Quatermass Conclusion - La Terra esplode: differenze tra le versioni

Versione delle 16:12, 30 gen 2018

Versione delle 14:00, 15 apr 2018

Riga 1:

{{S|fiction televisive di fantascienza|fiction televisive britanniche}}

{{T|lingua=inglese|argomento=televisione|data=settembre 2012}}

{{FictionTV

|titolo italiano= Quatermass Conclusion - La Terra esplode

Riga 71 ⟶ 70:

Quatermass si mette ad investigare sulla faccenda, convinto che la nipote sia in serio pericolo, scoprendo che i seguaci del Planet People, anziché venire trasportati, vengono sterminati. Il professor Quatermass si risolve così a trovare un modo per fermare gli alieni dall'uccidere altre persone.

== Episodi ==

{{...||fiction televisive}}

== Produzione ==

Riga 82 ⟶ 78:

L'idea di riportare in televisione il personaggio del professor Quatermass per una quarta avventura, si deve alla produttrice [[Irene Shubik]] che, nel 1965, chiese a Kneale di scrivere una nuova storia per la prima stagione della sua serie antologica di fantascienza, ''[[Out of the Unknown]]''.<ref name="Pixley_c_39">{{en}} Pixley, ''The Quatermass Collection – Viewing Notes'', p. 39.</ref> Di questo progetto non se ne fece nulla, ma la prospettiva di una nuova apparizione televisiva del personaggio di Quatermass risuscitò in seguito al successo del film ''[[L'astronave degli esseri perduti]]'', quando la Hammer annunciò di essere in trattativa con Kneale per un nuovo episodio della saga.<ref name="Screen_1">{{en}}Screen, ''Production Notes'', Disc 1.</ref> Neanche questo progetto andò oltre le iniziali trattative. Nel frattempo Kneale venne persuaso a tornare a lavorare per la BBC, scrivendo alcune sceneggiature quali: ''[[The Year of the Sex Olympics]]'' (1968), ''Wine of India'' (1970) e ''[[The Stone Tape]]'' (1972).<ref name="Murray_passim" /> A seguito del completamente di ''The Stone Tape'', il 21 novembre 1972 il capo delle serie televisive della BBC, Ronnie Marsh, commissionò a Kneale una nuova serie di Quatermass in quattro puntate.<ref>{{en}} Pixley, ''All the Rage of the World'', p. 48.</ref>

La serie è influenzata dalla situazione sociale e politica dei primi [[Anni 1970|anni settanta]] e dal [[Hippy|movimento hippie]] dei tardi [[Anni 1960|anni sessanta]]. <!--

Kneale began writing the scripts, working to a delivery deadline of February 1973.<ref>Pixley, ''All the Rage of the World'', p. 49.</ref> Much of the setting for the story was influenced by contemporary political events such as [[Strike action|strike]]s, [[Three-Day Week|power cuts]], the [[1973 oil crisis|Oil Crisis]] and developments in the [[Space Race]], especially the planned [[Apollo-Soyuz Test Project|Apollo-Soyuz]] missions and [[Skylab]].<ref name="Murray_119">Murray, ''Into the Unknown'', p. 119.</ref> Writing in the [[listings magazine]] ''[[TV Times]]'' to promote the serial, Kneale said, “''Quatermass'' is a story of the future – but perhaps only a few years from now. There are some clues already in the most obvious places: the streets. Pavements littered with rubbish. Walls painted with angry graffiti. [[Belfast]] black with smoke and rage. Worst of all, the mindless violence”.<ref name="Screen_2">Screen, ''Production Notes'', Disc 2.</ref> Concerns about the state of society, especially the “dropout” culture of the youth movement, had been a theme of Kneale's writing for some time, as seen in such works as ''The Big, Big Giggle'', an unmade play about a teenage suicide cult; ''The Year of the Sex Olympics'', about the consequences of a world with no censorship or inhibitions; and ''Bam! Pow! Zap!'' (1969), about teenage delinquents, all of which fed into the world depicted in the new ''Quatermass'' serial.<ref name="Murray_137">Murray, ''Into the Unknown'', p. 137.</ref><ref>Rigby, ''Ancient Fears'', p. 53.</ref> Kneale said, “I looked at the alarming aspects of contemporary trends. Since then, we'd seen '[[flower power]]' and hippies, so all I did was bring them into the story. It was written in 1972 and it was about the sixties really”.<ref name="Screen_1" /> Another theme that had crept into Kneale's writing at this time, as seen in ''Wine of India'', about compulsory [[euthanasia]] for the elderly, and, later, the ''[[Beasts (TV series)|Beasts]]'' episode “During Barty's Party”, about an elderly couple terrorised by rats, was the consequences of growing old.<ref name="Murray_137" /> Kneale later recalled, “The theme I was trying to get to was the old redressing the balance with the young, saving the young, which I thought a nice, paradoxical, ironic idea after the youth-oriented 60s”.<ref>Rigby, ''Ancient Fears'', p. 52.</ref>

