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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