Movies

How do you create 200 costumes a week? ‘SNL’ designer Tom Broecker takes us behind the scenes

BBG News

FROM MY PERSPECTIVE AS A CINEMA ENTHUSIAST: NEW YORK – One of the first questions that might cross your mind about Tom Broecker, who’s been the costume designer at “Saturday Night Live” for over three decades, is if he ever finds time to rest. Well, he does sleep, but not a lot. Broecker himself admits he manages around five hours of sleep each night, and he tends to catch more Z’s earlier in the week.

From Wednesday evening when Lorne Michaels decides on the sketches that will progress after the initial reading, until Sunday morning when the cast says goodnight, it’s a hectic, sleep-starved sprint for each episode of “SNL.” Broecker manages the team responsible for designing costumes for 12 to 15 sketches, with 10 to 12 eventually being aired.

He has played a crucial role in crafting the humorous aspects and distinctive visual style of “SNL.” From the iconic ribbed V-neck sweater that accentuated Will Ferrell’s physique during the famous “More Cowbell” sketch to the gleaming hippo-like rolls worn by Bowen Yang as Moo Deng on “Weekend Update” last autumn.

Television

The long-running sketch comedy program marks its 50th anniversary with two documentaries and a forthcoming prime-time event, delving into its role as a cultural cornerstone in America.

Through his job, he’s had the privilege of interacting with renowned film stars, musicians, athletes, and politicians, even witnessing pivotal events in pop culture firsthand. However, as the show marks its 50th anniversary with a live, star-studded special on NBC this Sunday, Broecker prefers to focus less on reminiscing about the past.

He’s not a person who dwells on the past through nostalgia. However, he emphasizes that he does have emotions, though many might disagree. What he finds problematic about nostalgia is its tendency to trap one in the past. Unlike nostalgia, this show is all about progression and continuously moving forward. It’s like a cycle where you lift something up, then put it down, only to lift it up again, always moving on. That’s what this show represents: constant evolution and forward momentum.

As a die-hard admirer, I’d like to share a fascinating aspect about one of my idols, the legendary Lorne Michaels. In his pursuit of perfection, he pours countless hours into sketching ideas that often remain confined within Studio 8H’s walls, invisible to the eyes of anyone outside the inner circle. After decades of honing his craft at Saturday Night Live, Lorne has perfected what he terms “the art of detachment.

He clarifies that mastering detachment doesn’t equate to a lack of commitment in one’s work; rather, it involves learning to engage without becoming overly attached or emotionally invested in the outcome.

‘Everything is changing all the time’

A couple of days following Timothée Chalamet’s dual role as host and musical guest, Broecker finds himself seated in his office at 30 Rockefeller Plaza. To one side lies Studio 8H, while just around the corner is the control room. This strategically mid-positioned office symbolizes Broecker’s pivotal role at “SNL,” a position he has held since Season 43, where he also functions as a producer.

In every meeting where decisions are being made, Broecker is noted by Michaels as being the go-to person. The writers presume that Tom and his team can handle anything, as they’re unaware of the behind-the-scenes processes. They simply know that if a piece is selected, it should be taken to Tom. He not only ensures visual coherence but also brings a touch of brilliance. He is highly understanding and supportive in executing the vision of writers or performers.

Michael emphasizes that he doesn’t just grasp the concept of design; rather, he knows how to leverage it to enhance a rough draft: “He ensures the humor finds its compatible counterpart who comprehends its intent.

This week’s episode of the show seems quiet due to its dark theme, yet it’s misleading because Broecker’s workspace is bustling with indications of activity related to the show’s 50th anniversary. There are stacks of shopping bags beneath his desk, fabric samples sprawled across a cork board, and a garment rack overflowing with items such as velvet jackets earmarked for members of the “Five-Timers Club.

Looking out from his office’s interior window, Broecker’s desk offers a view of the bustling “Main Street,” the busy pathway connecting the studio to the lively backstage hub that pulsates with controlled chaos every Saturday night. The hallway is adorned with what appears to be ordinary black cabinets, but they transform into dressing rooms where cast members rush to change (and undress) costumes between sketches. Each member has their designated dresser for assistance. Some of the cast members personalize their dressing rooms, which are equipped with full-length mirrors and resemble high school lockers. For instance, Yang’s booth showcases a photo of a French bulldog and stickers featuring line drawings of Patti Smith and John Lennon.

