While the station's colour scheme clearly owes more to FirstGroup than 1971's BR, there is at least some post-processing applied to attempt to mask that. The ending of the film is set at Paddington (main line) station. Maybe they thought the unpainted aluminium aesthetic better matched the tone of the film than LT Red? Why they couldn't just use the preserved 1938 stock that is entirely appropriate for the era I don't know. While the clear use of Aldwych for filming is perfectly acceptable (the dilapidated state of the disused station is perfect for portraying early-1970s LUL), the fact that the train is always 1972 Stock is a bit off for a film set in 1971. Some clearly care, but still make mistakes.įor example, the 2008 Jason Statham film "The Bank Job" has several scenes set on the London Underground. Even then, their ability to care is limited by the budget. Filmmakers just don't care about such things, unless it breaks the ability of the audience to buy into the story. It's fairly common for a character to leave New York on one type of aircraft, and land in London on a completely different aircraft operated by a completely different aircraft.Įven the 1970 film Waterloo had similar shortcomings, despite being the most expensive film ever provided and being given such support by the Soviet Union (17,000 soldiers and an entire brigade of horse cavalry, all drilled in the fashion of 1815) that the director commanded the world's sixth largest army. The same stock recording of frogs is used for jungle/swamp scenes in virtually every film set in one, despite any herpetologist being able to tell you that the species croaking is resident only in a particular area of Central America. The (relatively old) movie Pearl Harbor is notorious in the naval community for scenes of destroyers built in the 1970s being sunk in the titular attack of 1940. My Dad used to complain loudly every time he saw any footage of a steam locomotive and the sound of the exhaust didn't precisely tally with the revolution of the wheels I'm sure twitchers would get upset if there was a view of a blackbird with the soundtrack of a yellowhammer. By the law of averages most film makers won't be railway nerds, so they may well not know the difference between the sound of 'a Deltic' and 'a 1st generation DMU'.Įven if they did, it would take time and money of getting someone to trawl through sound archives to match a usable Deltic recording to that footage (even if it was possible, which it may not be - whan was the last time you heard the noise of wind in a microphone on a film or TV programme?) and so using library footage (which may be silent or have sound unsuitable to include as part of the film's soundtrack) with the sound of 'a diesel train' is a compromise that 99.9% of the population isn't going to notice. To the vast majority of the population a train is a train is a train is a train. So within the story they have to take a call on what are the elements they need to spend the most money and time on and what is too finicky, time-consuming or expensive to do, just to keep a minority interest group happy. It's not that they 'don't really care' at all.įilm and TV making is a lengthy, complex and expensive business and film makers have to balance between telling the story and getting the scenes they want in a reasonable time and at a reasonable cost.
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