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Filming for the show's pilot began in February 2006 in Austin, Texas.
Berg said he required filming the pilot and eventually the show in Texas as "a deal breaker" in order to agree to participate weekly in the project. In the pilot, Berg featured Texas Longhorns football coach Mack Brown as a Dillon booster and had a caller to the fictional Panther Radio compare Panthers' coach Eric Taylor to Brown.
Although the show had garnered critical acclaim and passionate fans, the series suffered low ratings and was in danger of cancellation after the second season.
To save the series, NBC struck a deal with Direc TV to co-produce three more seasons; each subsequent season premiered on Direc TV's 101 Network, with NBC rebroadcasts a few months later.
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At the 2011 Primetime Emmy Awards, the show was nominated for Outstanding Drama Series. "Buzz" Bissinger's non-fiction book Friday Night Lights: A Town, a Team, and a Dream (1990) and the 2004 film based on it.
Kyle Chandler and Connie Britton also scored multiple nominations for the Outstanding Lead Actor and Actress awards for a drama series. The book, which explores the 1988 season of the Permian Panthers, a high school football team in Odessa, Texas, was a factual work of documentary journalism. Once filming on the movie was completed, Berg began to explore adapting the story for television.
The show appeared on a number of best lists and was awarded a Peabody Award, a Humanitas Prize, a Television Critics Association Award and several technical Primetime Emmy Awards.
He decided to set the series in a fictional town of Dillon, Texas, with some characteristics of Odessa. Berg deliberately carried elements from the film to the series, particularly for the pilot, which was closely related to the film.
He cast Connie Britton as the wife of head coach Eric Taylor, and Brad Leland as Buddy Garrity, a major businessman and football booster, in roles similar to those they played in the film.
This freedom was complemented by filming without rehearsal and without extensive blocking.
Camera operators were trained to follow the actors, rather than having the actors stand in one place with cameras fixed around them.