"It goes back to a style of moviemaking I remember seeing as a child, in movies like The Man With The Golden Arm, which I think was shot all on a sound stage"

In this quote, Debbie Allen assesses a design of filmmaking that evokes fond memories and a sense of craftsmanship. She mentions "The Man With The Golden Arm," a movie directed by Otto Preminger and launched in 1955, known for its stark representation of dependency and its ingenious jazz rating by Elmer Bernstein. By referencing this film, Allen is likely highlighting a specific era and design of movie-making defined by its use of sound phases, which prevailed throughout the mid-20th century.

Shooting on a sound phase involves filming in a regulated indoor environment, enabling filmmakers to thoroughly create and control the components of their film without the unpredictability of shooting on location. This approach was a trademark of many traditional films, providing a refined and theatrical quality that varied from the realism often highlighted in later on, location-based shooting methods. Timeless studios like MGM and Warner Bros. were renowned for their sound stage productions, creating renowned scenes filled with elaborate set pieces and ingenious lighting.

Allen's reminiscence of seeing such productions as a kid suggests an individual connection to the magic and artifice of timeless Hollywood. It highlights her gratitude for the attention to detail and the imaginative worlds crafted within the confines of a studio. Additionally, her reflection may likewise indicate a longing for or adoration of the storytelling expertise showed in these iconic films, where directors thoroughly manipulated every visual and auditory aspect to communicate powerful stories.

The mention of "The Man With The Golden Arm" specifically could also suggest a gratitude for films that address complex, adult styles, which was rather innovative at the time. Such films challenged societal standards and pushed the limits of what was considered appropriate within the cinematic landscape.

In essence, Allen's quote is a nod to the resourcefulness and artistic spirit of timeless filmmaking, suggesting that these practices have actually left a long lasting impression on her both personally and expertly.