Assigned to produce the serial was ''[[Dixon of Dock Green]]'' producer Joe Waters.<ref>{{IMDb name |id=0914110 |name=Joe Waters }}</ref><ref name="Pixley_b_50">Pixley, ''All the Rage of the World'', p. 50.</ref> Preliminary filming on ''Quatermass'' began in June 1973 at [[Ealing Studios]] where special effects designer Jack Wilkie and his assistant, Ian Scoones, shot model footage, for part one of the serial, of a [[space station]] with [[astronaut]]s working on its hull.<ref name="Garrard_15">Garrard & Houldsworth, ''Fantasy Flashback: Quatermass'', p. 15.</ref> However, at this point the BBC got cold feet about the project; they had become concerned about the cost of mounting the production and had been refused permission to film at [[Stonehenge]], one of the locations that Kneale had envisaged the Planet People would gather at to be reaped by the alien force.<ref name="Pixley_b_50" /> Kneale recalled that Stonehenge “had become Big Business and the place was like a factory with tourists there from dawn to dusk... they weren't going to let anyone go near it”.<ref name="Screen_1" /> Kneale also felt that the BBC were unhappy with the script believing it “didn't suit their image at that time; it was too gloomy”.<ref name="Murray_120">Murray, ''Into the Unknown'', p. 120.</ref> In the end, it was decided during Summer 1973 that, for financial reasons, the BBC would not proceed with the production.<ref name="Murray_120" /> However, the BBC had an option on the script until 1975 which they held onto until it expired.<ref name="Pixley_b_50" />

At this stage, Kneale was working primarily in [[ITV|Independent Television]], having written the play ''Murrain'' (1975) and the anthology series ''Beasts'' (1976) for ATV.<ref name="Murray_passim" /> However, ''[[Star Wars]]'' was beginning to make an impact and interest in science fiction projects among film and television studios began to rise. In May 1977, [[Euston Films]], a subsidiary of [[Thames Television]] best known for ''[[The Sweeney]]'' (1975–1978), announced that they had picked up Kneale's unmade ''Quatermass'' scripts.<ref name="Pixley_b_50" /> This new production, known either as ''Quatermass'' or ''Quatermass IV'', would consist of a four part serial to be broadcast by ITV which would be recut as a 100-minute film, titled ''The Quatermass Conclusion'', for release in North America and Europe.<ref name="Pixley_b_50" /><ref name="Murray_135">Murray, ''Into the Unknown'', p. 135.</ref> Kneale was dubious about having to craft both a television serial and film version of his story feeling that “in the end we had two versions, neither of which was the right length for the story”.<ref name="Pixley_b_51">Pixley, ''All the Rage of the World'', p. 51.</ref> During the rewrites, Kneale transplanted the action at the conclusion of part three from Stonehenge to the more easily available [[Wembley Stadium (1924)|Wembley Stadium]].<ref name="Garrard_15" /> When asked about what differences there were between the Euston Films version and the version originally envisaged for the BBC, Kneale remarked that “the BBC version would have been much more in the studio, whereas the Euston Films version was entirely shot on [[35mm]] film with a great deal of it outside. Much more lavish than either the BBC or I had contemplated”.<ref name="Pixley_Dark_Door">Pixley & Kneale, ''Beyond the Dark Door''.</ref>

Filming took place between 26 August 1978 and 23 December 1978<ref name="Pixley_c_39" /> at locations around [[Middlesex]] and [[Hertfordshire]] as well as London, including Wembley Stadium.<ref name="Pixley_b_52">Pixley, ''All the Rage of the World'', p. 52.</ref> The budget was £1.25 million, making it one of the most expensive undertakings Euston had attempted at that time.<ref name="Screen_1" /> Production designer Arnold Chapkis constructed several large and elaborate sets including those for the megalithic [[standing stone]]s at Ringstone Round, the Kapps' [[radio telescope]] and [[observatory]] and the decaying urban landscape of London; Kneale quipped about the radio telescope set that “it probably would have worked if they'd just aimed it properly!”.<ref name="Murray_137" /> Associate producer Norton Knatchbull noted that the serial “was the first 'art department' picture Euston has ever been involved in, in the sense that major sets had to be built on ___location”.<ref name="Pixley_b_52" /> This led Euston executive Johnny Goodman to joke, “Our biggest problem was finding someone who wanted the two giant telescope dishes after we finished filming. There's not much demand for such things”.<ref name="Screen_2" /> One aspect where the budget was less than generous was with the model sequences made by Clearwater Films; Johnny Goodman remarked that the cost was less than [[James Bond]] producer [[Cubby Broccoli]] “would spend on cigars in a week”.<ref>Garrard & Houlsworth, ''Fantasy Flashback: Quatermass'', p. 27.</ref> Post production was completed in mid-February 1979.<ref name="Pixley_b_53">Pixley, ''All the Rage of the World'', p. 53.</ref> Unlike the original BBC ''Quatermass'' serials, which had used [[library music|stock music]] tracks, the new serial had a specially composed soundtrack by [[Marc Wilkinson]] and Nic Rowley which made particular use of the [[nursery rhyme]] “Huffity, Puffity, Ringstone Round” devised by Kneale in his scripts.<ref name="Pixley_b_53" />

-->

== Note ==