Production
South Florida shooting locations included Everglades National Park, Andytown, Coopertown, Frog City, Sweetwater and Forty Mile Bend along the Tamiami Trail.
The original plan was to use white actors as Seminoles with makeup and studio-produced costumes, but native Seminoles, wearing their traditional dress, were used. They were pleased have the comparatively easy work as both extras and, because of their expertise and mechanical abilities, to operate and maintain the airboats; and to have any employment other than beading, giving airboat rides and wrestling with alligators for the tourist trade. Few were given speaking parts and nearly all were denied entry into the Screen Actors Guild.
Because the show was on a tight budget (an episode was completed every two-and-a-half days), Chandler was given little training on airboats, so there were a few unintentional "flybys" and at least one crash, leaving the actor swinging from an overhanging tree. Hays, however, became an accomplished airboat driver and formed close bonds with the locals who supplied them.
During 1961, Tors was filming the first of his two Flipper feature films in Miami and the Florida Keys; Chandler was signed for a recurring role in his Flipper TV series, and for a part in the 1964 movie sequel, Flipper's New Adventure.
Read more about this topic: The Everglades (TV Series)
Famous quotes containing the word production:
“Just as modern mass production requires the standardization of commodities, so the social process requires standardization of man, and this standardization is called equality.”
—Erich Fromm (1900–1980)
“The society based on production is only productive, not creative.”
—Albert Camus (1913–1960)
“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)