SEASON 4
DHANA RIVERA GILBERT : From a production standpoint, the most challenging scenes were the ones in the Catskills. The Grossinger’s Resort Hotel did not exist anymore. It took us four months to figure out how we could piece together the location so that viewers could connect with that authentic look, smell and feel. We ended up shooting in three di ff erent places — including a resort in Deposit, New York that had gone into bankruptcy. BILL GROOM : It was still in operation, but it had been greatly reduced in size. But one cottage just seemed right, and Amy and Dan were happy with it and wrote to that. It required a lot of di ff erent work. An engineer had to come in and put in a couple of steel beams, and we had to repair some docks. We left the place better o ff compared to how we found it. MARGUERITE DERRICKS : There’s a big dance in the Catskills that’s like eight or nine pages of dialogue, and we filmed it in Brooklyn. I think there were thirty or forty dancers in the scene, and Rachel danced with eleven of them, all during a oner. The crazy thing is that the cast went away to Deposit to shoot, and we didn’t get back to the scene for another month. Rachel hadn’t rehearsed it in so long, and she had to do it all in one take! She looked at me and was like, “Oh my God!” But the first shot, she was perfect. That’s Rachel. RACHEL BROSNAHAN : It almost feels like I can’t see the character until I’m putting on that corset. It changes the way you stand, and wearing those heels changes the way you walk, and your hair changes the way you use and move your head. Midge’s fashion is her armor, and it’s also the way she expresses herself, so it’s a reflection of her personality. DONNA ZAKOWSKA (costume designer) : The directive I got from Amy and Dan was that this is a character who’s never depressed and always sort of ready for the moment in her own special way. I had an idea of a pink coat in the beginning — because she still sees the world through rose-colored glasses — and the concepts bloomed into a wardrobe with a very heightened sense of color and mixture of couture. But I loved her performance dresses because I love working with blacks. Amy always knew to end that pilot with Midge in a black dress and pearls because it corresponds to the idea of housewife-becomes-performer.
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MIDGE LOVES PINK, SO WE SOURCED DINING ROOM CHAIRS AND UPHOLSTERED THEM WITH PINK SILK AND PINK BUTTONS ON THE BACK TO GIVE IT A FRESHER LOOK.
” ELLEN CHRISTIANSEN set decorator
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