MATHEW PRICE : It’s funny. In the first season, Midge’s stage microphones were not working. I had to be very careful with the boom mic overhead because it would throw shadows everywhere. And I had to be really precise in those wireless mic placements because any noise and rustle would get amplified. By Season 2, we got vintage shell mics modified with new electron- ics inside. It made everything sound so natural. RON BOCHAR : All of Midge’s laughs were carefully constructed. We’d have anywhere from twelve-to- twenty-four people come into a recording session and provide me with enough track to make it sound full. Every crowd was tailored to a performance scene. MATHEW PRICE : It always helped us that every single cast member had a voice. I’ve done so many TV shows, and everyone has a di ff erent tone and dynamic. You can tell the actors who are not theater-trained: They mumble and whisper and think they’re being emotional. Not with Maisel. Tony Shalhoub is an American treasure! They all spoke up. So, when you’re in a place in New York City, I never had to say, “Can I get more level because it’s so noisy?” Even the day players impressed me. THOMAS MIZER : I think Maisel would make a great stage show, and we’ve absolutely discussed it. Amy is a hoofer! She can figure out how to get these characters singing and dancing even more. I want to hear Alex sing because she is incredible. CURTIS MOORE : At the end of the day, you must love what you do, and we loved working with Amy and Dan. It was a dream. Now we just have to bring them over to Broadway. Call us! The Legacy AMY SHERMAN ! PALLADINO : On a personal level, our legacy would definitely be the ties that we’ve made with this cast and crew. We’re unnaturally bonded to each other in a way that we should probably all have some sort of group therapy to help us get through the end of this experience. We came away with this weird psycho family that I think will be with us probably forever. And we’ll never be able to replicate it.
Darius de Haas did the vocals. And Amy said, “Let’s do it live!” Darius sang o ff -camera while LeRoy lip-synced perfectly into the mic! It was just that one time, but I’d never seen that before. RON BOCHAR : Mat and our music producer would hand the recordings o ff to me, and I’d mix them in the studio. We’d pick the best moments and to make it feel as real as possible, so all the music sounded like it was all recorded in that original space. CURTIS MOORE : Tom and I would start o ff not even knowing what the script or scene is going to be. We’ll pitch Amy three or four songs, and she’ll pick one, and we orchestrate it and arrange it. A big turning point was in Season 4 when Amy asked us to write the best song from a really bad musical. It was called “They Came, They Danced,” and Abe was going to review it. THOMAS MIZER : Like, at least give us something we can rhyme with “Danced!” CURTIS MOORE : Tom did it really great. I liked “fiancéd.” THOMAS MIZER : We never staged that scene; we just recorded it. Because of Covid, some of the greatest Broadway singers were looking for a job. We got to call them and keep them busy by asking them to come into a studio and sing this ridiculously silly song. RON BOCHAR : Every single season has tried to one- up itself — there’s one new element we’ve never tried before. Season 4 gave us a burlesque club called The Wolford, where Midge emceed. There was a live band performing all the time. And it gave us an entirely di ff erent mood. MATHEW PRICE : Most of the times when you’re on a job and there’s music involved, they’ll record it in a studio somewhere. Then they’ll take the recordings and hand them to a playback person on set. But we actually recorded most of that music on the same set, so it sounded like the space that it’s filmed in. RON BOCHAR : We started the season with men in that club who had no idea who Midge was. So, the sound was muted in the beginning. And we had to build an arc on people’s audio reaction in a club like that. It started as one thing and came away with something else.
clockwise from top: AMY SHERMAN ! PALLADINO DIRECTING LUKE KIRBY AS RACHEL BROSNAHAN PREPARES FOR THE SCENE, SHOOTING A SCENE WITH MARIN HINKLE AND TONY SHALHOUB ON LOCATION AT JFK AIRPORT, DANIEL PALLADINO WEARING A SHY BALDWIN 1960 WORLD TOUR JACKET, DANIEL PALLADINO DIRECTING ON SET IN MIDGE’S APARTMENT, AMY SHERMAN ! PALLADINO DIRECTING ALEX BORSTEIN
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ON A PERSONAL LEVEL, OUR LEGACY WOULD DEFINITELY BE THE TIES THAT WE’VE MADE WITH THIS CAST AND CREW. WE’RE UNNATURALLY BONDED TO EACH OTHER IN A WAY THAT WE SHOULD PROBABLY ALL HAVE SOME SORT OF GROUP THERAPY TO HELP US GET THROUGH THE END OF THIS EXPERIENCE. ” AMY SHERMAN ! PALLADINO creator, writer, director, executive producer
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