Generally, we find comfort in habits. They become particularly valuable during times of constant change, as Broecker notes about the booths.

Movies

On Saturday Night, you’ll find a portrayal of the 90-minute period just before the debut of ‘SNL’, yet it occasionally bends reality. Let me clarify what’s accurate versus what’s embellished for you.

As a movie enthusiast, I’ll openly confess that “SNL” wasn’t always my cup of tea. To be honest, my memory of it is hazy, except for the time when Madonna hosted in 1985 – that episode left an impression on me. But truthfully, I was raised on the comedic genius of Carol Burnett.

In 1986, he commenced his career at “SNL” as a production assistant, working alongside future stars like Dana Carvey, Phil Hartman, and Jan Hooks. Following several seasons, he decided to pursue design studies at Yale. He re-joined the show in 1994 and has been a constant presence since then, with occasional ventures into projects such as “30 Rock” (where he not only worked but also acted, portraying a costume designer on “The Girlie Show”), and “House of Cards.

Over time, technology has significantly simplified several aspects of his job. In his early days at “SNL,” one of his routine duties was visiting the New York Public Library every Thursday to gather research for the costume designer. Today, with a simple Google search, he can easily access visual references. Furthermore, technological advancements such as 3D printers have enabled him to reproduce items that were difficult or impossible to find, like antique belt buckles. A digital archive, accessible at the click of a few buttons, allows him to swiftly review any sketch from the live show or dress rehearsal since 1975.

Over time, the scale and grandeur of the show have significantly expanded. Today, they even have a film division capable of producing high-quality cinematic segments in just a few days. When he started at “SNL,” the costume department was small with only four members. Now, there’s an entire design team of over a dozen people.

On Wednesday nights, his serious work commences. By 8 p.m., the rehearsals conclude. Afterward, Executive Producer Michaels narrows a stack of approximately 40 sketches to around 15, keeping about 10 that everyone agrees on and another 5 unusual ones. Once the selections have been made at around 10 p.m., Broecker and his team meet with the writers to brainstorm costume ideas. He typically draws directly onto the script pages instead of printing them out, even though they’re distributed through iPads.

“That’s when it all really begins to take shape,” Broecker says.

From sketch to diner lobster

In the wardrobe department, there’s a large whiteboard displaying a grid of sketches scheduled for the week, along with the actors starring in each one. An X below an actor’s name indicates they will be featured in that particular sketch. Red markings denote that they are portraying a real person (for example, Lionel Richie), while blue markings signify they are playing a recurring character.

On Thursday mornings, he typically arrives between 7:30 and 8 am, then goes over the costumes for each sketch in preparation for a 9 am meeting with his team. For the most part, they spend their day constructing outfits for the week. This could involve shopping at stores like Macy’s or Bloomingdale’s, renting from quality vintage shops, designing outfits from scratch, or selecting garments from the extensive costume collection of the show.

As a movie costume enthusiast, I’ve often found myself pondering how best to complement humor through costuming, ensuring the garb never overshadows the joke. A memorable instance of this was during my work on a witty “Les Misérables” parody in 2018, where Kenan Thompson donned a lobster costume in a New York City diner scene. The task of designing the headpiece and those tricky lobster hands proved to be quite a challenge. It wasn’t until I found myself at Chelsea Market one Friday afternoon that inspiration struck: “Why not observe the real thing firsthand?

Instead of buying a steamed lobster for himself, he decided to purchase one so that everyone in the office could enjoy a sample. By doing this, he explained, “We’d all get a chance to savor the lobster before we dissect it, examining its color, the movement of the antennae, and observing how its eyes connect.

As a devoted cinephile, I eagerly anticipate Fridays for the endless revisions and wardrobe adjustments that stretch past midnight. Saturdays, however, are a whirlwind of chaos! At 12:30 PM, it’s time for our technical dress rehearsal – the first opportunity to run through sketches with wigs, costumes, and special makeup. This runs until approximately 5:30 PM, followed by even more fine-tuning. As Broecker puts it, “We often work straight through dinner.” The next dress rehearsal is at 8 PM with a live audience present in the studio. Unfortunately, three more sketches are usually cut after that. During the actual live show, I find myself stationed near the control room, keeping track of any last-minute changes and ensuring the cast and their wardrobe team receive the necessary updates – as one costume may be for one sketch or another!

