Southfork Ranch was one of the most visited homes in America, 'D' magazine reported in 2002. During its original run, over 350 million viewers in 96 countries watched 'Dallas'. It was understood 'Dallas' was dubbed in some countries, running in English or with subtitles in others.
Around the world by 1983, in England, France, Germany, South Africa, Israel, Thailand, Iceland, Bangladesh, Brunei, Algeria, Zimbabwe, Saudi Arabia, Romania plus 88 other countries, the character of J.R. Ewing was the visual symbol of all that was quintessentially American.
On the other hand, Patrick Duffy recounted, network chiefs "remind me that Bobby is the symbol of everything that is good and decent about American manhood … The most they will allow Bobby is to be tempted in the big, dirty business world. Power corrupts and even Bobby Ewing can be tempted by that, it seems."
B. Donald (Bud) Grant, one-time president of CBS Entertainment was the man, 'The New York Times' noted, who started the continuing storyline trend by putting 'Dallas' on the air.
'Dallas' pioneered a new television genre when it premiered back in April 1978. Kim LeMasters explained to 'Entertainment Weekly' in 2012, "CBS before 'Dallas' was 'Barnaby Jones', 'Cannon', 'Hawaii Five-0' — procedural dramas, cop shows — nothing with the panache Mike (Filerman) and David (Jacobs) brought. It was exactly the right moment for the American public. We were coming out of the recession of the late '70s. We were entering the '80s when greed was good."
Its success was contributed to the excellent use of suspense. The 'Who Shot J.R.?' cliffhanger probably still held the record as the most talked about season conclusion of any series ever. Loraine Despres added, "J.R. is shot on Friday (in March 1980). I come into the office on Monday and 'Time' magazine is calling, 'Newsweek' is calling. I mean, we thought it had been a cool idea, but nobody expected it to become a phenomenon. My script was stolen from the production offices. But we'd written different scripts as a preemptive strike."
Speaking to 'Us' magazine in 1983, Philip Capice told Rana Arons, "'Dallas' is not in danger of running out of cliffhangers. Neither is 'Dynasty'. We look for a dramatic cliffhanger to end each season, an incident that fits into the story … People don't want to know. It's more delicious to play games, guessing and not knowing until the (next) season opens … 'Dallas' cliffhangers stemmed from characters' conflicts – emotional and physical.
"The J.R. shooting was a fun way to wrap up six different story lines. These endings usually serve a dramatic purpose; we're not just trying to dream up a new disaster. At times, we'll say, 'We've gone too far', but ours is not a show that mirrors life. It's at least half tongue-in-cheek. I was astounded by Europeans who accuse 'Dallas' of polluting the world's image of America. If those people think the show reflects America, we're in trouble. It only reflects our fantasies."
Speaking to 'Copley News Service', Victoria Principal described 'Dallas', "It's like the novels you buy at the airport. Haven't you ever gone to the airport with nothing to read and bought a book there that you wouldn't have picked out in a bookstore? I do that all the time. I get on the plane and find myself enjoying one of those novels thoroughly. 'Dallas' is like a book that's better than your average paperback but not quite hardcover.
"I can put my finger on the secret of 'Dallas' popularity. I knew the show was going to be popular and why, when I first read a script. I said then, 'Whether I'm in this show or not, I know I'm going to watch it, because I'll want to know what these people are doing.' This is the heaviest pilot season in seven years. And a lot of people are looking for a nighttime soap opera niche. There's a trend developing, but we got there first."
Patrick Duffy pointed out at the time, "I think the show is well-acted and has good plots and a good storyline … I really think that 'Dallas' could go on for as long as something like 'Bonanza'." In 1984, Lorimar launched an aggressive public relations campaign to syndicate 'Dallas'. Syndicated programming or rerunning weekly hour-long serial on a five-times-a-week schedule required minimum 66 episodes (usually about three first-run seasons).
Pat Kenney of Lorimar told 'The Washington Post' at the time, "'Dallas' will build an audience just like it did in prime time, and it will be a springboard for a whole new form of television." Philip Capice made the point, "'Dallas'' cliffhangers revolve around Sue Ellen and J.R.. They're the most dramatic characters, with an emotional involvement that fascinates our audience."
