Production
The pilot for Rush, originally titled Rapid Response, was filmed in 2004 and based on an earlier Police Rescue script. The pilot featured several characters and cast who did not return for the series, including Matthew Le Nevez, Libby Tanner and Corinne Grant. The series was initially rejected but years later was picked up for production when the 2007–2008 Writers Guild of America strike affected Ten's imported shows.
Sergeant Dominic "Dom" Wales, played by Josef Ber, was originally scripted to be killed in the first season, however during production Van der Boom asked to be released. Her US working visa had been approved and being a "Residency Visa", required her to move to the US. As such, the character of Grace was killed off instead. Jolene Anderson joined the cast for the second series, from 16 July 2009. The series is filmed in Victoria in both regional and metropolitan areas.
A third season of Rush was announced by Channel Ten on 25 September 2009. It premiered in the time-slot of 8.30pm on 22 July 2010.
A thirteen-episode fourth season was confirmed by Channel Ten's Executive Producer of Drama and Production, Rick Maier on 12 November 2010. He stated "Rush continues to deliver great stories, great stunts and some of the best performances on TV". Filming for the fourth season began on 6 May 2011.
Read more about this topic: Rush (2008 TV Series)
Famous quotes containing the word production:
“From the war of nature, from famine and death, the most exalted object which we are capable of conceiving, namely, the production of the higher animals, directly follows. There is grandeur in this view of life, with its several powers, having been breathed into a few forms or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity, from so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved.”
—Charles Darwin (1809–1882)
“The heart of man ever finds a constant succession of passions, so that the destroying and pulling down of one proves generally to be nothing else but the production and the setting up of another.”
—François, Duc De La Rochefoucauld (1613–1680)
“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)