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For the 60th Anniversary Show, in 2018, the team decided to take the show back to New York City. “The first time we mounted a show in New York, it was different – much smaller,” Basile explains. “The show grew and grew after we brought it to Los Angeles. When we brought it back to New York, it became a challenge.” One reason, as Ehrlich describes, was the physical venue: “Madison Square Garden is a great, historic venue,” he relates, “but given a choice between historic and state-of-theart, I think I’d go for the latter. Still, we have a fantastic crew that can easily adapt and is
committed to making whatever venue we choose work.” Director Louis J. Horvitz, a long-time Local 600 member who cut his teeth on live events as an operator on The Merv Griffin Show and The Grammy Awards, heads that crew up. “Lou is now in his 10th year and his vision follows and grows along with the overall design for the show,” explains Ehrlich. “Once we have an overall plan and begin booking, we strive to make each and every performance singular, and that involves everything from scenic to lighting to shooting. That’s how we
create ‘Grammy moments.’” The team begins with a standard set up – two sets of camera teams. “One for stage right and one for stage left,” Basile describes. “It differs slightly every year due to the stage set up, but overall it is consistent.” Then everything else is up for grabs. “We were one of the first shows to move our host around the venue and break up the sense of a pattern. On The Grammys, you’ll see our hosts out in the house, backstage, and of course, onstage. But we even try to match those locations to fit the upcoming performances,” adds Ehrlich. This is where Horvitz’s camera training
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