Production
Zorro began filming on November 8, 2006 in Bogotá, Villa de Leyva and Cartagena, Colombia. Telemundo and RTI Colombia developed the show with Sony Pictures Television International (SPTI), while CPT Holdings is listed as copyright holder. Venezuelan screenwriter Humberto "Kiko" Olivieri, a fan of Disney's Zorro, developed the story. Cardinal Olivieri, a supporting character on the show, has the same last name.
Telemundo aired this novela with English subtitles on the default closed captioning channel, CC1. The network normally broadcast translations on CC3, which is not available on many older TV sets. It also expanded two weeks of March episodes to 90 minutes and several episodes in May were extended to 75 and 90 minutes.
On June 22, Telemundo announced Zorro is in its final chapters. After the July 23 finale, La Esclava Isaura expanded into its time slot. This series is also known as Zorro: La Telenovela and Zorro: La Novela.
Read more about this topic: Zorro: La Espada Y La Rosa
Famous quotes containing the word production:
“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)
“Constant revolutionizing of production ... distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.”
—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)