter 2
On the timeline for designing the original studio for Saturday Night Live; on the original Home Base set for Saturday Night Live; on staffing the production design department at Saturday Night Live during the show's early years
On Lorne Michaels' accessibility on Saturday Night Live; on a typical week on Saturday Night Live during the early days of the show; on how much interaction he had with the cast and crew on the early days of Saturday Night Live; on difficulties with lighting the show and having very few original crew members still around
On preparing for the very first show with host George Carlin, and lessons learned from that experience
On the five years Lorne Michaels (and he) were not at Saturday Night Live and working on The New Show with him; on why the live aspect is so important on Saturday Night Live; on working on The Kids in the Hall with Lorne Michaels; on Lorne Michaels (and he) returning to Saturday Night Live in 1985, redesigning Home Base, and the regular characters that always appear in hallway shots on the show; on hiring more people for his department on Saturday Night Live
Chapter 3
On production design on Easy Money (contd.) and bringing Keith Raywood onto his production design team at Saturday Night Live; on hiring Joe DeTullio; on the then-current Saturday Night Live design shop at Stiegelbauer Associates and previous design shops for the show
On how the four production designers on Saturday Night Live divide up their work and what a typical week on the show is like; on working with the musical guests on Saturday Night Live
On not saving most of the sets made for Saturday Night Live, but keeping the Oval Office set and a few game show sets; on how sets fit into the studio for Saturday Night Live and on working with the video unit; on how many people are involved with making the show; on how working on Saturday Night Live has changed over the years
On the production design budget on Saturday Night Live; on the process for moving large sets into Studio 8H; on close calls with sets on Saturday Night Live; on why his temperament is well-suited for being a production designer on Saturday Night Live and on working with Lorne Michaels; on what has kept him on Saturday Night Live for so long and on his other projects; on sketches he appeared in on Saturday Night Live
Chapter 4
On production design for the "Les Miserables" Saturday Night Live sketch with lobsters in a tank and on working up until the last second; on some of the most challenging sets he's been asked to build for Saturday Night Live
On not getting attached to sets for Saturday Night Live, on doing a lot of interviews over the years, and on writing a book; on the importance of his job on Saturday Night Live
On the story behind the Studio 8H balcony seats and seats for talk show sketches on Saturday Night Live; on the book and movie The Specialist
Chapter 5
On how sets being done last-minute contributes to the live theater aspect of Saturday Night Live; on no longer staying to see the live show on Saturday Night Live; on musical guests, hosts, and writers that he's enjoyed working with on Saturday Night Live; on his work designing for talk shows, including Ricki Lake, Late Night with Conan O'Brien, The Tonight Show Starring Jimmy Fallon, and Late Night with Seth Meyers
On working with the three other Saturday Night Live production designers on non-SNL projects and how the four of them work together; on the fun part about working on Saturday Night Live and on not caring about celebrities; on building a house near Lorne Michaels' house
On his comfort zone for designing, the craft of designing, and a project he worked on in Providence, RI; on his style and aesthetic; on his love of architectural models; on the book he's written about his work
On his mentors; on his successes in his life - "Candide" and "Wicked"; on Lorne Michaels and his idea for a pencil factory; on handling the business-side of being a production designer on Saturday Night Live and on other projects; on his book
Chapter 6
On advice to aspiring production designers; on his proudest career achievement - the balcony in Studio 8H for Saturday Night Live; on then-current projects; on for how much longer he'll be working at Saturday Night Live; on being nominated for and winning awards; on wanting to teach at Brown University if he stops working
On how he'd like to be remembered; on the proposed Broadway play "The Trump Follies"; on his then-upcoming book; on a pencil factory he's involved with and its surroundings; on the importance of a good beginning and a good ending
On the importance of makeup and hair on Saturday Night Live; on the "Church Lady" and "Wayne's World" sets on Saturday Night Live; on whether the Home Base set will change again on Saturday Night Live; on potential projects in his next chapter after he stops working; on designing the Emmy Awards one year when it was in Pasadena; on the Grand Central Home Base set on Saturday Night Live
Chapter 7
START OF JOINT INTERVIEW WITH SATURDAY NIGHT LIVE PRODUCTION DESIGN TEAM: Eugene Lee on how he came to join Saturday Night Live, and on his early experience with the show; on designing the Saturday Night Live home base set
On Lorne Michaels' input into the Saturday Night Live home base set; on the llama running joke on Saturday Night Live; Keith Raywood and Joe DeTullio on how they joined Saturday Night Live
On how the team functions together, and on a typical workweek for the team; on what makes working on Saturday Night Live production design unique
On their process of collaborating with each other on Saturday Night Live; on reusing old sets on Saturday Night Live; on dealing with the tight time constraints of Saturday Night Live, and on their biggest challenges
Chapter 3
On working with the directors of Saturday Night Live, including Dave Wilson, Paul Miller, Beth McCarthy-Miller, and Don Roy King; on their interaction with various other departments on Saturday Night Live; on their favorite sets, and on Saturday Night Live being live
