We hung a grid, scraped and painted the walls, the window frames and working radiators (which would often bang during taping, requiring multiple takes to get clean audio).  We hung fabric around the working area for sound isolation.  A couple of carpets from the basement at ABC Carpets in Manhattan, some lovely old furniture found at antique stores in Manhattan and Brooklyn, and that was the set.  The walls were dappled in green and maroon, as a handsome background for Maurice.  We set up a table as a "control room."  I shot the show with just one camera, changing angles for various segments of the show.  That's Bob Ipcar, the lighting cameraman, checking out something or other.  Here's what the set looked like:

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