Doctor Zhivago (TV Serial) - Production

Production

In discussing adapting the Boris Pasternak novel for television, screenwriter Andrew Davies revealed the task was "daunting because the book is reckoned to be a masterpiece and the film is a great movie and one that I admire very much. Robert Bolt is the king of epic screenplay writers in my book. But as I got further into the book I kept thinking that I didn't agree with Robert Bolt about how to tell the story... and I began to feel much more excited." He added, "It was also a relief to find so much in the book that hadn't found its way into the first movie and could make great drama.... I thought the film does the spectacle really well. Rather surprisingly, it also explains the politics very well, but I thought it could do a better job on the relationships. It's probably a bit controversial, but I thought we could say more about Lara and Yuri and how they get together; about Lara's extraordinary situation at the beginning of the story and Yuri having a dreadful start to his life with his parents dying. None of these things really came out in the movie, but they are there in the book. I think that if they look at both versions now, people will probably think that this version in a lot of ways works better for our time. It's more contemporary. I think they'll find the performances are more subtle yet speak to us in our time. Maybe my script will seem out of date in 20 years time because a lot of them do, but watching the original film, I think the central performances look stilted and dated now."

Initially Davies and director Giacomo Campiotti clashed about how to present the material. Davies recalled, "The first couple of weeks after Giacomo joined this project were horrendous for me because Zhivago has always been one of his very favorite books. He has always dreamed about filming it and has his own interpretation in his head. I can actually remember thinking after one long, long day, where we just didn't agree about a single thing, that it wasn't going to work—it's either got to be him or me. Somehow, we arrived at a compromise and I have almost forgotten what we were arguing about now, as now we are both very pleased with the script. I always knew that he would make it look beautiful because he has got a poet's vision and now, having seen the rushes and some cut footage, I feel like he is my favourite director of all time. Everything is delightful now... Giacomo Campiotti's direction makes it extraordinary."

Because so much of the story is set in the winter, it was crucial to film the series where it was likely snow would be available. Due to budget constraints, Russia, Norway, and Finland were deemed too expensive. Alberta, Canada was considered until the producers learned the previous year's snowfall had been minimal. Other Canadian provinces were rejected because the production crew was told it would be too cold to operate the needed equipment. Slovakia, where a 95% chance of snow was predicted, was selected for the March filming, and there was a blizzard two days before shooting began. But it quickly melted, and eventually the scenic designers had to utilize 1000 bags of artificial snow. Producer Hugh Warren recalled, "We had all the expense of going to Slovakia as well as the trouble of crossing the border, and then there was no snow. It was more than a little ironic."

Costume designer Annie Symons and her staff of thirty had to create more than 3000 costumes and 35,000 individual items of clothing for the cast. The characters of Zhivago and Lara each had at least 90 costume combinations, and six other principal characters had an average of fifteen changes each. By the time principal photography ended, a total of 984 yards of fabric, 300,000 yards of thread, 1 million buttons, and 7,000 safety pins were used.