You can watch this on the BBC news page here - and as far as I'm aware it should work for everyone, but let me know if not.
Enjoy!
Tuesday, May 26
RTD talks Tennant's return
Following on from the press release, RTD gave a mini interview about Tennant's appearance in the Sarah Jane adventures.
Thursday, May 21
Goodbye to the TARDIS
Earlier today BBC Wales had an interview with RTD, talking about his time on Doctor Who...
"The man who rejuvenated Doctor Who, Russell T Davies, takes one last look inside the Tardis before filming wraps up on the new series."
You can watch the interview on the BBC site here and from the looks of it, it works for people overseas fine
If not, you can always watch it on youtube here
Sun "Spoilers"
I just thought I'd draw your attention to another hilarious article by The Sun where they saw a speculated discussion on something and decided to make it absolute, set-in-stone fact.
As far as I know, there's absolutely no truth in this.
Who’s off to do U.S. film deal?
DOCTOR Who boss Russell T Davies is heading to Hollywood, fuelling fresh rumours of a movie spin-off.
Russell, who is behind the show’s hit rebirth, is refusing to reveal why he is heading Stateside.
But insiders claim he is hoping to crack the film market — with a Doctor Who movie his first project.
His agent listed the movie as part of Russ’s credits on his web profile, but took it down after net geeks rumbled it.
A source said: “He is secretive about Doctor Who. Let's hope the rumours are right.”
Read the full article here
HAHAHAHA!
The End is Nigh
Sad day...
After yesterdays inside filming, Benjamin Cook commented on twitter that "thats a wrap" indicating that Tennant has finished filming on Who....
Of course there might be pick ups and other minor things, but it looks like maybe the main filming is over. We might not see another Tennant set report again for Who.
Benjamin Cook also quoted David Tennant from the set yesterday as saying, "I'm like an uncool spiderman", which of course led to an outburst of speculation as to what he was doing: kissing upside down, wearing some kind of skin-tight suit (perhaps for regeneration) or maybe it was completely un-who related.
Either way, Tennants time filming may be over, but we've still go 3 specials to go and all the interviews and extra media goodness that comes with them.
Plus Matt Smith starts filming in a month or so :)
Saturday, April 11
RTD interview
From the Telegraph
Dr Who: Russell T Davies interview
In the Doctor's latest adventure, partly shot in Dubai and being shown today on BBC One, he is marooned on an alien planet with a double-decker bus and ex-EastEnder Michelle Ryan, who plays a jewel thief. Lee Evans, the comedian, is the Earth-bound academic trying to retrieve them. "It's a great big spectacular," boasts Davies, whose enthusiasm is barely dented by the fact that he is operating on four hours sleep. "A little bit Indiana Jones, a little bit Flight of the Phoenix."
And a little bit of a chance to get a tan? Not for the last time, Davies – who actually stayed behind in Cardiff – breaks into laughter.
"People often think it's a jolly when you go abroad, but it's a nightmare. Imagine doing your job, but transplanted to a different country, and under pressure to make every penny and every second count. It's really not fun."
Almost makes you wish you had a time machine, doesn't it? But – look away now, kids – the man who sent the Doctor to meet Shakespeare doesn't believe in time travel. Even worse, he finds the idea of going back slightly boring.
"Who wants to see what happened in the past? I know what happened! The one thing I'll never know is what happens in the future. That drives me mad, it really does – in 10,000 years, what will this planet be? It's terrible not to know."
Emphatically not evil are his actors, who are uniformly "lovely", "nice" or "gorgeous". Tennant is, of course, the loveliest and nicest of them all, while "if I was working on series five of Doctor Who, I would bring back Michelle Ryan at the drop of a hat".
Ah – there's that "if". Davies and Tennant are about to hand over to Steven Moffat (writer) and Matt Smith, the relative unknown who will become the youngest ever Doctor. After a special in November there will be a two-part swansong at Christmas.
