Production
| Episode | Broadcast date | Run time | Viewership |
Archive |
|---|---|---|---|---|
| "Episode One" | 2 January 1971 (1971-01-02) | 24:36 | 7.3 | PAL D3 colour restoration |
| "Episode Two" | 9 January 1971 (1971-01-09) | 24:48 | 8.0 | PAL D3 colour restoration |
| "Episode Three" | 16 January 1971 (1971-01-16) | 23:28 | 8.1 | PAL D3 colour restoration |
| "Episode Four" | 23 January 1971 (1971-01-23) | 22:10 | 8.4 | PAL D3 colour restoration |
Working titles for this story included The Spray of Death.
The dramatic scene at the start of Episode Three, where an Auton is hit with a car and tumbles off a cliff, was quite real. Dinny Powell was driving the vehicle in place of actor Richard Franklin, and stuntman Terry Walsh, as the Auton, fell further down the slope than intended, being injured in the mishap. He nevertheless got back to his feet in the same take as planned.
On the first day of filming, Katy Manning pulled all the ligaments in her foot jumping out of a car and running across a quarry. She also formed a fast bond with Barry Letts, as she was fond of the animals used in the serial.
The opening titles were coloured pink for this story. The longer 1967 arrangement of the theme returns on this story, last used in The War Games.
Read more about this topic: Terror Of The Autons
Famous quotes containing the word production:
“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)
“The repossession by women of our bodies will bring far more essential change to human society than the seizing of the means of production by workers.”
—Adrienne Rich (b. 1929)
“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)