LORNE MICHAELS: It was humiliating that the critic thought it was a music show and reviewed it that way. He said, "Another Simon and Garfunkel reunion," of which there hadn't been one since 1968.
ROSIE SHUSTER: One of the things we heard about the first four or five shows, while it was becoming the sensation that it would be, was that Chevy kind of jumped ahead of the pack, so to speak, and that started a kind of a resentment on the part of some people, particularly John, toward Chevy. Chevy was writing his own segment using his own name - "I'm Chevy Chase, and you're not" - plus doing the physical shtick at the beginning. He was easily identifiable, whereas it took people so many years to catch on to what Danny's talent was, because he would disappear into characters. And Chevy just shot ahead. It wasn't that surprising. It was going to take John a little while longer. He was used to being beloved on the stage of the Lampoon show and had a following of people, but to translate to television, especially if you have an attitude about television, takes a little while.
CHEVY CHASE: I felt it was relatively easy. I'd come in and pick stuff up and learn stuff and simply walk through it, basically. I don't remember it being particularly difficult. You know, I have to say that, going in, one of the things that made the show successful to begin with that first year and made me successful was this feeling of "I don't give a crap." And that came partially out of the belief that we were the top of the minors in late-night television and that we wouldn't go anywhere anyway. So we had no set of aspirations in the sense that this would be a showcase to drive us to bigger and better things.
ALAN ZWEIBEL: We worked on "Update" to the very last minute. Between dress and air on Saturday nights, I would go up to my office and I would watch the eleven o'clock news and if something hit me, I'd write it and it would be on television a half-hour later. You know, there were two shows where I was literally under the "Update" desk writing stuff and handing it up to Chevy while he was actually on the air.
ROBERT KLEIN: Everyone was quite terrified about the live television aspect of the show. Most of the people in that building at NBC in New York hadn't done a live show since Howdy Doody. As a matter of fact, one of the first SNL shows had a blank gray screen for forty-five seconds. A network show and nothing but gray for forty-five seconds because of the improvising and screwups of doing it live.