Production
For Series IV, recording of the show moved from the studios in Manchester to Shepperton Studios due to the old studio undergoing refurbishment. Shepperton turned out to be blessing to the show as it allowed for use of the sets for rehearsals in addition to recording. Production starting with Series IV also permanently shifted to Grant Naylor Productions.
The droid version of the GELF was played by Judy Pascoe, Robert Llewellyn's then girlfriend (they have since married). Robert has often joked how he used to complain to Judy about the amount of make-up he had to endure, and yet when Judy wore it she had no complaints. She also provided the voice of the blob Camille, which was controlled from inside by effects artist Mike Tucker.
The initial plan was for Camille to appear as Kristine Kochanski in Lister's eyes; while this later changed, Suzanne Rhatigan was still credited as "Kochanski Camille". Like Pascoe and Llewellyn, Rhatigan and Craig Charles were in a relationship at the time of the recording. The Hologram Camille was played by Francesca Folan. Rupert Bates voiced the Hector Blob.
This episode was not originally planned to be aired first, but was moved forward when Meltdown was held back due to the ongoing hostilities in the Gulf War. It was decided to move this episode up to the first in the run due to the fact that it seemed an appropriate one to air on Valentine's Day.
Read more about this topic: Camille (Red Dwarf)
Famous quotes containing the word production:
“The society based on production is only productive, not creative.”
—Albert Camus (1913–1960)
“The growing of food and the growing of children are both vital to the family’s survival.... Who would dare make the judgment that holding your youngest baby on your lap is less important than weeding a few more yards in the maize field? Yet this is the judgment our society makes constantly. Production of autos, canned soup, advertising copy is important. Housework—cleaning, feeding, and caring—is unimportant.”
—Debbie Taylor (20th century)
“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)