Talking With Jef Holbrook from “Saturday Night”

This edition of Talking With focuses on actor Jef Holbrook, who lands on the big screen as a behind the scenes television Editor in the film “Saturday Night.”

Directed by Jason Reitman, the fictionalized story follows what happens leading up to the very first episode of the NBC juggernaut sketch show Saturday Night Live on October 11, 1975. Jef lands in the thick of it as the clock is ticking down and some quick edits to a taped sketch must get finished.

Believe it or not, but Jef has worked with several actual SNL alums. Eddie Murphy and Pete Davidson in another upcoming movie, “The Pickup,” as well as Beck Bennett and Fred Armisen on two other projects. He been in bunch of shows, like “Cobra Kai,” “Will Trent,” “Brockmire,” “Heels,” “Drop Dead Diva,” “Black Lightning,” “Naomi” and more. A Georgia native, he trained and performed for Springer Opera House, in addition to touring his own two-person show with Topher Payne.

To learn more, we are Talking With Jef Holbrook:

Who do you play in the film “Saturday Night”?

Jef Holbrook: I play an Editor, and there’s, like, so many levels of why that’s kind of confusing.

First, I didn’t edit our film, Saturday Night. That’s Nathan Orloff and he’s amazing, he’s the actual editor of the film. My character is an Editor for NBC (in 1975) who is working with Lorne Michaels and Rosie Shuster on the first episode of what will become Saturday Night Live.

The other reason it’s kind of tough to explain out loud sometimes is that the movie is about the ninety minutes leading up to the live broadcast of, well, Saturday Night Live. It’s a live show! So why would they need my character, an editor? Well, just like modern SNL, the early days of Saturday Night Live also mixed pre-taped sketches into the show. The sketch my character is editing is the classic “New Dad” sketch with Chevy Chase. Look it up, it’s funny.

So, my scene is about adding some last-minute punch-ups to the edits of that sketch while Lorne and Rosie give notes and discuss some more… personal things between each other.

Was there anything specific that helped you bring this character to life?

Jef Holbrook: Well, it helps that I’m an editor in real life. Now, like everybody, I edit digitally but I started as a kid editing VHS using two tape decks because I’m a nerd, then and now. I knew this period in editing history was kind of special, though, since the mid-1970’s was a time when we were moving away from 1” tape but hadn’t landed at Betamax yet, so I knew I needed to do some research to get ahead of the shoot. I wanted to know as much as possible about the editing gear my character would be using, so I called up a bunch of editors in the LA unions and asked if anyone could share experiences from that time period. Those we great calls and I learned about the Quadraplex and other editing tech of the day, which was helpful on set.

Have you seen any of the early years of SNL and are you a fan?

Jef Holbrook: Heck yeah! I grew up with the show. I’ve been lucky recently to work with SNL alums like Beck Bennett on a commercial project, Fred Armisen on the music video Come and Save Me and most recently with Pete Davidson on an upcoming movie with Eddie Murphy and Keke Palmer called The Pickup. So, it’s been a real dream to be in this film and wonderful timing coming off of those other projects with SNL cast members I’ve admired so much growing up.

There seems to be great chemistry with all the cast. Was the film as fun in-between takes and it appears on-screen?

Jef Holbrook: So, the thing to know here is that since they built the whole floor of 8H, the on set cast holding area was just this big common area behind the flats. So on set, there was a real fun backstage/green room vibe. Everybody talked to everybody, everybody was cracking jokes, top talent, day players, extras, everyone was in one space sharing laughs and conversation.

What’s also great is that off-set, instead of trailers we were all placed in a kind of ‘cast camp’ where we were dressing rooms were all located on the same floor of the studio. You were only ever a door or two away from somebody else, there were great spaces to hang out, chat in the office kitchen, play board games, whatever. It was a set that encourage collaboration and camaraderie between cast and crew.

How was it working with director Jason Reitman?

Jef Holbrook: Fantastic. What a gentle soul, very friendly, so smart, knows what he wants but also has a great sense of play. He shared a cool bit of history with me when we were shooting the scene:

There was a mirror placed in the top corner of the set, as part of the Art Director’s design. Jason points up the mirror and says “See that mirror? My dad’s editor had one like it in his editing suite.” See, as an editor, you and the client are often both looking at the same playback screen, you in front at the edit bay and your client sitting behind you, looking past your shoulder to the screen. I learned that the mirror was there so that the editor can see how the client is reacting to the edits by checking the mirror instead of awkwardly turning around. It’s a great trick. I asked if I could use that bit in the scene because it fits really well with the rather personal conversation around billing going on between Lorne and Rosie.

Do you have a favorite moment from the movie? And, was it also your favorite to shoot?

Jef Holbrook: There’s a really beautiful moment near the end as the thread about how Rosie is going to be billed in the credits. I don’t want to give it away, but you’ll know it when you see it. I wasn’t there for that part of the shoot but I’m really glad that my character is part of that story thread, even though I’m not there for the resolution of it.

I will say, though, how thrilled I was that we were using on Super 16mm film. It was a thrill to hear the sounds of real film frames being shot each day. I love the look it created.

What do you think moviegoers to take away from the film?

Jef Holbrook: I hope that people are reminded of a time in their own lives when they went after something they believed in with their whole hearts and against all odds. This film is so good at waking up those feelings of young rebellion and artistic passion. Also, it’s funny as hell.

Where do you start when preparing for a role; and does that change depending on the genre?

Jef Holbrook: I just try to play every character as truthfully as possible. I don’t think about genre unless there is some specific technical reason or mandate to do so. I find that it’s my job to drop into the world, honor the circumstances given to me and have truthful reactions based in the script and the universe you share with the other characters. I won’t deny anything in the script and I won’t deny anything that happens in the moment between me and the other characters. It all counts. You’re all building something together.

Overall, what inspires you creatively?

Jef Holbrook: Improvisation! Excitement! Just really being there with somebody, not knowing what’s coming. I love when people go all-in and are passionate about what’s right in front of them. I love it when folks go deep on a topic that interests them. I also love when an artist discards nothing, like when they take what might be considered a mistake, or an idea another person might discard, and pick it up off the creative floor and turn it into something new. I love when an artist wastes nothing.

Finally, is there anything else you’re working on that we can watch for?

Jef Holbrook: Sure. Thanks so much for the interview, it was a blast.

I don’t know when it comes out but my next film will be "The Pickup," directed by Tim Story and starring Pete Davidson, Eddie Murphy and Keke Palmer. It’s hilarious and I’m looking forward to sharing it with everyone.

Until then, I’m always doing stuff on YouTube (youtube.com/@jefh) and podcasts over at assembler.fm. When in doubt, check my main site over at jefholbrook.com