Profit (TV Series) - Production

Production

Profit was produced by Greenwalt/McNamara Productions and Stephen J. Cannell Productions in association with New World Television, and was the final series to come from Cannell's company (as well as one of the few for which he did not write any scripts).

The exterior shots outside the Gracen & Gracen twin towers were filmed on the plaza in front of the Sheraton Wall Centre Hotel in Vancouver. For production, a "Gracen & Gracen Wall Center" placard was positioned over the covered entrance in front of one building and two G&G logo monuments were placed in the front and center of the plaza. Another part of the same hotel complex now includes the well-known One Wall Centre building that had not yet been constructed when Profit was shot in early 1996.

According to the Region 1 DVD liner notes, the interior G&G office shots for the two-hour pilot episode were taken at the real working offices of B.C. Gas and that of a prestigious law firm in downtown Vancouver. Subsequent episodes were shot in studio sets modeled after these offices. The scene outside a hospital with Joanne Meltzer and Profit in the episode "Healing" was shot in front of St. Paul's Hospital located just across Burrard Street from the Sheraton Wall Centre. The exterior of Profit's apartment building featuring columnar bay windows up and down the entire front of the building is a location called Eugenia Place in Vancouver's West End; the structure is notable for the presence of a 35-foot Pin oak tree growing on the building's roof, located 180 feet above street level.

Profit's exploration of Gracen & Gracen's computer network was done through a 3D-image rendering interface, which represents G&G's corporate data as a building with a series of offices. This was implemented using the Virtual Realilty Modeling Language which was believed to be the way that future websites would be built in 1996. In the years leading up to the production of Profit numerous films such as The Lawnmower Man, Virtuosity, and especially the corporate thriller Disclosure featured a Virtual Reality interface which inspired its use in Profit.

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    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)

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