Since the inception of WTF in 2009, Marc Maron has talked about his dream interview: Lorne Michaels, creator of Saturday Night Live. And now, after an extended period of actively and forcefully campaigning for a chat in the opening bit of his show, Maron has landed his white whale. In the new podcast interview—which is embedded below— Maron and Michaels talk at length about the WTF host’s failed SNL audition 20 years ago. Maron, unsurprisingly, still wants answers as to what happened, which Michaels sort of provides:
Maron: What happened?
Michaels: I think what happened was it was a period in the show’s history where [the] critical community and the network were on the same side, which seldom happened. I think Don Ohlmeyer was running the network then. We were getting killed in the press. We were in a transition away from the baby boom. And people like Sandler and Farley and Spade and Mike Myers were just leaving, and Dana just left. And so there was sort of consensus. New YorkMagazine ran a cover on Farley – why these people weren’t funny. I think Don Ohlmeyer felt it as well. I kept saying they’re not playing to you; they’re playing, pretty much, to your kids – that we were in the middle of a change. At the time … everything then was compared to the original cast, and did they fit, did they measure up. Of course, the idea that they were listening different music, that they were from a different time didn’t get through. And, as I said, the critics were really fierce and ratings were starting to suffer … And also the movies were beginning to work – Tommy Boy was ‘94, or we shot it in ‘94. And I don’t think [Don Ohlmeyer] was a fan of Norm MacDonald. But I was, I am always looking for what I think are original voices and, I thought, I wouldn’t have met with you if you didn’t think you had one.
Maron: So it was not a – so it was just not my year.
Michaels: No, I think we were being pounded on a whole other level, which was really existential at that point. Critics were [saying] “Saturday Night Dead.” The network was “you have to change, you’re too set in your ways.” And the simple fact that different generations come in and make the show their own and they find their own way of doing it, within the same tradition, as opposed to blowing it up and starting over. And the thing about broadcast is that you’re on in all 50 states. In the way that the railroads united the country in the 1900, I think the networks did in this century. You know the show plays differently in Arkansas than it does in Hawaii.
Maron: Maybe I wasn’t right.