TONY SHALHOUB : The bohemian side of Abe emerged in Paris, right? I got to wear a cool jacket. Paris was a three-week dream job. I mean, forget about it. MARIN HINKLE : Tony and I got to take dance lessons to get ready for our scene along the Seine. I would pinch myself and go, “ This is Paris!” It looked like a background in a film. The buildings looked like set pieces. Everything was so gorgeous. MARGUERITE DERRICKS : I started with Amy on Bunheads. On Maisel, I really liked how we established a relationship between the dance and the choreography and the cameras. It’s a beautiful pas de deux. She’s so meticulous but caring about it. But my favorite scenes are staged, not choreographed. We’re in a department store, and the women are talking and walking to a certain beat. One day we were doing a mambo in the first season, and we had an extra who was a waiter. He needed to walk and guide the camera. The poor guy just didn’t have the timing. Amy said, “From now on, I want anyone in this position to be a dancer.” That’s what we did. M. DAVID MULLEN : Our show tends to be done with wide-angle lenses. You want to see everyone and everything in a frame. Occasionally, I tried a long lens just to see extras flowing down the street. MARGUERITE DERRICKS : I always tell people that everything in Maisel dances because of the way the camera moves. Amy knows the importance of this. TIM STREETO : We start editing as soon as they start shooting because we get the dailies. But cutting a comedy is sort of like being able to tell a joke: You might know a good one, but if you don’t tell it properly, then it’s not as funny. It’s all in the timing and the pacing. So, with Maisel, there’s a larger story we’re telling, but we also have to hit these individual beats. My favorite scene was in Season 3, when Midge is doing all these radio ads and jumping from one place to another. The timing was fun to figure out. But my goal was for audiences not to pay attention to all that and just be lost in the joy. BILL GROOM : I’d watch the show every year when a new season came out. And I’d go, “Wow, how did we do that?” And you do it by taking it one step at a time and just do what’s required. Somehow, it all comes together. Sometimes, it’s just a miracle.
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clockwise from top: TONY SHALHOUB AND DONNA ZAKOWSKA, A ZAKOWSKA SKETCH, RACHEL BROSNAHAN,
ABE WORE BEAUTIFUL ENGLISH FABRICS AND WOOLS. I LOVED IT WHEN WE WERE IN PARIS, AND I GOT TO PUT THIS COLLEGE PROFESSOR IN A BERET AND LEATHER JACKET AND SCARF.
BROSNAHAN, BILL GROOM
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DONNA ZAKOWSKA costume designer
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AND I’D GO, ‘WOW, HOW DID WE DO THAT?’ AND YOU DO IT BY TAKING IT ONE STEP AT A TIME AND JUST DO WHAT’S REQUIRED. SOMEHOW, IT ALL COMES TOGETHER. SOMETIMES, IT’S JUST A MIRACLE.
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BILL GROOM production designer
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