[How do you know somebody is going to have a life after SNL?] “Look at Kate McKinnon. She came in two years ago, and she’d peak too soon—she’d peak at dress rehearsal—and not be able to hold the character. But when they figure that out, you see them do remarkable things. When that’s happening, that’s a magic period. But, of course, at the same time, the rest of the industry goes, “That girl’s fantastic.” At which point it becomes a slippery slope—the industry seems to discover talent more on SNL than any other place.” - Lorne Michaels
“I was very serene, and I still am, until I start talking in another voice, then suddenly I have a lot of volume and I’m frantic. But I didn’t want to be one of those people who’s always talking in accents in real life, so I started doing sketch comedy.”
“I’ve wanted to meet [Ellen] so badly. My mother had come up with schemes to try and meet you. I used to paint. I was an oil painter. And she would always say: ‘you know, if you would just paint a portrait of Ellen and send it to her, I’m sure that she would have you as a guest on the show. I don’t know why you won’t just paint a portrait.’ And I never did and I don’t know why. I guess it was because I was meant to appear in a different capacity.”
“Pretty quickly, Kate and I were like, Oh, you’re for me and I’m for you. We’re for each other. Very quickly we were both comfortable being our best and worst selves in front of each other. SNL’s so intense and the hours are so long that you get to know people really well. But I would say even beyond that, we just know each other like sisters. Really.” - Aidy Bryant
Seth:I feel like you own the update desk very in a way that not a lot of people do […] Do you enjoy doing update? Kate: Oh! The best! That feels like, like the roots, like getting back to the real deal of real comedy. A lot of times because you’re at a desk none of the performance matters from the waist down, when I would sit next to you your legs would be moving as much as your top half!
“… Kate McKinnon’s knack for getting a laugh no matter what she’s doing. When making her characters, Schneider said McKinnon likes to make sure her depictions are kind and multi-faceted—and when it came to Clinton, Kelly said, ‘We wanted to show her sweetness… that balance of, she’s making good points, but she’s making them so hard sometimes.’
At this point, basically all of McKinnon’s sketches are character sketches and impressions—which makes sense, given that all of her most memorable work falls into those two categories. The writers added that even when they don’t think their work is up to snuff, McKinnon brings it.
‘She just goes out there, and you can give her three jokes that you’re just like, ‘I don’t know if these are good enough,’’ Kelly said, “and she just… she always gets the laugh, and makes it look better than it is.” - x
“If you could be in a Broadway show, which one, and what character? I am a musical theatre enthusiast. I would play Miss Hannigan in Annie. What was your favorite part when you were doing it in school? Adelaide in Guys and Dolls.”
“I get a lot of MySpace messages from young women & men across the country who say The Big Gay Sketch Show and Logo is all [they] have. I’ve had a relatively easy time being gay because I’m from New York, I went to college here, but these people live in communities where they’re freakish and they have to hide and they have a really rough time. I have no experience with that. And now they have a channel where they can see themselves and not feel quite so freakish. That’s a beautiful thing and I’m truly honoured to have been a part of that.”
“I like to sit alone, watching the Food Network. (Do you cook?) I do cook, God, I cook. […] I get a little weird in the kitchen. Like, I don’t want anyone to talk to me. I want it done right. And if it’s not being done right, I will let you know. […] Some people run. I chop things.”