Production
| Episode | Broadcast date | Run time | Viewers |
Archive |
|---|---|---|---|---|
| "Episode 1" | 11 March 1967 (1967-03-11) | 22:58 | 8.0 | Only stills and/or fragments exist |
| "Episode 2" | 18 March 1967 (1967-03-18) | 23:21 | 7.9 | Only stills and/or fragments exist |
| "Episode 3" | 25 March 1967 (1967-03-25) | 23:24 | 8.5 | Only stills and/or fragments exist |
| "Episode 4" | 1 April 1967 (1967-04-01) | 24:41 | 8.4 | Only stills and/or fragments exist |
Working titles for this story include The Spidermen, The Insect-Men and The Macras. This story introduced the first new opening title sequence since the series began. The new sequence was created by original titles designer Bernard Lodge and engineer Ben Palmer on 9 December 1966. For the first time, the face of the lead actor, Patrick Troughton, was incorporated into the "howl-around" patterns.
Anneke Wills wore hair extensions for the first few scenes of the serial, as she was sporting a new, shorter hairstyle. A haircut for her character was written into the story, as part of Polly's refreshment regimen at the Colony. After playing the part of Chicki in the first episode, Sandra Bryant asked to be released from her contract so that she could accept another job. Karol Keyes took over the part for the final episode.
All episodes of The Macra Terror are missing from the BBC archives.
Read more about this topic: The Macra Terror
Famous quotes containing the word production:
“The production of too many useful things results in too many useless people.”
—Karl Marx (1818–1883)
“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 production of obscurity in Paris compares to the production of motor cars in Detroit in the great period of American industry.”
—Ernest Gellner (b. 1925)