Production
While Schwartz originally intended to hand off full editorial control to Schiemer and Prescott, he eventually returned to become an active part of production, reviewing scripts and advising on creative input.
Originally aired as a one-hour segment on The ABC Saturday Superstar Movie, the pilot episode was split into two half-hour segments on The Brady Kids. A total of 22 episodes were produced. Season 1 aired Saturday mornings from 10:30 to 11:00 AM, and season 2 aired Saturday mornings from 11:00 to 11:30 AM. Season 1 contained 17 episodes, and season 2 contained 5. Season 2 was specifically created by Filmation with the intent on 5 episodes to bring the total count of episodes to 22, the minimum required for syndication. Like most 1970s-era Saturday morning cartoon series', The Brady Kids contained an adult laugh track.
The opening sequence featured the fourth season "grid" familiar to The Brady Bunch viewers, without the center column that is normally occupied by the adults (Mike, Carol and Alice). Near the end of the theme song (featuring new lyrics set to the original Brady Bunch theme with a 70's style beat), Marlon flies up and down the center, "magically" transforming the live-action children into their animated counterparts.
Read more about this topic: The Brady Kids
Famous quotes containing the word production:
“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)
“The problem of culture is seldom grasped correctly. The goal of a culture is not the greatest possible happiness of a people, nor is it the unhindered development of all their talents; instead, culture shows itself in the correct proportion of these developments. Its aim points beyond earthly happiness: the production of great works is the aim of culture.”
—Friedrich Nietzsche (1844–1900)
“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)