Already the rumours are stirring: Davies confirms that Bernard Cribbins is returning as a full companion to the Doctor. But cameras have also captured what seems to be the Master: John Simm. Davies is coy: even if the Master is returning, he says, all might not be as it seems. "There are nightmare sequences because the Doctor's coming to the end of his time."
Given how many times the Doctor has saved the day, can Davies really raise the stakes any further? He stares at me, and tells me not to worry. "The thing is, it's such an honour to write for that man. When it comes to the last episode, there is no way I would let him down."
Read the full interview here
Tuesday, April 7
RTD on Planet of the Dead
RTD appeared on Breakfast this morning to talk about Planet of the Dead and whatnot.
Enjoy!
Enjoy!
Sunday, April 5
DT & RTD interview
The Times has a fantastic interview with David Tennant and RTD, with mentioning of Planet of the Dead, Smithy and the future.
Tell us about the Easter special, Planet of the Dead.
RTD: People are going to be Doctor Who-deprived this year, so it’s got everything in it: CGI monsters, prosthetic monsters, army, police, an alien planet . . . It’s our last chance to have a bit of a laugh. Now the Doctor’s facing the end of his life, it’s going to get dark.
DT: Some of it was filmed in Dubai, and there were sandstorms . . . We were despairing. I’d look into the distance and go (Acting), “What is this strange alien world?” Well, I couldn’t actually open my eyes to look at it. The Exfoliation of Doom would be a good subtitle. My hair was full of sand. And blonde. I looked like Tina Turner.
Come the final curtain, will there be a dry eye in the house?
RTD: I should f***ing think not!
DT: Well, I cried (when I read it).
Did you make a pact to leave together?
DT: We talked about it. It wasn’t a pact . . . I’d sort of decided. But then I nearly changed my mind again.
RTD: We had dinner and chatted about it a few years ago. It just felt right. The BBC asked me to do a series five, but I didn’t shift at all.
Your run on Doctor Who saw you bring back plenty of old favourites: K-9, the Master, Davros. Anything you didn’t get round to?
DT: We certainly ticked rather more fan-boy boxes than I expected. The second episode I shot had Sarah Jane and K-9 in it. My 10-year-old self melted rather when Elisabeth Sladen came in.
RTD: I would have loved to have done a Star Trek crossover. The very first year, we talked about it. Then Star Trek finally went off air. Landing the Tardis on board the Enterprise would have been magnificent. Can you imagine what their script department would have wanted, and what I would have wanted? It would have been the biggest battle.
Both of you must have been offered other sci-fi reboots.
RTD: Oh, I get those. Someone did ask me about Lost in Space, and that could be brilliant. Obviously, I said no. I’m sorry, I’ve done the best. But Lost in Space did make me think for a moment. If they got that right: a family, a robot, a villain, trapped on a spaceship . . .
DT: I’ve been offered a sci-fi thing — that I’m not allowed to discuss.
David, your Hamlet attracted a new crowd for the RSC. Teenage girls dressed up like they were off down the disco, apparently.
DT: Dressing up? No! Which tabloid have you been reading?
In Stratford, some shops had Doctor Who-themed promotions.
DT: There was a chip shop that put up a poster — “Exterminate Your Hunger!” But this story has got out of proportion.
Will you concentrate on theatre after Doctor Who? You’ve said: “Theatre is my default way of being.”
DT: Only because it’s always felt like my normal job. For the first few years, I’d do the odd episode of Rab C Nesbitt, but theatre paid the rent. (Not entirely convincingly) I have no idea what happens when I finish here. It’s a blank canvas. What about you, Russell? (Davies roars with laughter, ignores the question) Do you ever see yourself just producing and not writing?
RTD: No. Though, if the right thing . . . maybe . . . No, no. NO. I hate other people’s scripts. (Laughs) I’m only in it for me.
The working title “MGM” — More Gay Men — has been mentioned for your next television project. Something more along the lines of your 1999 drama Queer As Folk?
RTD: Yes, maybe.
DT: You just made that up one day.
