Cannibal Holocaust - Production

Production

Production began in 1979, when Deodato was contacted by German film producers to make a film similar to Ultimo mondo cannibale, which was also directed by Deodato. He accepted the project and immediately went in search of a producer, choosing his friend Francesco Palaggi. The two first flew to Colombia to scout for filming locations. Leticia was chosen as the principal filming location after Deodato met a Colombian documentary filmmaker at the airport in Bogotá, who suggested the town as a location ideal for filming. Other locations had been considered, specifically the locations where the film Queimada (1969) directed by Gillo Pontecorvo had been shot, but Deodato rejected these locations due to lack of suitable rainforest. Leticia was only accessible by aircraft, and from there, the cast and crew had to travel by boat to reach the set. The locale presented many problems for the production, in particular the heat and sudden rain storms, which sporadically delayed filming.

Read more about this topic:  Cannibal Holocaust

Famous quotes containing the word production:

    The development of civilization and industry in general has always shown itself so active in the destruction of forests that everything that has been done for their conservation and production is completely insignificant in comparison.
    Karl Marx (1818–1883)

    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)