Production
In 2005, for the second season of Desperate Housewives, the street went through some heavy changes. During the first season only one part of the street had been seen on the show – the cul-de-sac at the end of the street, known as 'Circle Drive' among film crews, had been left out. Now the majority of the buildings and façades in this part of the street were either heavily remodeled or removed. Among the most noticeable changes were the removals of a church façade, seen on Murder, She Wrote, in order to make room for Edie's house, and of the so-called Colonial Mansion, which was replaced by a park. In the film Beethoven's 3rd (2000) the street can clearly be seen with the shops and the Church still in place around 'Circle Drive'. The shot begins in circle drive at the shops then Mrs McCluskey's, Lynette's, Katherine's, Bree's, Susan's, Mary Alice's, Betty's and Gaby's are also in shot. The shot then continues into Gaby's driveway and then down the rest of the street.
Currently Colonial Street – including Circle Drive – has sixteen main buildings, with three of them located outside the Desperate Housewives filming area. The house closest to the settings, located next to what's called 4348 Wisteria Lane within the show, is being used by guards to stop any unauthorized access to "Wisteria Lane".
Read more about this topic: Wisteria Lane
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 myth of unlimited production brings war in its train as inevitably as clouds announce a storm.”
—Albert Camus (1913–1960)
“Perestroika basically is creating material incentives for the individual. Some of the comrades deny that, but I can’t see it any other way. In that sense human nature kinda goes backwards. It’s a step backwards. You have to realize the people weren’t quite ready for a socialist production system.”
—Gus Hall (b. 1910)