RTD: Well, it wouldn’t be about just any gay men. If I said I was going to write about chipmunks, I’d spend the next six months being made president of the Chipmunks Society and would have chipmunks turning up at my door, saying, “Can we have work?” So, maybe I’ll write about gay men.
DT: Not a bad idea, though, a chipmunk drama.
RTD: You’d be a chipmunk, wouldn’t you? A gay chipmunk?
DT: I can’t wait.
It’s been a bad year for the BBC... There were even complaints about your colleague John Barrowman on the radio, getting his penis out.
DT: It’s never in.
RTD: That’s just normal!
DT: (As if the world's gone mad) It was on the radio.
The episode of Doctor Who Confidential when Matt Smith’s appointment was announced got more viewers than the FA Cup match on ITV.
DT: Ha, ha! You see? It’s the final victory! It’s the final victory of spoddy kids like me, who grew up not understanding football and liking Doctor Who, and being ridiculed and seen as geeky, and finally . . .
You cooked up the Doctor’s wardrobe together, based on, of all things, Jamie Oliver appearing on Parkinson. How would you like the Doctor’s look to evolve?
RTD: Oh, I wouldn’t presume to say.
DT: He’s quite a natty dresser, is Matt. He could probably delve into his own wardrobe for something fairly . . . They may have to tone him down, actually. He’s quite wacky. In a very stylish way, of course. Makes me feel old.
RTD: Maybe they should do something different every story. Have him dress like a real person.
DT: “Like a real person?” You crazy heretic. He’s already got quite Doctoresque hair.
RTD: Yes, but it’s not as good as David’s.
DT: Ha! It’s different.
RTD: It’s good hair. I like his hair.
DT: It is quite . . .
RTD: The poor man. We’re discussing his hair!
DT: Well, so’s the rest of the country. We may as well join in. I’m just glad it’s somebody else for a change.
Will you pinch any souvenirs from the set?
DT: I never have done.
RTD: A whole Tardis. Ha!
DT: A sonic screwdriver would be nice. But there’s only two. And they’re worth a fortune.
RTD: That would be lovely, wouldn’t it?
DT: We’re angling now: “What we’d really like . . . presented in a nice gift box.”
The level of media speculation the show generates has never died down.
DT: The next special has Lindsay Duncan in it. Lindsay Duncan wins Tony awards. This is one of the poshest actors there is.
RTD: That just feels so nice. But I always knew it was this good.
DT: Are we going to sound terribly smug and sycophantic now?
RTD: (Mock heroically) They can take the piss out of what we’re saying. But they’ll never touch us. (Thinks) The whole thing never lost its excitement for me. Otherwise I’d have been gone. That’s not why I’m going now. I’m going “in case”.
DT: I would agree with that. I’m going in case it becomes a job. Because it still doesn’t feel like one.
A good rumour: Prince Charles was going to appear.
DT: We did ask!
RTD: He turned us down, bless him.
DT: He didn’t reply personally?
RTD: No. You don’t get past a serf.
Would you work together again?
DT: Only if he asks me.
RTD: Oh, do shut up. Yes, please. I would love to.
Why David Tennant & Russell T Davies are leaving Doctor Who
Tell us about the Easter special, Planet of the Dead.
RTD: People are going to be Doctor Who-deprived this year, so it’s got everything in it: CGI monsters, prosthetic monsters, army, police, an alien planet . . . It’s our last chance to have a bit of a laugh. Now the Doctor’s facing the end of his life, it’s going to get dark.
DT: Some of it was filmed in Dubai, and there were sandstorms . . . We were despairing. I’d look into the distance and go (Acting), “What is this strange alien world?” Well, I couldn’t actually open my eyes to look at it. The Exfoliation of Doom would be a good subtitle. My hair was full of sand. And blonde. I looked like Tina Turner.
Come the final curtain, will there be a dry eye in the house?
RTD: I should f***ing think not!
DT: Well, I cried (when I read it).
Did you make a pact to leave together?
DT: We talked about it. It wasn’t a pact . . . I’d sort of decided. But then I nearly changed my mind again.