Hence, with the marketing campaign for 'Dallas' in syndication, the slogan would be, "What is the fatal attraction that keeps Sue Ellen coming back to J.R.?" In 1980, 'Movie Mirror plus TV' magazine quoted Sue Ellen telling about her relationship with J.R., "In spite of our battles I just can't live without J.R.!" Larry Hagman made the comment at the time, "When Linda (Gray) and I work together, the sparks fly. She plays Sue Ellen with a smouldering sexiness coupled with an innocent bitchiness that just intrigues people."
In another edition, 'Movie Mirror' magazine trumpeted, "Sue Ellen: It's time to stand on her own two feet!" Linda Gray told the press at the time, "I used to feel nervous about creating a fictional character who could make such a tremendous impression on people. But then I realized that Sue Ellen was something very special and I could be proud of her. I have come to terms with the fact that I made Sue Ellen what she is, and I accept praise for it graciously. Now I'm not embarrassed any more … Every time I read a new script I'm amazed at what she has to go through."
Patrick Duffy disclosed, "I am not privy to future scripts – none of us is. We generally get scripts about two episodes ahead of what we're filming. About every seven days we get a new script." 'The Washington Post' reported in 1984, "In addition to ads on radio, television and billboards, it is conducting a telephone contest titled 'Dallas Confidential'. Callers win a chance to ask J.R. a question, such as how to explain Sue Ellen's weakness for him."
Bill Crosedale, one-time vice president for television for Batten Barton Durstine & Osborn advertising agency, told 'The New York Times' in 1986, "There's just a certain commitment that viewers have to make to a continuing serial, watching it on the same day, week in, week out. How many hours a week can you commit to this programming?''
'Dallas' was initially filmed entirely in Texas until production moved to Los Angeles. However Victoria Principal maintained, "I don't think moving back to Los Angeles has changed the personality of the show because, in the first place, all of us know the people we are playing so well that they don't change. Anyway, 'Dallas' is like a smoked rib. The flavor has been cooked in to stay."
As understood, each season, cast and crew spent some ten-and-a-half month filming including two months of location shooting in Texas, "It adds a real authenticity to the look of 'Dallas'. You can smell the dust and the heat, and there's a certain real Texas attittude that takes hold down there." Victoria Principal also voiced, "On a full-fledged summer shoot, I've seen the temperature read 44 degrees. It's physically gruelling. I chew ice from the moment I get up until I fall asleep."
Jesse Metcalfe told 'EW' in 2012, "Can they remake 'Dallas'? That’s the elephant in the room. But I read the (TNT 'Dallas') script and thought it was great."
Its success was contributed to the excellent use of suspense. The 'Who Shot J.R.?' cliffhanger probably still held the record as the most talked about season conclusion of any series ever. Loraine Despres added, "J.R. is shot on Friday (in March 1980). I come into the office on Monday and 'Time' magazine is calling, 'Newsweek' is calling. I mean, we thought it had been a cool idea, but nobody expected it to become a phenomenon. My script was stolen from the production offices. But we'd written different scripts as a preemptive strike."
Speaking to 'Us' magazine in 1983, Philip Capice told Rana Arons, "'Dallas' is not in danger of running out of cliffhangers. Neither is 'Dynasty'. We look for a dramatic cliffhanger to end each season, an incident that fits into the story … People don't want to know. It's more delicious to play games, guessing and not knowing until the (next) season opens … 'Dallas' cliffhangers stemmed from characters' conflicts – emotional and physical.
"The J.R. shooting was a fun way to wrap up six different story lines. These endings usually serve a dramatic purpose; we're not just trying to dream up a new disaster. At times, we'll say, 'We've gone too far', but ours is not a show that mirrors life. It's at least half tongue-in-cheek. I was astounded by Europeans who accuse 'Dallas' of polluting the world's image of America. If those people think the show reflects America, we're in trouble. It only reflects our fantasies."
