Production
American television producer Sherwood Schwartz conceived the Brady Bunch television series in 1966 and registered the idea that same year with the Writers Guild under the name "Yours & Mine" as a blended-family presentation. Schwartz then developed the pilot script to include three children for each parent, a widower, a mother whose marriage past was left open, and a housekeeper, each of whom would be introduced in the pilot in connection with the wedding between the parents. After receiving a commitment for 13-weeks of television shows from ABC in 1968, Schwartz hired film and television director John Rich to direct the pilot, cast the six children from 264 interviews during that summer, and hired the actors to play the mother role (whose maiden name was Taylor and first married name was Martin), the father role, and the housekeeper role. As the sets were built on Paramount Television stages 2 and 3, the production crew prepared the backyard of a home in Sherman Oaks, California as the Taylor home's exterior location to shoot the chaotic backyard wedding scene. Filming of the pilot began on Friday, October 4, 1968 and lasted eight days. The original show last aired on March 8, 1974.
Read more about this topic: The Brady Bunch
Famous quotes containing the word production:
“To expect to increase prices and then to maintain them at a higher level by means of a plan which must of necessity increase production while decreasing consumption is to fly in the face of an economic law as well established as any law of nature.”
—Calvin Coolidge (1872–1933)
“Just as modern mass production requires the standardization of commodities, so the social process requires standardization of man, and this standardization is called equality.”
—Erich Fromm (1900–1980)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)