RTD: We had dinner and chatted about it a few years ago. It just felt right. The BBC asked me to do a series five, but I didn’t shift at all.
Your run on Doctor Who saw you bring back plenty of old favourites: K-9, the Master, Davros. Anything you didn’t get round to?
DT: We certainly ticked rather more fan-boy boxes than I expected. The second episode I shot had Sarah Jane and K-9 in it. My 10-year-old self melted rather when Elisabeth Sladen came in.
RTD: I would have loved to have done a Star Trek crossover. The very first year, we talked about it. Then Star Trek finally went off air. Landing the Tardis on board the Enterprise would have been magnificent. Can you imagine what their script department would have wanted, and what I would have wanted? It would have been the biggest battle.
Both of you must have been offered other sci-fi reboots.
RTD: Oh, I get those. Someone did ask me about Lost in Space, and that could be brilliant. Obviously, I said no. I’m sorry, I’ve done the best. But Lost in Space did make me think for a moment. If they got that right: a family, a robot, a villain, trapped on a spaceship . . .
DT: I’ve been offered a sci-fi thing — that I’m not allowed to discuss.
David, your Hamlet attracted a new crowd for the RSC. Teenage girls dressed up like they were off down the disco, apparently.
DT: Dressing up? No! Which tabloid have you been reading?
In Stratford, some shops had Doctor Who-themed promotions.
DT: There was a chip shop that put up a poster — “Exterminate Your Hunger!” But this story has got out of proportion.
Will you concentrate on theatre after Doctor Who? You’ve said: “Theatre is my default way of being.”
DT: Only because it’s always felt like my normal job. For the first few years, I’d do the odd episode of Rab C Nesbitt, but theatre paid the rent. (Not entirely convincingly) I have no idea what happens when I finish here. It’s a blank canvas. What about you, Russell? (Davies roars with laughter, ignores the question) Do you ever see yourself just producing and not writing?
RTD: No. Though, if the right thing . . . maybe . . . No, no. NO. I hate other people’s scripts. (Laughs) I’m only in it for me.
The working title “MGM” — More Gay Men — has been mentioned for your next television project. Something more along the lines of your 1999 drama Queer As Folk?
RTD: Yes, maybe.
DT: You just made that up one day.
RTD: Well, it wouldn’t be about just any gay men. If I said I was going to write about chipmunks, I’d spend the next six months being made president of the Chipmunks Society and would have chipmunks turning up at my door, saying, “Can we have work?” So, maybe I’ll write about gay men.
DT: Not a bad idea, though, a chipmunk drama.
RTD: You’d be a chipmunk, wouldn’t you? A gay chipmunk?
DT: I can’t wait.
It’s been a bad year for the BBC... There were even complaints about your colleague John Barrowman on the radio, getting his penis out.
DT: It’s never in.
RTD: That’s just normal!
DT: (As if the world's gone mad) It was on the radio.
The episode of Doctor Who Confidential when Matt Smith’s appointment was announced got more viewers than the FA Cup match on ITV.
DT: Ha, ha! You see? It’s the final victory! It’s the final victory of spoddy kids like me, who grew up not understanding football and liking Doctor Who, and being ridiculed and seen as geeky, and finally . . .
You cooked up the Doctor’s wardrobe together, based on, of all things, Jamie Oliver appearing on Parkinson. How would you like the Doctor’s look to evolve?
RTD: Oh, I wouldn’t presume to say.
DT: He’s quite a natty dresser, is Matt. He could probably delve into his own wardrobe for something fairly . . . They may have to tone him down, actually. He’s quite wacky. In a very stylish way, of course. Makes me feel old.
RTD: Maybe they should do something different every story. Have him dress like a real person.
DT: “Like a real person?” You crazy heretic. He’s already got quite Doctoresque hair.
RTD: Yes, but it’s not as good as David’s.
DT: Ha! It’s different.
RTD: It’s good hair. I like his hair.
DT: It is quite . . .
RTD: The poor man. We’re discussing his hair!
