In winter 1983, Radford asked his producer to try for the rights to Orwell's novel, with few expectations that they were available. It turned out that the rights were held by Marvin Rosenblum, a Chicago lawyer who had been trying on his own to get such a film produced.[5] Rosenblum agreed to become an executive producer, and while producer Simon Perry raised the production money from Richard Branson, Radford wrote the script, inspired by his idea to make a "science fiction film made in 1948."[5] The script was finished in three weeks.[5]
For the role of O'Brien, Paul Scofield was originally contracted to play the part, but had to withdraw after sustaining a broken leg while filming The Shooting Party.[5][6] Anthony Hopkins, Sean Connery and Rod Steiger were all then considered.[5] Richard Burton, who was living in Haiti, joined the production six weeks into its shooting schedule[5] and insisted on his costume of a boiler suit being hand-made for him in Savile Row.[7][8]
Principal photography began on 19 March 1984, and ended in October 1984.[4] Some scenes were shot on the actual days noted in Winston's diary (for example: April 4, 1984) as well as at some of the actual locations and settings mentioned in Orwell’s novel.[9]
The budget was originally £2.5 million but this rose during filming and additional funds were required.[10]
Radford and cinematographer Roger Deakins originally wanted to shoot the film in black and white, but the financial backers of the production, Virgin Films, opposed this idea. Instead, Deakins used a film processing technique called bleach bypass (originally created by Technicolor and Deluxe, but recreated for this production by Key) to create the distinctive washed-out look of the film's colour visuals. The film is a very rare example of the technique being applied to every release print, rather than the interpositive (struck from the composited camera negative), or the internegative (struck from the interpositive); as the silver is retained in the print and cannot be reclaimed by the lab, the cost is higher, but the retained silver gives a "depth" to the projected image.
In winter 1983, Radford asked his producer to try for the rights to Orwell's novel, with few expectations that they were available. It turned out that the rights were held by Marvin Rosenblum, a Chicago lawyer who had been trying on his own to get such a film produced.[5] Rosenblum agreed to become an executive producer, and while producer Simon Perry raised the production money from Richard Branson, Radford wrote the script, inspired by his idea to make a "science fiction film made in 1948."[5] The script was finished in three weeks.[5]For the role of O'Brien, Paul Scofield was originally contracted to play the part, but had to withdraw after sustaining a broken leg while filming The Shooting Party.[5][6] Anthony Hopkins, Sean Connery and Rod Steiger were all then considered.[5] Richard Burton, who was living in Haiti, joined the production six weeks into its shooting schedule[5] and insisted on his costume of a boiler suit being hand-made for him in Savile Row.[7][8]Principal photography began on 19 March 1984, and ended in October 1984.[4] Some scenes were shot on the actual days noted in Winston's diary (for example: April 4, 1984) as well as at some of the actual locations and settings mentioned in Orwell’s novel.[9]The budget was originally £2.5 million but this rose during filming and additional funds were required.[10]Radford and cinematographer Roger Deakins originally wanted to shoot the film in black and white, but the financial backers of the production, Virgin Films, opposed this idea. Instead, Deakins used a film processing technique called bleach bypass (originally created by Technicolor and Deluxe, but recreated for this production by Key) to create the distinctive washed-out look of the film's colour visuals. The film is a very rare example of the technique being applied to every release print, rather than the interpositive (struck from the composited camera negative), or the internegative (struck from the interpositive); as the silver is retained in the print and cannot be reclaimed by the lab, the cost is higher, but the retained silver gives a "depth" to the projected image.
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