And I said they're nothing more than what you see right here." This was a battle we had on several scenes where he was seeing stuff that wasn't on the film. So if it was a good day, we had a good time, the sun was shining, the food wonderful, he seemed to remember that when he looked at these images. "We used to have disagreements because I felt Terry wasn't looking at the film as a piece of film, he was looking at it with the memory of what happened on the day it was being shot. Says Gilliam: "We weren't doing drama, we were doing comedy, which fell under 'Light Entertainment,' and light seemed to be required constantly so that you could see the joke! Feel the joke! And I just always had stronger visual sense than we were able to get on in those filmings." Gilliam, aching for something that at least looked different, expressed his frustration at the notion of "comedy lighting." Sitcom lighting had been a common staple since the days of " I Love Lucy" (with lighting invented by the legendary director Karl Freund) and sketch comedy programs in England in the 1960s hadn't evolved too much past that.
Parts of "Flying Circus" were shot on video in a studio while location shoots were captured on film (the differing visual qualities were often played with). It's the nature of television: you don't have time to work." Everything was, there was very little time to get real atmosphere on the screen, or to shoot it dramatically enough or exciting enough. "It was just annoying because everything was done so fast and shoddily, I thought.
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