The Simpsons (season 3) - Production

Production

Al Jean and Mike Reiss, who had written for The Simpsons since the start of the show, took over as showrunners this season. Their first episode as showrunners was "Mr. Lisa Goes to Washington" and they felt a lot of pressure about running the show. They also ran the following season and Jean would return as executive producer in season 13. There were two episodes, "Kamp Krusty" and "A Streetcar Named Marge", that were produced at the same time, but aired during season four as holdover episodes. Two episodes that aired during this season, "Stark Raving Dad" and "When Flanders Failed", were executive produced during the previous season by James L. Brooks, Matt Groening and Sam Simon.

Carlos Baeza and Jeffrey Lynch received their first directing credits this season. Alan Smart, an assistant director and layout artist, would receive his only directing credit. One-time writers from this season include Robert Cohen, Howard Gewirtz, Ken Levine and David Isaacs. Bill Oakley and Josh Weinstein, who would later become executive producers, became a part of the writing staff to replace Jay Kogen and Wallace Wolodarsky both of whom had decided to leave the next season. The current arrangement of the theme song was introduced during this season.

The season premiere episode was "Stark Raving Dad", which guest starred Michael Jackson as the speaking voice of Leon Kompowsky. One of Jackson's conditions for guest starring was that he voiced himself under a pseudonym. While he recorded the voice work for the character, all of his singing was performed by Kipp Lennon, because Jackson wanted to play a joke on his brothers. Michael Jackson's lines were recorded at a second session by Brooks. The January 30, 1992 rerun of the episode featured a brief alternate opening, which was written in response to a comment made by then-President of the United States George H. W. Bush. On January 27, 1992 Bush made a speech during his re-election campaign where he said, "We are going to keep on trying to strengthen the American family, to make American families a lot more like The Waltons and a lot less like The Simpsons." The writers decided that they wanted to respond by adding a response to the next broadcast of The Simpsons, which was a rerun of "Stark Raving Dad" on January 30. The broadcast included a new tongue-in-cheek opening where they watch Bush's speech. Bart replies, "Hey, we're just like the Waltons. We're praying for an end to the Depression, too".

"Homer at the Bat" is the first episode in the series to feature a large supporting cast of guest stars. The idea was suggested by Sam Simon, who wanted an episode filled with real Major League Baseball players. They did manage to get nine players who agreed to guest star and they were recorded over a period of six months. Several new characters were introduced this season, including Lunchlady Doris, Fat Tony, Legs and Louie, Rabbi Hyman Krustofski, Lurleen Lumpkin, and Kirk and Luann Van Houten.

This season's production run (8F) was the last to be animated by Klasky Csupo, before the show's producers Gracie Films opted to switch domestic production of the series to Film Roman. Sharon Bernstein of the Los Angeles Times wrote that "Gracie executives had been unhappy with the producer Csupo had assigned to The Simpsons and said the company also hoped to obtain better wages and working conditions for animators at Film Roman." Klasky Csupo co-founder Gábor Csupó had been "asked if they could bring in their own producer ," but declined, stating "they wanted to tell me how to run my business."

Read more about this topic:  The Simpsons (season 3)

Famous quotes containing the word production:

    The myth of unlimited production brings war in its train as inevitably as clouds announce a storm.
    Albert Camus (1913–1960)

    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)