This episode is best remembered for Del Boy falling through an open bar flap. The scene derived from John Sullivan watching a man do the exact same thing in a wine bar, except he grabbed onto the fixed part of the bar so he didn't fall right over. Sullivan thought it funny for the man's body language, trying to recover his cool. Sullivan wanted a slip, stumble, and a tree like fall; David Jason thought Del should go all the way over - start to go sideways, and than go over without looking in the direction of the fall, which Jason thought was the key to the scene. There was a hidden crash mat, but it was a hard shot to get because it was hard not to look where Jason was falling; Jason had done a number of falls in the theatre so that came in handy. Just as funny was Trigger's baffled reaction to Del's sudden disappearance. Jason gets people asking him about that fall all the time, and some never like to talk about anything else, but he's happy to be remembered for something so iconic.
For the sixth series, production relocated to Bristol, but was never actually filmed in Peckham, just other bits of the capital. But they had to film away from London because it was tougher and more expensive to get licenses to film. It was also harder to film there without attracting a crowd wanting autographs or just asking questions right before they were about to film a scene. Shooting outdoor scenes were than moved to Bristol, but red buses were put in the background to imply London.
"Trigger" (Roger Lloyd Pack) was not in the wine bar scene, originally. Lloyd Pack was rehearsing for another tv series in the same building as OFAH and wandered into their rehearsal room during a break, to say "hello". He told John Sullivan he was free if he needed him for anything and Sullivan immediately wrote "Trigger" into the scene.
Del Boy mentions once working at the Tower of London; in real life David Jason once studied raven behavior there when portraying one in a pantomime.
The decision to extend the running times of episodes was the point where Only Fools and Horses (1981) came into its own as a comedy-drama, according to David Jason. Now not just a sitcom, there was more time for John Sullivan's great lines, and more space for things to unfold. Jason doubted that without the extra length, the romances between Del and Raquel and Rodney and Cassandra would never have developed, and he was glad to have Tessa Peake-Jones and Gwyneth Strong in the cast because they knew what they were doing and fit right in.