DT: Well, so’s the rest of the country. We may as well join in. I’m just glad it’s somebody else for a change.
Will you pinch any souvenirs from the set?
DT: I never have done.
RTD: A whole Tardis. Ha!
DT: A sonic screwdriver would be nice. But there’s only two. And they’re worth a fortune.
RTD: That would be lovely, wouldn’t it?
DT: We’re angling now: “What we’d really like . . . presented in a nice gift box.”
The level of media speculation the show generates has never died down.
DT: The next special has Lindsay Duncan in it. Lindsay Duncan wins Tony awards. This is one of the poshest actors there is.
RTD: That just feels so nice. But I always knew it was this good.
DT: Are we going to sound terribly smug and sycophantic now?
RTD: (Mock heroically) They can take the piss out of what we’re saying. But they’ll never touch us. (Thinks) The whole thing never lost its excitement for me. Otherwise I’d have been gone. That’s not why I’m going now. I’m going “in case”.
DT: I would agree with that. I’m going in case it becomes a job. Because it still doesn’t feel like one.
A good rumour: Prince Charles was going to appear.
DT: We did ask!
RTD: He turned us down, bless him.
DT: He didn’t reply personally?
RTD: No. You don’t get past a serf.
Would you work together again?
DT: Only if he asks me.
RTD: Oh, do shut up. Yes, please. I would love to.
Read the full interview here
Sunday, January 4
Episode 15
Planet of the Dead
Episode Location: Earth/Alien planet
Aliens/Enemies: Tritovore & unknown (the swarm)
New Characters: Christina, Malcom, UNIT, Captain Asira Mogambo
Gadgets Used: Bus, Sonic Screwdriver,
Episode Objective: Unknown
The script contains the words 'Athelstan', 'posh' and 'chirrup' and the lines 'wonder what she gets up to of an evening' and 'I think we have gone a little bit further than brixton.'
Episode Objective: Unknown
The Easter special will be the Doctor's wildest, maddest adventure yet, with the Doctor travelling without a companion, and without the TARDIS.... "dark forces are gathering. The Gate is waiting, and life will never be the same again."
Radio Times
The script contains the words 'Athelstan', 'posh' and 'chirrup' and the lines 'wonder what she gets up to of an evening' and 'I think we have gone a little bit further than brixton.'
as well as the immortal words, "Hello, I'm the Doctor"
And at the end of POtD we will get a new trailer and the name of the next special.
Filming
He leaves. Footsteps echoing. The door shuts, SLAM!
Silence. Guards on duty.
PAN up the room, from the plinth & FX beams to...
The ceiling, a panel slides open, silently -
Scene 8
A huge, huge thank you to Scooty, alun.vega, Mugim0e, ahremsee, Brigade Leader, Brain_Damage, Canterbury, The Gather & Simon!
There are LOADS more amazing photos and videos of the filming here:
Filming
Scene 1
Set in a museum that is having a display of Incan/Roman and Egyptian artifacts.
Extract of Script
A marble plinth, centre......
marble drinking cup. Solid.....
Gl... levels. This is the CUP OF....
SECURITY CHIEF (CONT'D)
And, activating -
He throws a big leaver on the wall
FX: There are four free-standing poles in a square around the plinth, and from them, a FLASH OF BLUE LASER BEAMS activates. Low hum of power. The square of guards are standing outside the fence, all facing out.
A marble plinth, centre......
marble drinking cup. Solid.....
Gl... levels. This is the CUP OF....
SECURITY CHIEF (CONT'D)
And, activating -
He throws a big leaver on the wall
FX: There are four free-standing poles in a square around the plinth, and from them, a FLASH OF BLUE LASER BEAMS activates. Low hum of power. The square of guards are standing outside the fence, all facing out.
SECURITY GUARD (CONT'D)
Night then boys
Night then boys
He leaves. Footsteps echoing. The door shuts, SLAM!
Silence. Guards on duty.
PAN up the room, from the plinth & FX beams to...
