Production
Holy Crap is the second episode of the second season of Family Guy. The episode was written by Danny Smith and it was directed by Neil Affleck. To help Smith were voice actor Mike Henry and Andrew Gormley who acted as staff writers for the episode, while Ricky Blitt, Chris Sheridan and Neil Goldman acted as story editors. To help Affleck direct were supervising directors Peter Shin and Roy Allen Smith.
Holy Crap introduced the character, Francis Griffin, Peter's obsessively devout Irish Catholic Father. Francis would return in future episodes of the series such as "The Father, the Son, and the Holy Fonz," "Peter's Two Dads" and "Family Goy." In the episode and his subsequent appearances he is voiced by Charles Durning.
In an interview for UGO, Seth MacFarlane commented that he felt this episode was one of the edgiest episodes that the show had produced at the time. The season three episode "When You Wish Upon a Weinstein" was not broadcasted in the Fox network because the producers thought it would be to offensive, MacFarlane said that "The episode we did with the Pope, I think, was a lot more offensive to Catholics than the Weinstein was to Jews. I think more of it had to do with internal politics".
In addition to the regular cast, drummer Andrew Gormley, voice actress Olivia Hack, actor Dwight Schultz and actress Florence Stanley guest started. Recurring guest voice actress Lori Alan and writer David Zuckerman also made minor appearances.
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Famous quotes containing the word production:
“From the war of nature, from famine and death, the most exalted object which we are capable of conceiving, namely, the production of the higher animals, directly follows. There is grandeur in this view of life, with its several powers, having been breathed into a few forms or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity, from so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved.”
—Charles Darwin (1809–1882)
“Every production of an artist should be the expression of an adventure of his soul.”
—W. Somerset Maugham (1874–1965)
“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)