On their longevity staying with Saturday Night Live, and on dealing with crazy weeks; on dealing with last minute issues on Saturday Night Live, and on mishaps live on-air; on appearing in sketches on Saturday Night Live from time to time, and on the "Weekend Update" set
On the most fun sets to design for Saturday Night Live; on working with the musical guests on Saturday Night Live; on favorite sets they've worked on for Saturday Night Live
On continuing to work on Saturday Night Live; on the enduring popularity of Saturday Night Live, and on what keeps them working there
Shows
Emmy Awards, The (Primetime and Daytime)
Eugene Lee on designing the Emmy Awards one year when it was in Pasadena
Kids in the Hall, The
Eugene Lee on working on The Kids in the Hall with Lorne Michaels
Late Night with Conan O'Brien
Eugene Lee on his work designing for talk shows: Late Night with Conan O'Brien and The Tonight Show Starring Jimmy Fallon
Late Night with Seth Meyers
Eugene Lee on designing the set for Late Night with Seth Meyers
New Show, The
Eugene Lee on working on The New Show with Lorne Michaels and how working at CBS compared to working at NBC
Ricki Lake
Eugene Lee on his work designing for talk shows: Ricki Lake
Saturday Night Live
Eugene Lee on how he came to join Saturday Night Live, and on his early experience with the show
SNL Production Design Team on designing the Saturday Night Live home base set
SNL Production Design Team on Lorne Michaels' input into the Saturday Night Live home base set
SNL Production Design Team on the llama running joke on Saturday Night Live
Keith Raywood on how he became involved with Saturday Night Live, and on his role within the team
Joe DeTullio on how he joined Saturday Night Live
SNL Production Design Team on how the team functions together, and on a typical workweek
SNL Production Design Team on what makes working on Saturday Night Live production design unique
SNL Production Design Team on their process of collaborating with each other on Saturday Night Live
SNL Production Design Team on reusing old sets on Saturday Night Live
SNL Production Design Team on dealing with the tight time constraints of Saturday Night Live, and on their biggest challenges
SNL Production Design Team on working with the directors of Saturday Night Live, including Dave Wilson, Paul Miller, Beth McCarthy-Miller, and Don Roy King
SNL Production Design Team on their interaction with various other departments on Saturday Night Live
SNL Production Design Team on their favorite sets, and on Saturday Night Live being live
SNL Production Design Team on their longevity staying with Saturday Night Live, and on dealing with crazy weeks
SNL Production Design Team on dealing with last minute issues on Saturday Night Live, and on mishaps live on air
SNL Production Design Team on appearing in sketches on Saturday Night Live from time to time, and on the "Weekend Update" set
SNL Production Design Team on the most fun sets to design for Saturday Night Live
SNL Production Design Team on working with the musical guests on Saturday Night Live
SNL Production Design Team on favorite sets they've worked on for Saturday Night Live, and on assessing their job after a given show
SNL Production Design Team on continuing to work on Saturday Night Live
SNL Production Design Team on the enduring popularity of Saturday Night Live, and on what keeps them working there
Eugene Lee on how he got hired at Saturday Night Live
Eugene Lee on his first thoughts on the Saturday Night Live studio, Studio 8H
Eugene Lee on the original office spaces for Saturday Night Live
Eugene Lee on needing another designer to work with him on Saturday Night Live and hiring Leo Yoshimura
Eugene Lee on Dick Ebersol wanting him to hire Norman Davis instead of Leo Yoshimura on Saturday Night Live
Eugene Lee on the original Saturday Night Live design department on the seventh floor of 30 Rock
Eugene Lee on his original budget restrictions on Saturday Night Live and interviewing directors
Eugene Lee on his original design for Saturday Night Live in Studio 8H and why he wanted a balcony
Eugene Lee on Lorne Michaels needing to get the original model for Studio 8H for Saturday Night Live approved and money not being an issue after it was approved
Eugene Lee on the timeline for designing the original studio for Saturday Night Live and wanting to use real brick for the original Home Base set for Saturday Night Live
Eugene Lee on the original scenery on Saturday Night Live
Eugene Lee on the research for sets and background on Saturday Night Live and certain sets that are kept
Eugene Lee on staffing the production design department at Saturday Night Live during the show's early years
Eugene Lee on a typical week on Saturday Night Live during the early days of the show
Eugene Lee on preparing for the very first Saturday Night Live show with host George Carlin, and lessons learned from that experience
Eugene Lee on how much interaction he had with the cast and crew on the early days of Saturday Night Live; on difficulties with lighting the show and having very few original crew members still around
Eugene Lee on the five years Lorne Michaels (and he) were not at Saturday Night Live and working on The New Show with him
Eugene Lee on why the live aspect is so important on Saturday Night Live
Eugene Lee on Lorne Michaels (and he) returning to Saturday Night Live in 1985, redesigning Home Base, and the regular characters that always appear in hallway shots on the show
Eugene Lee on hiring more people for his department on Saturday Night Live
Eugene Lee on bringing Keith Raywood and Joe DeTullio onto his production design team at Saturday Night Live
Eugene Lee on the then-current Saturday Night Live design shop at Stiegelbauer Associates and previous design shops for the show
Eugene Lee on how the four production designers on Saturday Night Live divide up their work and what a typical week on the show is like
Eugene Lee on working with the musical guests on Saturday Night Live and Lorne Michaels' involvement with musical guests
Eugene Lee on what a typical week on Saturday Night Live is like, contd.
