Production
The episode was written by Bill Oakley and Josh Weinstein, and directed by Wes Archer. The writing staff wanted to do an episode where the Simpsons family traveled to Australia, because they thought everyone in Australia had a good sense of humor and that they "would get the jokes". The staff had previously poked fun at several American institutions on the show and they thought it would be interesting to poke fun at a whole nation. They designed Australia and the Australian people very inaccurately and many things were completely made up for fun. The animators, however, got two Australian tourist guides to help them out with the design of the Australian landscape and buildings, as well as the American Embassy. The writers did research on the Coriolis effect for this episode. Lisa's explanation of the effect is incorrect; it affects global weather patterns and is caused by the spinning of the globe on its axis. The amount of water in a toilet or sink is much too small to be affected by it.
In 1999, Fox Studios Australia in Sydney used a different version of "Bart vs. Australia" as part of their Simpsons attraction, called The Simpsons Down Under. They had contacted the Simpsons writing staff and asked if they would write the screenplay for a ride in their attraction, based on this episode. The episode was re-edited and re-animated for the ride and new scenes were included. The attraction featured motion capture technology, allowing audience members faces and expressions to be transformed into moving cartoon characters.
Read more about this topic: Bart Vs. Australia
Famous quotes containing the word production:
“... if the production of any commodity necessitates the sacrifice of human life, society should do without that commodity, but it can not do without that life.”
—Emma Goldman (1869–1940)
“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)
“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)