1

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1. Preliminary design for the outfit Ariana Grande wore in the “Castrati” illustration by Tom Broecker (Tom Broecker/NBC)

2. Ariana Grande, in the center, wearing the costume. (NBC/Will Heath/NBC)

1. Initial design for the outfit that Ariana Grande wore in the “Castrati” sketch by Tom Broecker (Tom Broecker/NBC)

2. Ariana Grande, positioned centrally, wearing the costume. (NBC/Will Heath/NBC)

The program ends at 1 a.m. On Monday, we’re back to work with a fresh host, whose talent in acting and artistic flair could significantly shape the upcoming episode.

OR

1. The show concludes at 1 a.m. Starting on Monday, a new host will be joining us, and their acting skills and creative instincts could greatly influence the future episodes.

Ariana Grande, who took the helm of “SNL” in October, truly shone according to Broecker. He describes her as an exceptional variety artist who enjoys trying out various performances. For the episode, Broecker and his team designed around 200 costumes; among them were a ruffled collar and breeches Grande wore to depict a traumatized castrato, and a prosthetic bustline for her portrayal of Jennifer Coolidge. Regrettably, ideas for a Judy Garland tribute and a sketch set in the 1910s had to be discarded.

As a seasoned movie critic, I find solace in the theatrical background of hosts on Saturday Night Live (SNL). Having performed in both professional and high school productions, these individuals possess an adaptability that thrives under SNL’s swift tempo and improvisational nature.

Where the magic lives

30 Rock’s ninth floor houses Broecker’s “magical land” – a spacious room filled with racks extending from floor to ceiling, stacked with garments and accessories organized by time period and category (such as “period nightwear,” “long-sleeved shirts from the ’80s/’90s,” or “rocker shorts”). Broecker rarely allows others to visit this area, preferring to keep its grandeur under wraps. This gives you a sense of its vastness.

Broecker frequently draws items from the magical storage area, but relied heavily on this collection during the peak of COVID-19, as numerous physical stores in New York City were shut down. “It proved indispensable. It was thanks to this that we were able to put on the show,” he remarks. Broecker approximates that around 60% of the costumes used in a typical week are sourced from modern shopping.

Broecker strongly feels that fate plays a role in his shopping for the show, often purchasing items that prove useful years down the line. In his own words, “When I’m out [shopping], if I spot something, there seems to be a reason why I’m seeing it. At that specific moment, the universe appears to be whispering, You need this. Buy it!

After a cast member departs from the show, their costumes are carefully packed away, catalogued, and stored in a warehouse located in Brooklyn. As Broecker rummages through a rack, he unearths a vibrant red and black chevron-patterned bathing suit. This particular swimsuit was worn by Gilda Radner in a sketch with Carrie Fisher back in 1978, yet it remains in immaculate condition. Karen Roston, one of the original costume designers for “SNL,” had kept this artifact at her home for several decades. “I became so excited because I didn’t realize it was still in existence,” Broecker admits.

Broecker openly admits his fondness for the female cast members of “SNL.” He becomes emotional when discussing the creation of a beaded, asymmetrical bodysuit for Kristen Wiig in “La Maison Du Bang!,” a parody of cheesy European variety shows. “Kristen is divine,” he declares. “People often praise the men of ‘SNL,’ but if you study the comedy on the show, it’s truly the women who shine. They are extraordinary. I don’t mean to diminish the importance of the men, but the women on ‘SNL’ are absolutely remarkable.

According to Broecker, “Saturday Night Live” (SNL) is a collaborative achievement. He explains that the ability to perform at our high standard in all departments is due to the fact that we have top-tier talent here in New York City.

To illustrate this situation, let me tell you about how they managed to find Lin-Manuel Miranda’s initial “Hamilton” costume for his recent guest appearance on SNL. You see, a costume supervisor at SNL had collaborated with “Hamilton’s” costume designer Paul Tazewell on “West Side Story” in the past. So, when the need arose, this supervisor reached out to him. Through their connection, they discovered that the costume was stored in an upstate warehouse. Not long after, one of the assistants hopped into a vehicle and raced to retrieve it, ensuring it would be ready for the broadcast.

As a passionate cinephile, I find myself in awe, remarking, “This is the kind of effortless enchantment this spot brings about.” And that’s why, with a hint of emotion choking me, I wholeheartedly assert, “There simply isn’t any place quite like it.

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2025-02-13 14:35

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