Production
During the 1950s, Italian film production had grown exponentially since the 1940s, from 25 films in 1945 to 204 in 1954. This growth allowed filmmakers in Italy to approach new genres and new styles not attempted before. Director Riccardo Freda and his friend, cinematographer Mario Bava, came up with the idea of developing a horror film as horror films had been previously banned by the fascist regime in the 1930s and 1940s. Freda approached film producers with the idea of the film without any treatment ready. Promising them he would have something for them by the next day, he returned with an tape of his treatment that was complete with sound effects. The producers admired the treatment but were doubtful that a film of this style could be successfully made in Italy or pass by the censors. To convince them further, Freda said he would be able to pass the script with the censors and could shoot the film in 12 days. This convinced the producers who allowed Freda to create the film.
The film was shot in black and white by cinematographer Mario Bava, who felt that that style would better suit the special effects in the film and keep the budget down. Freda's deal with his producers failed as he was able to pass by the censors, but after 12 days he only had half of the film finished. After being denied extra time from the producers to finish the film, Freda left the production allowing Mario Bava to step in to finish the film in the next two days.
Read more about this topic: I Vampiri
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 (18181883)
“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)
“I really know nothing more criminal, more mean, and more ridiculous than lying. It is the production either of malice, cowardice, or vanity; and generally misses of its aim in every one of these views; for lies are always detected, sooner or later.”
—Philip Dormer Stanhope, 4th Earl Chesterfield (16941773)