Eugene Lee on not saving most of the sets made for Saturday Night Live, but keeping the Oval Office set and a few game show sets
Eugene Lee on how sets fit into the studio for Saturday Night Live and on working with the video unit; on how many people are involved with making the show
Eugene Lee on feeling sad after a show and how working on Saturday Night Live has changed over the years
Eugene Lee on the production design budget on Saturday Night Live
Eugene Lee on using cars on Saturday Night Live and the process for moving large sets into Studio 8H
Eugene Lee on close calls with sets on Saturday Night Live
Eugene Lee on why his temperament is well-suited for being a production designer on Saturday Night Live and on working with Lorne Michaels
Eugene Lee on working with Francis Ford Coppola on Saturday Night Live and on working with Lorne Michaels
Eugene Lee on what has kept him on Saturday Night Live for so long and on his other projects
Eugene Lee on sketches he appeared in on Saturday Night Live
Eugene Lee on production design for the "Les Miserables" Saturday Night Live sketch with lobsters in a tank and on working up until the last second
Eugene Lee on some of the most challenging sets he's been asked to build for Saturday Night Live
Eugene Lee on not getting attached to sets for Saturday Night Live, on doing a lot of interviews over the years, and on writing a book
Eugene Lee on the importance of his job on Saturday Night Live
Eugene Lee on the story behind the Studio 8H balcony seats and seats for talk show sketches on Saturday Night Live
Eugene Lee on how sets being done last-minute contributes to the live theater aspect of Saturday Night Live
Eugene Lee on no longer staying to see the live show on Saturday Night Live
Eugene Lee on musical guests, hosts, and writers that he's enjoyed working with on Saturday Night Live
Eugene Lee on working with the three other Saturday Night Live production designers on non-SNL projects and how the four of them work together
Eugene Lee on the fun part about working on Saturday Night Live and on not caring about celebrities
Eugene Lee on what he would have said to his sons if they had wanted to be production designers and on Saturday Night Live having several generations of families working there
Eugene Lee on his proudest career achievement - the balcony in Studio 8H for Saturday Night Live
Eugene Lee on for how much longer he'll be working at Saturday Night Live
Eugene Lee on the Grand Central Home Base set on Saturday Night Live
Eugene Lee on the importance of makeup and hair on Saturday Night Live
Eugene Lee on the "Church Lady" set on Saturday Night Live
Eugene Lee on the "Wayne's World" set on Saturday Night Live
Eugene Lee on whether the Home Base set will change again on Saturday Night Live
Tonight Show Starring Jimmy Fallon, The
Eugene Lee on his work designing for talk shows: Late Night with Conan O'Brien and The Tonight Show Starring Jimmy Fallon
Eugene Lee on the blue curtain on The Tonight Show Starring Jimmy Fallon
Eugene Lee on not dealing with network notes on The Tonight Show Starring Jimmy Fallon -- he only deals with the executive producer
Eugene Lee on not designing any sets for the sketches on The Tonight Show Starring Jimmy Fallon
Topics
Advice
Eugene Lee on advice to aspiring production designers
Eugene Lee on what he would have said to his sons if they had wanted to be production designers and on Saturday Night Live having several generations of families working there
Creative Influences and Inspiration
Eugene Lee on his mentors and mentoring others
Emmy Awards
Eugene Lee on designing the Emmy Awards one year when it was in Pasadena
First Big Break
Eugene Lee on a pivotal moment in his career: doing set design for a theater in Madison, WI
Memorable Moments on Television
Eugene Lee on preparing for the very first Saturday Night Live show with host George Carlin, and lessons learned from that experience
Eugene Lee on production design for the "Les Miserables" Saturday Night Live sketch with lobsters in a tank and on working up until the last second
Pivotal Career Moments
Eugene Lee on a pivotal moment in his career: doing set design for a theater in Madison, WI
Eugene Lee on deciding to go to Carnegie Tech
Pop Culture
Eugene Lee on preparing for the very first Saturday Night Live show with host George Carlin, and lessons learned from that experience
Eugene Lee on production design for the "Les Miserables" Saturday Night Live sketch with lobsters in a tank and on working up until the last second
