Production
"Monty Can't Buy Me Love" was written by John Swartzwelder and directed by Mark Ervin. It originally aired on the Fox network in the United States on May 2, 1999. The inspiration for the episode came from the concept of "thrillionaires", a term the Simpsons writers found in an issue of The Economist to describe millionaires who "do really incredible stunts" and "go on amazing adventures." The episode's third act went through several incarnations, and the writers had a lot of ideas about what Burns should do once he has captured the Loch Ness monster. Eventually, the staff settled on the act's current iteration, which was conceived by Simspons writer George Meyer. According to current showrunner Al Jean, the color of the Loch Ness monster would originally be green, but when the overseas animation was completed, the Loch Ness monster had a "kind of pinkish" color. Because it would be to expensive to re-color all the cels in which the monster appears, the staff decided to air the episode as it was, even though the monster was in the wrong color. Inside the Fortune Megastore, Simpsons staff writer Ian Maxtone-Graham can be seen.
The episode features American comedian and composer Michael McKean as Jerry Rude, a parody on the radio personality Howard Stern. Scully stated that McKean was "very funny" and that his Stern impression was "dead on the money." The Simpsons staff originally asked Stern if he wanted to guest-star in the episode, but he declined. Actor and producer Kevin Costner was portrayed by series regular cast member Hank Azaria, who voices Moe Szyslak among other characters in the series. Azaria also played Arthur Fortune, a character based on British business magnate Richard Branson. In the DVD commentary for the episode, Scully stated that Branson would have been a "great guest" in the episode. The episode also features Groundskeeper Willie's father, even though Willie in an earlier episode said that he was killed for stealing a pig.
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Famous quotes containing the word production:
“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)
“The heart of man ever finds a constant succession of passions, so that the destroying and pulling down of one proves generally to be nothing else but the production and the setting up of another.”
—François, Duc De La Rochefoucauld (1613–1680)
“In the production of the necessaries of life Nature is ready enough to assist man.”
—Henry David Thoreau (1817–1862)