Dylan O’Brien on Playing Canadian Comedian Dan Akroyd in ‘Saturday Night’

In the ever-evolving landscape of Hollywood, actors are often challenged to step outside their comfort zones and take on roles that push the boundaries of their craft. For Dylan O’Brien, the opportunity to star in Jason Reitman’s highly anticipated film, Saturday Night, was one such challenge — one that he embraced, despite initial doubts if he was the right person for the part.

O’Brien plays the role of Dan Akroyd in a film that captures what ensued inside the famed Studio 8H at 30 Rock, as the minutes ticked down leading up to the first immortal words, “Live From New York, it’s Saturday Night!” 

This is the story of that fateful night, on October 11, 1975 at 10:00 pm, when a nervous 29-year-old producer Lorne Michaels (Gabriel LaBelle) leads a young eccentric cast and crew, comprised of Chevy Chase (Cory Michael Smith), John Belushi (Matt Wood), Dan Aykroyd (Dylan O’Brien), Gilda Radner (Ella Hunt), Jane Curtain (Kim Matula), Laraine Newman (Emily Fairn), and Garrett Morris (Lamorne Morris), who go on to make history. 

“It’s something that I think people wouldn’t expect from me, or maybe I wouldn’t expect from myself,” he explained in an interview at TIFF, where the movie premiered. “I did not necessarily think that I fit this role.“

Portraying a real-life person is a task that can often weigh heavily on an actor’s shoulders. However, the Maze Runner star wasn’t nervous about playing the Canadian comedian. “It was more that I wanted to do a good job and not let everyone else down within the confines of our film,” he explained.

As O’Brien reflected on his experience working on Saturday Night, he highlighted the invaluable lessons he learned about trusting the process and not being his own harshest critic. “That was a huge lesson for me… even if I think I’m not the right guy for the part, that doesn’t mean it’s true,” he said. “If you’re doing something that is so out of your element, seemingly to yourself, that doesn’t mean that somebody is going to receive it that way.” 

This newfound perspective has undoubtedly shaped O’Brien’s approach to his craft, as he continues to seek out roles that challenge him and push the boundaries of his abilities. 

We spoke with the actor about bringing to life one of the most iconic moments in history, battling imposter syndrome, and his perspective on his own career. 

What were you looking to do at this point in your career, when this came along? And how did it fit the bill?

What I’m looking to do is work, but more particularly, if I could be lucky enough to have [a role that is] a challenge, something that I think people wouldn’t expect from me, or maybe I wouldn’t expect from myself. This was one of those. It was a very imposter-y way into this experience. I did not necessarily think that I fit this role. I even heard about when I first got sent the audition for Dan, I was like, ‘Oh, it’s cool that they’re doing this movie. I wish I fit one of the characters.’

So, it was like a total bird out of the nest, just trusting and going for it and trying not to be the sole judge of my own work, I guess. But [I was looking for] anything that is unique in my experience, different, and a challenge, and hopefully that could be with a great filmmaker and a great cast like this. 

You said that you didn’t see yourself playing Dan. How did that change over time?

It didn’t necessarily fully change. I guess no matter what I did, I just had to continue to trust that I wasn’t gonna look like an idiot. Honestly, seeing the rest of the cast and seeing how great everyone was, I was like, ‘Okay, wait, if I can objectively see that this has been cast really well, why aren’t I giving myself that same [credit]… that’s kind of mean to myself, a little bit.’ So, I need to trust that I’m a part of that, and that I was cast for a reason as well. It doesn’t matter if I agree with that or not. I’m hired to come and do this and I’m just going to let it all out on the floor.

Were you nervous when it came to playing a real life person?

Not so much. I mean, I wasn’t totally nervous about the real life person aspect of it, I guess. It was more like, ‘Am I going to stand out like a sore thumb?’ It was more so that I just wanted to do a good job and not let everyone else down within the confines of our film.

My favorite bit is the part where you do the bit with the costume and the short shorts. That was really funny. 

That was a funny day. I was totally comfortable in the shorts and what’s funny is that I didn’t think Dan possessed insecurity. So, it was really interesting; when I was first playing the scene, I wasn’t doing it at all like how it is now in the film. Jason had to come to me after the first take and be like, ‘I want you to be self-conscious.’ I was like, ‘Oh, I’m so sorry.’

Something I was leaning on and constantly going back to was, ‘I don’t think this guy possesses any insecurities. I feel like he’s so in his own little space and time in the world.’ So, yeah, that was interesting and I keep hearing about that scene, which is cool [that people] responded to it. 

There’s a line in the movie, ’20 years from now we’ll be looking back at this moment,’ moments before going on SNL and making history. This film is touted to go to the Oscars. When you look back now, what was that moment that felt like a moment you’d remember?

I remember the table read was a very impactful moment. That was the first time any of us heard what everyone had prepared, why everyone got hired… I remember so many moments. I mean, first hearing Ella’s [Hunt] Gilda Radner voice, like, she was sitting right next to me at the read. Podany [Nicholas] doing the Billy Crystal. It was just very cool. There were so many times where it could always go the other way, or maybe the movie doesn’t sort of resonate with people like you would hope, but it’s still the same experience for us. 

What part of this experience has given you a better understanding of the goals you’ve set for yourself as an actor?

I mean, goals wise, not sure, but it was actually a really great learning experience. I was so uncomfortable, in a way, the whole time, and kind of relinquishing that control, — like I said earlier, not being the sole judge of my own work. I don’t think that’s our job, in any art form, and that was a huge lesson for me. I don’t think I need to self-cast myself in anything. Even if I think I’m so not the right guy for the part, that doesn’t mean it’s true. If you’re doing something that is so out of your element, seemingly to yourself, that doesn’t mean that somebody is going to receive it that way. They don’t know you like you know the inner workings of you. That was a huge lesson for me. 

You once said in an interview, ‘It doesn’t benefit me to go work on something that I’m not really in love with, and fulfilled by, and want to see get made.’ What satisfies you as an artist? 

I guess defining that love for something, right? Because I absolutely loved working on this, even when I was in my moments of such discomfort and such imposter-feeling, I still got to be a part of this experience and watch all of my friends kill it every day. That means something, and [it’s] so exciting to be a part of. I didn’t think I’d really be a part of it with them. But that’s okay, even if you’re feeling that way; I was just so grateful to get to be down there and be a part of it again. Even going into it, I did not think I was going to be good in it at all, but I was also never going to say no. I was like, ‘Of course, I’m going to go do this. Like, this is going to be so cool.’ I’m honoured to even be given this type of opportunity. 

Saturday Night is now playing in theatres.

Feature photo by Jade Green.

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