comedy about housewife-turned-comedian Midge Maisel opened its second season in Paris before transitioning to an idyllic resort in the Catskills of Upstate New York. And while there was “a lot of fun” to be had with each location, Mullen had to grapple with new logistical challenges in each case, to do with available space, lighting, weather and more.
In addition to Paris, you also handled episodes set in the Catskills at the fictional Steiner Resort. What kind of planning went into executing those episodes on location? The idea to do these complex shots comes out of the minds of Amy and Dan [Palladino, executive producer]. Amy has a background as a dancer, so she often has extras in our scenes that are played by dancers. And sometimes, we even bring our choreographer in, so that the crossing action in the foreground or background is timed perfectly for when the camera reaches them, or the actors cross by them. That way, we’re not doing multiple takes, just because someone mistimed their entrance or exit.
We don’t shoot a lot of close-ups, or any close-ups, really. Things have to work in a kind of moving master, often with a minimal amount of coverage. The choreography, the pacing, everything has to be brought up to a certain speed, so that it keeps some interest and drives the humor forward. But all of this comes out of the talent of Amy and Dan, the way they see the scenes, and the way they choreograph and direct them.
They’d hung fluorescents down the center, but I knew the operators’ backs were going to be to the center and their faces were going to be up against the consoles, so I asked them to build some sort of task light into each station that would light the operators’ eyes as they leaned into their workspace.
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