CBS, then known for its "rural" and uncontroversial hits like The Beverly Hillbillies and Gunsmoke , was looking to change its image. However, the network's executives were still nervous. The show was deemed too controversial, too edgy, and likely to alienate Middle America. According to director John Rich, when he and Lear suggested shooting the show in stark black and white to match its gritty realism, "CBS nearly went into a coma". Ultimately, CBS took a chance, ordering a 13-episode first season as a mid-season replacement. It was a cautious bet on a show no one was sure would work.
had proven that television could be a mirror. It paved the way for "topical comedies" like H* and later hits like Breaking Bad
The production of All In The Family was as raw and unconventional as its subject matter. To create the show's unique, documentary-like realism, director John Rich made a deliberate choice to strip away the typical glossy, colorful look of a TV sitcom. Working closely with set designers, he personally supervised the painting of walls in muted, sepia tones and the cracking of windows to give the Bunker home a rundown, lived-in, and authentic feel. As Rich explained, "I told the set designers to take all the color out of it".
CBS, then known for its "rural" and uncontroversial hits like The Beverly Hillbillies and Gunsmoke , was looking to change its image. However, the network's executives were still nervous. The show was deemed too controversial, too edgy, and likely to alienate Middle America. According to director John Rich, when he and Lear suggested shooting the show in stark black and white to match its gritty realism, "CBS nearly went into a coma". Ultimately, CBS took a chance, ordering a 13-episode first season as a mid-season replacement. It was a cautious bet on a show no one was sure would work.
had proven that television could be a mirror. It paved the way for "topical comedies" like H* and later hits like Breaking Bad
The production of All In The Family was as raw and unconventional as its subject matter. To create the show's unique, documentary-like realism, director John Rich made a deliberate choice to strip away the typical glossy, colorful look of a TV sitcom. Working closely with set designers, he personally supervised the painting of walls in muted, sepia tones and the cracking of windows to give the Bunker home a rundown, lived-in, and authentic feel. As Rich explained, "I told the set designers to take all the color out of it".
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