If you notice, there are barely any laughs at the beginning of that scene because people are like, What the hell is this? It’s from my neighborhood. I was feeling pretty good about the kind of material I was trying to push. But Jimmy Fallon and I had done a bunch of scenes together, so I felt that the show could use us. Before those four years, you’re waiting for the other shoe to drop.
At that point, how are you feeling about your place in the show?Īfter four years, you’re figuring you’re not gonna get fired. The sketch aired midway through your fifth season on SNL. I don’t look like that anymore, exactly, so I just watch it as a fan. But now, I see them and I’m like, That’s pretty great. I need to wait, or else I’ll critique it. In the old days, I’d do a sketch, watch it and would feel like, Ah, it’s too soon. And before the interview you mentioned you haven’t watched it back since, well, until now. You first did “Don’s Apothecary,” your sketch about a pharmacy in a changing neighborhood, in your fifth season on SNL. Tune in to Good One every Monday on iTunes, or wherever you get your podcasts. Listen to the episode and read an excerpt of our discussion below. And it is the subject of this week’s episode of Vulture’s comedy podcast Good One. On its surface, it’s a very silly sketch, with one of the loudest fart jokes, but at its core is something deeper and darker. This was the case for “Don’s Apothecary,” Sanz’s sketch from his fifth season on the show, in which Sanz plays the owner of a local pharmacy in a changing neighborhood. So, if something funny happens in a scene, Sanz sometimes laughed. A lifelong fan of the show, Sanz came to the show wanting to bring back the feeling that the cast was having fun and that anything can happen. Breaking, for Sanz, was not haphazard it was deeply rooted in his comedic philosophy and his deliberate objective for his time on SNL. There’s Horatio, breaking again with Jimmy Fallon.
Beyond anything else, this fact defined his eight seasons on Saturday Night Live to many people.
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