Production
- HMS Amethyst was brought out of store to participate in the film as herself. As the Amethyst's main engines were no longer operational, her sister Black Swan-class sloop HMS Magpie stood in for shots of the ship moving and firing her guns.
- John Kerans, by then promoted to commander, served as technical advisor during the production.
- The destroyer HMS Teazer stood in for both HMS Consort and HMS Concord. As Consort, down from Nanking, she wore the correct pennant number D76; as Concord, up from Shanghai, her pennant number was covered by Union flags. Teazer is depicted firing her guns broadside and turning at speed in the narrow confines of the Stour estuary as Consort attempts to get a towing line to Amethyst under heavy gunfire.
- The rivers Orwell and Stour - which run between Ipswich and Manningtree, in Suffolk, England - doubled as the Yangtze River during the making of this film. The Chinese PLA gun batteries - depicted by old Royal Navy field guns on land carriages - were deployed on the sloping banks of the Boys' Training Establishment HMS Ganges which was sited at Shotley Gate, facing Felixstowe on the Orwell, and Harwich on the Stour, where the rivers converge.
Read more about this topic: Yangtse Incident (film)
Famous quotes containing the word production:
“It is part of the educator’s responsibility to see equally to two things: First, that the problem grows out of the conditions of the experience being had in the present, and that it is within the range of the capacity of students; and, secondly, that it is such that it arouses in the learner an active quest for information and for production of new ideas. The new facts and new ideas thus obtained become the ground for further experiences in which new problems are presented.”
—John Dewey (1859–1952)
“... this dream that men shall cease to waste strength in competition and shall come to pool their powers of production is coming to pass all over the earth.”
—Jane Addams (1860–1935)
“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)