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<blockquote data-quote="J. R.&amp;#039;s Piece" data-source="post: 239858" data-attributes="member: 12">They brought in Willy Izard’s (Willy was there for the entire series) son to work for Mogul.&nbsp; He soon died.&nbsp; The final series saw more pressure put on Brian Stead to resign.&nbsp;&nbsp; They deliberately shot the show to move fast.&nbsp; Producer Peter Graham Scott, whose onscreen credit of Mogul (the logo) is produced by Peter Graham Scott, said:”Oil was about movement, pressure, speed.&nbsp; Scenes would have to start in the middle where the meat was without actors drifting through doors, and cut straight to the next on the last word on the climax.&nbsp; I needed dynamic camera angles.&nbsp; Television cameramen were getting awfully lazy, offering up loose head-and-shoulder shots (easier to hold in focus) when asked for tight close-ups.&nbsp; On Mogul we would insist on tight shots and more camera movement.There was a power struggle for years with Brian Stead and Alec Stewart.&nbsp; Because Stewart was after Stead’s job, Stead would sometimes send him on assignments where he wanted Stewart to fail, so he could get him out of the way.&nbsp; They also did overseas location shooting in India, Libya, Rome, Beirut, Hong Kong, Amsterdam, Thailand, Barbados and Trinidad.&nbsp; British Airways offered the crew bargain seats.&nbsp; There is an onscreen credit each week for the oil companies assisting production and allowing filming for the show.&nbsp; BP and Esso let them film on rigs and refineries.&nbsp; Shell provided a geological team to work on it</blockquote>

[QUOTE="J. R.'s Piece, post: 239858, member: 12"] They brought in Willy Izard’s (Willy was there for the entire series) son to work for Mogul. He soon died. The final series saw more pressure put on Brian Stead to resign. They deliberately shot the show to move fast. Producer Peter Graham Scott, whose onscreen credit of Mogul (the logo) is produced by Peter Graham Scott, said:”Oil was about movement, pressure, speed. Scenes would have to start in the middle where the meat was without actors drifting through doors, and cut straight to the next on the last word on the climax. I needed dynamic camera angles. Television cameramen were getting awfully lazy, offering up loose head-and-shoulder shots (easier to hold in focus) when asked for tight close-ups. On Mogul we would insist on tight shots and more camera movement. There was a power struggle for years with Brian Stead and Alec Stewart. Because Stewart was after Stead’s job, Stead would sometimes send him on assignments where he wanted Stewart to fail, so he could get him out of the way. They also did overseas location shooting in India, Libya, Rome, Beirut, Hong Kong, Amsterdam, Thailand, Barbados and Trinidad. British Airways offered the crew bargain seats. There is an onscreen credit each week for the oil companies assisting production and allowing filming for the show. BP and Esso let them film on rigs and refineries. Shell provided a geological team to work on it [/QUOTE]

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