Where Was Auf Wiedersehen, Pet Filmed?

In the early 1980's when Auf Wiedersehen, Pet hit our screens, it was an instant hit, and at its peak in 1986, was having viewing figures of almost 17 million in the UK. As a fan of the show myself, I always wanted to know where the show was filmed, but in the days before the internet, finding out such information was almost impossible.

In 1995 I tracked down my first Auf Wiedersehen, Pet filming location, after simply telephoning Central Television who made the first two series of the show. The first part of the second series was set in a large country house in Derbyshire, so I always had it in my head, that all I had to do was narrow it down to a few huge country homes in that county.

What turned out to be a short phone call to a very helpful lady at Central Television, ended with me being told it was actually filmed in Nottinghamshire. The place of the filming was Beesthorpe Hall in Caunton, and so began a life of travelling around the Midlands searching for those locations I had seen on screen many times.

Fast forward to 2012, and I am now in the great position of being able to find out where Auf Wiedersehen, Pet was filmed at the click of a button, thanks to the internet.

For fans of the show, you will know that the first series was set in Dusseldorf, Germany, but with only a handful of scenes actually being filmed in the city. Hamburg was used as the location for the large part of the filming in Germany. What many fans of the show might now know, is that most of the building site you see on screen in the first series, was actually built using materials shipped in from Germany, on an outdoor film set in Elstree Studios in Hertfordshire. The BBC EastEnders outdoor set is now located on the very same spot.

Series 2 of Auf Wiedersehen, Pet was mostly filmed in and around Nottinghamshire, with Caunton, Redmile, Beeston and Bingham used for a number of key scenes featuring such stars as Jimmy Nail, Tim Healy and Pat Roach.

I have visited many of the locations that feature in Auf Wiedersehen, Pet myself, and it is still easy to find locations which have not changed at all, even after almost 30 years. The show was brought back to our screens in 2002 and 2004, and locations for these series include Middlesbrough, Arizona and the Dominican Republic. Providing articles, reviews and writings on movies online.

Small Towns Without Movie Theaters Show Movies Outdoors

Outdoor movie events bring the movie theater experience outside to create a fun and unique cinema experience. Modern equipment allow outdoor movie viewers to enjoy the same high quality experience enjoyed by traditional movie house patrons. For towns without movie theaters, outdoor movies are a great alternative.

Currently, there are small towns all over the country without cinema complexes. By 2013, more small movie-picture theaters could be closing their doors when the movie industry switches to all-digital technology. Films will no longer be released in traditional 35 millimeter film prints, and theaters without the technology to show digital films will be forced to shut down. The cost of converting to digital in a movie house is around $65,000, leaving this conversion out of reach for many small, older movie theaters.

There are already many towns without a motion picture theater, and this change will lead to more. Residents of towns like this are left with the options of missing out on these movies or traveling to a town with a movie theater. Portable inflatable cinema technology gives these communities another option: outdoor cinema.

Inflatable movie screens are available in a variety of sizes to fit into many different locations, and accommodate small or large crowds. High quality theatrical screens and HD projectors, along with clear sound, bring the movie theater experience to any location. An outdoor movie can be held almost anywhere; holding it at a historic site or downtown can enhance the experience and make it more special for the community.

Going out to see a new movie with friends or family is a completely different experience than watching it at home. Small towns without theaters and those that stand to lose a theater with the digital conversion will be missing out. Outdoor cinema technology can provide a replacement that sometimes proves to be even better than a traditional movie theater.

Movies under the stars provide entertainment and can bring a community together. Event organizers can take their pick of locations, maybe a popular community park, or another location that is special to the community. An outdoor cinema also allows community members to come together and watch a movie all at the same time, rather than being limited by the size of a movie theater. Outdoor movies are being shown in communities all over, to provide a unique cinema experience. For towns without traditional movie theaters, outdoor cinema is even more special. In these towns, outdoor movies replace the movie theater experience by providing another cinema option. Providing articles, reviews and writings on movies online.

Movie Review: Prometheus (2012)

Director Ridley Scott originally intended on creating a prequel to his film Alien, but when the script writing began, he realized the wealth of material presented warranted its own separate tale (still set in the same universe, however). Such an undertaking led to copious speculation and extremely high expectations from fans for what would eventually become Prometheus. Yet for a film that supposedly merited severance from becoming a direct Alien precursor, the sequence of events in Prometheus are strikingly close to that of Scott's prior effort. In fact, certain segments seem designed specifically as a counterpart to the iconic moments now cemented in cinematic history. Unfortunately, none of these scenes come close to the shocking brilliance of those found in Alien, and while the atmospheric sets, awe-inspiring practical effects, and competent acting are present as they should be, don't expect to find the answers you're looking for - in either the notorious beasts' origins or the countless new questions raised that Scott clearly feels are better left unanswered.

When scientists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) discover clues on Earth that point to possible "engineers" of mankind, they partner with the powerful Weyland Corporation to launch an expedition into space to make contact with their creators. Governed by Weyland's stern attaché Meredith Vickers (Charlize Theron) and accompanied by geologists, mercenaries, and the cryptic android David (Michael Fassbender), the crew of the spaceship Prometheus is instructed not to interact with any life forms they may encounter. But once the group reaches their destination of the moon LV-233 and discovers the remains of the beings they set out to find, avoiding exposure becomes impossible. As a deadly infection rapidly spreads and mysterious creatures begin attacking the crew, Elizabeth realizes the horrifying truth and must fight for her own life as well as the very fate of mankind.

The usually capable director has bitten off a bit more than he could chew with Prometheus, which attempts at different moments to be a great many things. Expectations are particularly high, since Scott became famous for Alien in 1979, and this film marks his return to the genre. At the beginning, he ventures into contemplating alternatives to the evolution of humankind with predominantly science-fiction philosophies; in the middle, he explores favorite themes such as the assault on feeble human flesh, the invasion of orifices, and genetic mutation - essential elements of gore for the sake of horror; and toward the conclusion, he opts for action-oriented thrills, packed with impressive CG wizardry and massive destruction. Each shift in genre disorients the story from having a clear vision, and the result is a mess of unresolved ideas and poorly defined beings (especially regarding the capabilities and function of the Engineers, their cargo, and subsequent anomalies).

Brandywine Productions, David Giler and Walter Hill as producers, the title font, notations of "LV_223," talk of company jobs, an android, a monstrous ship full of lonely corridors, hypersleep sickness, hidden agendas, sabotage, H.R. Giger's artwork, and advanced technology all harken the return of a familiar atmosphere. But while the environment, heaped with humidity, high-pitched noises, black muck, and slithery critters, remains reminiscent of Scott's original masterpiece, the plot progresses slowly and formulaically. A crew awakes from hypersleep, a bypass surgery medical pod is inspected, Jackson claims he's there for security purposes and brandishes weaponry, ship and helmet cameras feed crackling, static-filled transmissions, allochthonous walls glisten with slime, and an unsuccessful quarantine allows something to be brought back aboard the command ship. None of it is notably original and the sense of foreboding and foreshadowing is jeeringly blatant. Suspense arrives too late, horror is handled clumsily, and the poignancy of physical pain, understanding the purpose of the structures, and digesting answers to the mysteries of life is sorely neglected. The "space jockey" creation from Alien sparked an interesting question of origin and ancestry, but the solution is mightily underwhelming.

- The Massie Twins (GoneWithTheTwins.com) Providing articles, reviews and writings on movies online.