Production
Uncle Buck was the first film directed, written, and produced by John Hughes under a multi-picture agreement deal with Universal. Filming began on January 5, 1989 in Chicago. The company decided to keep the production facilities and locations as close as possible. The vacant New Trier High School in Northfield, Illinois was chosen for the production facility. Three of its gyms were converted into sound stages on which several sets were constructed including the two-leveled interior of the Russell House, Buck's bedroom, a corridor in the elementary school, the boy's toilets, the principal's office, a classroom and several smaller sets. The school was also equipped to suit the needs of the cast and crew behind-the-scenes, classrooms for the young actors, offices, dressing rooms, wardrobe department, editing facilities, a special effects shop, equipment storage areas, and a projection booth. Production designer John Corso began designing the sets in October, 1988 and within seven weeks his construction crew of 12 carpenters and five painters began work on the two levels of the Russell house. A colonial-style house in Evanston was chosen for the exterior of the Russell house. The exteriors and practical locations were shot in Chicago, Cicero, Skokie, Northbrook, Wilmette, Winnetka, Glencoe, and Riverwoods.
Read more about this topic: Uncle Buck
Famous quotes containing the word production:
“Perestroika basically is creating material incentives for the individual. Some of the comrades deny that, but I can’t see it any other way. In that sense human nature kinda goes backwards. It’s a step backwards. You have to realize the people weren’t quite ready for a socialist production system.”
—Gus Hall (b. 1910)
“The myth of unlimited production brings war in its train as inevitably as clouds announce a storm.”
—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)