Speaking to 'Copley News Service', Victoria Principal described 'Dallas', "It's like the novels you buy at the airport. Haven't you ever gone to the airport with nothing to read and bought a book there that you wouldn't have picked out in a bookstore? I do that all the time. I get on the plane and find myself enjoying one of those novels thoroughly. 'Dallas' is like a book that's better than your average paperback but not quite hardcover.
"I can put my finger on the secret of 'Dallas' popularity. I knew the show was going to be popular and why, when I first read a script. I said then, 'Whether I'm in this show or not, I know I'm going to watch it, because I'll want to know what these people are doing.' This is the heaviest pilot season in seven years. And a lot of people are looking for a nighttime soap opera niche. There's a trend developing, but we got there first."
Patrick Duffy pointed out at the time, "I think the show is well-acted and has good plots and a good storyline … I really think that 'Dallas' could go on for as long as something like 'Bonanza'." In 1984, Lorimar launched an aggressive public relations campaign to syndicate 'Dallas'. Syndicated programming or rerunning weekly hour-long serial on a five-times-a-week schedule required minimum 66 episodes (usually about three first-run seasons).
Pat Kenney of Lorimar told 'The Washington Post' at the time, "'Dallas' will build an audience just like it did in prime time, and it will be a springboard for a whole new form of television." Philip Capice made the point, "'Dallas'' cliffhangers revolve around Sue Ellen and J.R.. They're the most dramatic characters, with an emotional involvement that fascinates our audience."
Hence, with the marketing campaign for 'Dallas' in syndication, the slogan would be, "What is the fatal attraction that keeps Sue Ellen coming back to J.R.?" In 1980, 'Movie Mirror plus TV' magazine quoted Sue Ellen telling about her relationship with J.R., "In spite of our battles I just can't live without J.R.!" Larry Hagman made the comment at the time, "When Linda (Gray) and I work together, the sparks fly. She plays Sue Ellen with a smouldering sexiness coupled with an innocent bitchiness that just intrigues people."
In another edition, 'Movie Mirror' magazine trumpeted, "Sue Ellen: It's time to stand on her own two feet!" Linda Gray told the press at the time, "I used to feel nervous about creating a fictional character who could make such a tremendous impression on people. But then I realized that Sue Ellen was something very special and I could be proud of her. I have come to terms with the fact that I made Sue Ellen what she is, and I accept praise for it graciously. Now I'm not embarrassed any more … Every time I read a new script I'm amazed at what she has to go through."
Patrick Duffy disclosed, "I am not privy to future scripts – none of us is. We generally get scripts about two episodes ahead of what we're filming. About every seven days we get a new script." 'The Washington Post' reported in 1984, "In addition to ads on radio, television and billboards, it is conducting a telephone contest titled 'Dallas Confidential'. Callers win a chance to ask J.R. a question, such as how to explain Sue Ellen's weakness for him."
Bill Crosedale, one-time vice president for television for Batten Barton Durstine & Osborn advertising agency, told 'The New York Times' in 1986, "There's just a certain commitment that viewers have to make to a continuing serial, watching it on the same day, week in, week out. How many hours a week can you commit to this programming?''
'Dallas' was initially filmed entirely in Texas until production moved to Los Angeles. However Victoria Principal maintained, "I don't think moving back to Los Angeles has changed the personality of the show because, in the first place, all of us know the people we are playing so well that they don't change. Anyway, 'Dallas' is like a smoked rib. The flavor has been cooked in to stay."
As understood, each season, cast and crew spent some ten-and-a-half month filming including two months of location shooting in Texas, "It adds a real authenticity to the look of 'Dallas'. You can smell the dust and the heat, and there's a certain real Texas attittude that takes hold down there." Victoria Principal also voiced, "On a full-fledged summer shoot, I've seen the temperature read 44 degrees. It's physically gruelling. I chew ice from the moment I get up until I fall asleep."
Jesse Metcalfe told 'EW' in 2012, "Can they remake 'Dallas'? That’s the elephant in the room. But I read the (TNT 'Dallas') script and thought it was great."
