Production
The producers had kept Ross and Rachel from being together throughout the first season, eventually bringing them together in the second season episode "The One Where Ross Finds Out", only to split them up in the following episode. Writer Alexa Junge incorporated many of her own experiences into the script, in particular Phoebe's line about Ross and Rachel being "lobsters", something Junge's husband once said. Aniston wore a false nose for the scenes in the video while Cox wore a "fat suit". While a previous episode had already established Monica as being overweight as a child, this was the first on-screen appearance of "Fat Monica" (the fat suit made frequent return appearances). Rachel's large nose was added because Junge believed that the characters "were so good-looking, you wanted to feel they had some realness in their past".
At first, Schwimmer did not want to wear the afro wig and mustache because he thought he would look like Gabe Kaplan in Welcome Back, Kotter (a similarity referenced in the episode). He relented because it enabled him to "tap into a part of himself that was very vulnerable and shy" and incorporate it into his performance. An early script draft featured a scene in the prom video in which an episode of All My Children is on in the background. The scene was intended to feature the character "Bryce", played by Gunther (as revealed in "The One Where Eddie Won't Go").
Read more about this topic: The One With The Prom Video
Famous quotes containing the word production:
“[T]he asphaltum contains an exactly requisite amount of sulphides for production of rubber tires. This brown material also contains “ichthyol,” a medicinal preparation used externally, in Webster’s clarifying phrase, “as an alterant and discutient.””
—State of Utah, U.S. public relief program (1935-1943)
“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)
“The growing of food and the growing of children are both vital to the family’s survival.... Who would dare make the judgment that holding your youngest baby on your lap is less important than weeding a few more yards in the maize field? Yet this is the judgment our society makes constantly. Production of autos, canned soup, advertising copy is important. Housework—cleaning, feeding, and caring—is unimportant.”
—Debbie Taylor (20th century)