Production Background
Three models of Seaview — 4 (51½"), 8.5 (102"), and 17 feet (206") (1.2, 2.4 and 5.5 m) long — were built (eight-window nose in the motion picture and first television season, four-window version thereafter). The four-foot wood and steel tube approval/pattern model was extensively seen in the feature and on the TV series used as set decoration on a shelf in the observation nose, and behind Nelson's desk in his cabin. The eight-foot model had external doors for a not fitted nine-inch Flying Sub, while a more detailed 18-inch Flying Sub was held within the larger Seaview. For close-ups, a three-foot Flying Sub was produced, which was also used in the aerial sequences. All three Seaview models were built for a total 1961 price of US$200,000 by Herb Cheeks' model shop at Fox, and were filmed by L. B. Abbott who won two Emmy Awards for special effects in the series. For the television series a very poorly rendered two-foot model was built. The fates of the three original models vary; the original eight-window wood and steel four-foot display model was damaged in an altercation between writer Harlan Ellison and ABC Television executive Adrian Samish and after a full restoration resides in a private collection. The eight-foot model was extensively modified; (bow cut off) for use in the short lived 1978 series "The Return of Captain Nemo" and is believed to have been destroyed. The 17-foot model after a partial restoration by numerous individuals, is on display at the "Museum Of Science Fiction" located in Seattle, Washington.
Read more about this topic: USOS Seaview
Famous quotes containing the words production and/or background:
“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 (16131680)
“Silence is the universal refuge, the sequel to all dull discourses and all foolish acts, a balm to our every chagrin, as welcome after satiety as after disappointment; that background which the painter may not daub, be he master or bungler, and which, however awkward a figure we may have made in the foreground, remains ever our inviolable asylum, where no indignity can assail, no personality can disturb us.”
—Henry David Thoreau (18171862)