Television Industry
Eugene Lee on advice to aspiring production designers
Eugene Lee on what he would have said to his sons if they had wanted to be production designers and on Saturday Night Live having several generations of families working there
We Laughed
Eugene Lee on production design for the "Les Miserables" Saturday Night Live sketch with lobsters in a tank and on working up until the last second
Professions
Designers
SNL Production Design Team on how the team functions together, and on a typical work week for the team
SNL Production Design Team on their process of collaborating with each other on Saturday Night Live
SNL Production Design Team on their interaction with various other departments on Saturday Night Live
SNL Production Design Team on dealing with last minute issues on Saturday Night Live, and on mishaps live on air
Eugene Lee on why his temperament is well-suited for being a production designer on Saturday Night Live
Eugene Lee on the role of a television production designer
Eugene Lee on his comfort zone for designing
Eugene Lee on whether he prefers designing for one medium over another
Eugene Lee on whether or not his process changes when he designs for different mediums
Eugene Lee on whether or not he has a signature style; on his aesthetic and his love of architectural models; on the book he's written about his work
Eugene Lee on his drawings
Eugene Lee on his mentors and mentoring others
Eugene Lee on advice to aspiring production designers
Eugene Lee on what he would have said to his sons if they had wanted to be production designers and on Saturday Night Live having several generations of families working there
Production Designer
SNL Production Design Team on how the team functions together, and on a typical work week for the team
SNL Production Design Team on their process of collaborating with each other on Saturday Night Live
SNL Production Design Team on their interaction with various other departments on Saturday Night Live
SNL Production Design Team on dealing with last minute issues on Saturday Night Live, and on mishaps live on air
Eugene Lee on why his temperament is well-suited for being a production designer on Saturday Night Live
Eugene Lee on the role of a television production designer
Eugene Lee on his comfort zone for designing
Eugene Lee on whether he prefers designing for one medium over another
Eugene Lee on whether or not his process changes when he designs for different mediums
Eugene Lee on whether or not he has a signature style; on his aesthetic and his love of architectural models; on the book he's written about his work
Eugene Lee on his drawings
Eugene Lee on his mentors and mentoring others
Eugene Lee on advice to aspiring production designers
Eugene Lee on what he would have said to his sons if they had wanted to be production designers and on Saturday Night Live having several generations of families working there
Genres
Awards Shows
Eugene Lee on designing the Emmy Awards one year when it was in Pasadena
Music Shows & Variety Shows/Specials
Eugene Lee on how he got hired as the original production designer on Saturday Night Live, hiring his first staff, and his original plans for Studio 8H
Eugene Lee on his early design ideas for Saturday Night Live and staffing his department
Eugene Lee on expanding the production design team at Saturday Night Live, what a typical week is like, working with Lorne Michaels, and how the show has changed over the years
Eugene Lee on specific sets and challenging sets on Saturday Night Live, on the importance of his job, and the story behind the Studio 8H balcony seats and seats for talk show sketches on Saturday Night Live
Eugene Lee on how sets being done last-minute contributes to the live theater aspect of Saturday Night Live; on no longer staying to see the live show on Saturday Night Live, and on musical guests, hosts, and writers that he's enjoyed working with on Saturday Night Live
Eugene Lee on working with the three other Saturday Night Live production designers on non-SNL projects and how the four of them work together; on the fun part about working on Saturday Night Live and on not caring about celebrities
Eugene Lee on his proudest career achievement - the balcony in Studio 8H for Saturday Night Live
Eugene Lee on the importance of makeup and hair on Saturday Night Live
Eugene Lee on the "Church Lady" and "Wayne's World" sets on Saturday Night Live
Eugene Lee on the Grand Central Home Base set on Saturday Night Live
