It's gloomy, cold, and rainy out again today so I thought I'd cheer myself up by posting a set from one of my favorite episodes. I did look this one up so I know it was from 1985 "Going Home" that had Tom going back to (I think it was) Virginia to see his family. This dining room set was built on the sound stage. The actual house was a large, old home in Manoa Valley and, in spite of its size, you can only cram so many people and so much equipment into a house for so long.
What was memorable to me was not the set (for once). It was being able to spend an entire morning sitting on the steps going upstairs and talking to Gwen Verdon. She was waiting for her scene and I didn't care what else I had to do. There always seemed to be a sort of "secret society" within the film industry of those of us who had our start in theatre. It's sort of hard to explain it, but it just is. I had no hesitation in telling her how excited I was to meet her and she was excited to have met someone who knew who she was! Well, not to get all mushy, but it was one of those incredible moments you never forget--even if I have forgotten most of what we talked about!
Meanwhile, back at the set, it was nice to have a set with some architectural interest--the built-ins and double-hung windows. Those are some of my (famous?) stapled up curtains. Speaking of theatre, as long as a drape didn't have to open on camera, they were usually stapled up by me and if we were really worried, the bottoms had a taped up hem and were ironed. We did have a Venetian blind manufacturer who would make us blinds in a day or two--ironically named Paramount Venetian Blinds. Looking at it now, I can't believe I didn't do some wall sconces (lights) since it would have been easy to wire them in from the back of the walls. They didn't always like it when me made holes in the walls, however. Speaking of walls, you can see the little jogs where the wild walls overlap. It was nice to do a traditional, mainland type of dining room after the usual wicker and rattan here.
Again, you can see the catwalk above the long wall of the set. The set would have been built in this location to take advantage of it. Lights on floor stands would fill in on the sides. I don't know how much this set was used in the episode (or at all, for that matter), I just have good memories of this episode.