Sentence examples for day production from inspiring English sources

Bacon's first US project fell through after a problem with his visa left him stranded in London on the day production was due to begin in New York.

His visceral appreciation of rural life allowed him to give memorable performances of Manus O'Donnell in Brian Friel's Translations (he created the role in the inaugural Field Day production in 1980); of Sanbatch Daly in MJ Molloy's The Wood of the Whispering (1983); and John Connor in Tom Murphy's Famine, which he also translated (as Gorta) and directed in 1975.

Countess Violet (Maggie Smith) continued to be the Downton character with the most uptown funk, stepping in to help Isobel Crawley fend off Dickie Merton's mean daughter-in-law ("If reason fails, try force!"), and Lady Rose returned to up the glamour factor (Lily James in a cameo presumably tucked in before her starring role in BBC1's lavish New Year's Day production of War And Peace).

Average per day production was 58.7 g m−2 d−1 wet weight and 11.3 g m−2 d−1.

A middle circle breach requires a one day production shutdown at a cost of one day's deferred production, estimated to be $2.25 million.

It did not seem possible to set up a uniform day production program; for instance, carrying out only CT of the head one day, and CT of the thorax the next.

Two mixers were resampled on the morning before a 1-day production period and at days 2 and 7 after the handling of deca-BDE.

Recovery factors are calculated with respect to equal volume as mentioned before, which means the 1-month storage phase is evaluated through 30 days of production (blue curve), 2-month storage during a 61-day production phase (red curve), 3-month storage for a 92-day period (green curve) and the same way with a 4-month storage period, which is evaluated during a 123-day interval (black curve).

In a joke at his own expense, Jackson says he might consider a six-month shoot in New Zealand but not the 12-day production in Cardiff that Moffat is requesting.

GILLETTE By William Hauptman; directed by Peter Dobbins; assistant director, Stephen Logan-Day; production stage manager, Fran Rubenstein; production manager, Jason Decremer; set by Michelle Malavet; costumes by Elizabeth Bourgeois; lighting by Charles Cameron; composer/musician, Jeremiah Lockwood.

"If we peaked, we would not be going to 12.5 and we would not be visualizing a 15-million-barrel-per-day production capacity....We can maintain 12.5 or 15 million for the next 30 to 50 years".