Production
Each episode of Upstairs, Downstairs was made in a fortnightly production schedule. The book "Inside Updown" has a very detailed production history. The first week and a half would be spent rehearsing, with two days in the studio - the latter part of the second day being used for recording. Location footage was usually shot beforehand. The exterior shots of 165 Eaton Place were filmed at 65 Eaton Place with the "1" painted on. Upstairs, Downstairs was one of the first major colour productions to be made by LWT. Interior sequences were first recorded in LWT's first studio production area in Wembley in London, for all of series one and the episode "A Pair of Exiles" in series two. For the rest of series two and for the remaining three series the interior sequences were recorded in LWT's brand new studio complex called Kent House, or as it is known today The London Studios on London's Southbank.
Read more about this topic: Upstairs, Downstairs (1971 TV series)
Famous quotes containing the word production:
“The growing of food and the growing of children are both vital to the family’s survival.... Who would dare make the judgment that holding your youngest baby on your lap is less important than weeding a few more yards in the maize field? Yet this is the judgment our society makes constantly. Production of autos, canned soup, advertising copy is important. Housework—cleaning, feeding, and caring—is unimportant.”
—Debbie Taylor (20th century)
“It is part of the educator’s responsibility to see equally to two things: First, that the problem grows out of the conditions of the experience being had in the present, and that it is within the range of the capacity of students; and, secondly, that it is such that it arouses in the learner an active quest for information and for production of new ideas. The new facts and new ideas thus obtained become the ground for further experiences in which new problems are presented.”
—John Dewey (1859–1952)
“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)