Talk Shows
Eugene Lee on his work designing for talk shows: Ricki Lake, Late Night with Conan O'Brien, The Tonight Show Starring Jimmy Fallon, and Late Night with Seth Meyers
People
Francis Ford Coppola
Eugene Lee on working with Frances Ford Coppola on Saturday Night Live and on working with Lorne Michaels
Joe DeTullio
Eugene Lee on bringing Joe DeTullio onto his production design team at Saturday Night Live and Joe overseeing the design shop at Stiegelbauer's
Eugene Lee on working with the three other Saturday Night Live production designers on non-SNL projects and how the four of them work together
Eugene Lee on the Grand Central Home Base set on Saturday Night Live
Barry Diller
Eugene Lee on an ongoing project with Barry Diller
Dick Ebersol
Eugene Lee on the first time he met Dick Ebersol
Eugene Lee on Dick Ebersol wanting him to hire Norman Davis instead of Leo Yoshimura on Saturday Night Live
Darrell Hammond
Eugene Lee on the proposed Broadway play "The Trump Follies"
Don Roy King
SNL Production Design Team on working with the directors of Saturday Night Live, including Dave Wilson, Paul Miller, Beth McCarthy-Miller, and Don Roy King
Ricki Lake
Eugene Lee on his work designing for talk shows: Ricki Lake
Beth McCarthy-Miller
SNL Production Design Team on working with the directors of Saturday Night Live, including Dave Wilson, Paul Miller, Beth McCarthy-Miller, and Don Roy King
Lorne Michaels
SNL Production Design Team on Lorne Michaels' input into the Saturday Night Live home base set
Eugene Lee on how he got hired as the original production designer at Saturday Night Live
Eugene Lee on Lorne Michaels' pitch for bringing him onto Saturday Night Live and why he said yes
Eugene Lee on Lorne Michaels needing to get the original model for Studio 8H for Saturday Night Live approved and money not being an issue after it was approved
Eugene Lee on Lorne Michaels' accessibility on Saturday Night Live
Eugene Lee on why his temperament is well-suited for being a production designer on Saturday Night Live and on working with Lorne Michaels
Eugene Lee on working with Frances Ford Coppola on Saturday Night Live and on working with Lorne Michaels
Eugene Lee on building a house near Lorne Michaels' house
Eugene Lee on Lorne Michaels and his idea for a pencil factory
Eugene Lee on for how much longer he'll be working at Saturday Night Live and how Lorne Michaels impacts his decision
Prince
Eugene Lee on musical guests and hosts that he's enjoyed working with on Saturday Night Live - Prince
Conan O'Brien
Eugene Lee on his work designing for talk shows: Late Night with Conan O'Brien
Keith Raywood
Eugene Lee on hiring Keith Raywood as a production designer on Saturday Night Live (via working on East Money with Jim Signorelli)
Eugene Lee on production design on Easy Money (contd.) and bringing Keith Raywood onto his production design team at Saturday Night Live
Eugene Lee on the blue curtain on The Tonight Show Starring Jimmy Fallon
Eugene Lee on working with the three other Saturday Night Live production designers on non-SNL projects and how the four of them work together
Howard Shore
Eugene Lee on the first time he heard Howard Shore perform the theme to Saturday Night Live
James Signorelli
Eugene Lee on hiring Keith Raywood as a production designer on Saturday Night Live (via working on East Money with Jim Signorelli)
Paul Simon
Eugene Lee on working with the musical guests on Saturday Night Live and meeting Paul Simon
Eugene Lee on enjoying working with Paul Simon on Saturday Night Live
Rolling Stones
Eugene Lee on the Rolling Stones' early appearance on Saturday Night Live and Lorne Michaels' involvement with musical guests
Donald J. Trump
Eugene Lee on the proposed Broadway play "The Trump Follies"
Dave Wilson
Eugene Lee on interviewing Dave Wilson to become a director on Saturday Night Live
Eugene Lee on designing the Emmy Awards one year when it was in Pasadena, directed by Dave Wilson
Leo Yoshimura
Eugene Lee on needing another designer to work with him on Saturday Night Live and hiring Leo Yoshimura
Eugene Lee on Dick Ebersol wanting him to hire Norman Davis instead of Leo Yoshimura on Saturday Night Live
Eugene Lee on staffing the production design department at Saturday Night Live during the show's early years
Eugene Lee on designing the set for Late Night with Seth Meyers
Eugene Lee on working with the three other Saturday Night Live production designers on non-SNL projects and how the four of them work together