The ceiling, a panel slides open, silently -
Scene 2
Following on from this we see Christina, donned in a tight leather cat suit, swinging about on ropes, pulleys and ballists. Assumption is she's a burglar trying to steal something blatantly significant.
Later on, a dark brown, burnt looking skeleton was brought out of the Museum, and a red double decker bus was filmed driving past. It was a number 200 heading to Braintree.
Scene 3
The next time we see Christine, shes in an alleyway, bursting forth from a door and running into a packed city street.
You can see more photos on Spoiler TV
Scene 4
Also in the alleyway, armed police were seen to be arresting a businessman with a pink shirt.
Scene 5
We see the Doctor and Christina getting onto the bus (assuming its the same one) Christina seems panicked and talks to the bus driver before taking her seat.
The Doctor follows, flashing is psychic paper at the driver, and sits next to Christine.
For more pictures of this scene, see here
Scene 6
The Number 200 bus (although its destination had changed to Victoria) was driving past, full of extras, and heading for the tunnel.The Doctor and Christine are sitting on the lower deck, and the Doctor was holding a flashy gizmos, possibly for tracking.
While on the bus he probably has some fascinating conversation with her, but of course I have no idea what it is.
At this point, I've got no idea if Christine knows who the Doctor is, or anything about him. He does tend to enjoy being anonymous so lets assume she doesn't.
You can see more pictures and videos of this scene here
Scene 7
The bus heads towards the tunnel, followed by half a dozen Police cars with their lights on.
Right, going by what we know, I'm going to say that at some point after scene 7 and before scene 9, the bus goes into the tunnel and something impressive happens/is about to happen.
Scene 9
Now were just outside the tunnel with lots of police and their cars hanging around, all looking inside the tunnel.
A rippling flash of light then came from the tunnel, followed by the still smoking remains of a skeleton. The lead policeman (who people think is played by Adam James) comes forward to inspect it.
"Call in UNIT - Emergency code one!"
For more pictures of this scene, see here
Scene 10
And then of course UNIT turn up in mass - at least 20 or so troops surrounding the tunnel. With the return of Mogmabo (from Turn Left) taking charge.UNIT advance towards the tunnel, guns out. Mogambo tells Adam James that she's 'read the file', and basically ignores his comments.
Then he says something like 'you don't understand, there are still people on that bus, she's fine'.
For more pictures of this scene, see here
The stage directions say: "The bus flies over your heads. Monsters fly out of the tunnel."
Scene 11
Dunno where the police are. But there are lots of UNIT soldiers gathering pointing guns into the tunnel. Theres a pause as one soldier runs off to get Mogambo. When she comes back the others are all looking up at the sky.The stage directions say: "The bus flies over your heads. Monsters fly out of the tunnel."
The dialogue was something along the lines of:
Mogambo: Code Red, fire at will!
Lots of shooting
Mogambo: I do believe our guns aren't working.... draw the (something) take them out!
Shooting
Mogambo: Cease fire. Arms down
Scene 12
The trailer gives us the best look at the events on the alien planet
The trailer gives us the best look at the events on the alien planet
So there we go... creepy aliens and impending doom. As well as this we've got a snatch of conversation between Christina and the Doctor
Christina: That Lordship of yours... the lord of where, exactly?
The Doctor: Of time, i come from a race of people called time lords
Christine: You're and alien? you look human
The Doctor: You look time lord
Scene 13
What we can assume is the final scene!
And the entire event is beautifully captured in this, the best video ever!So we've got:
- Bus returning to present day,
- UNIT applauding
- People emerging from bus,
- And getting decontaminated,
- Doctor emerging from bus,
- Malcom running over and hugging him,
- Mogambo arriving,
- Malcom leaving,
- the Doctor doing some sonic action,
- Mogambo saluting,
- the Doctor reuniting with the TARDIS,
- Christina running over for a chat
And now, PICTURES!
A huge, huge thank you to Scooty, alun.vega, Mugim0e, ahremsee, Brigade Leader, Brain_Damage, Canterbury, The Gather & Simon!
There are LOADS more amazing photos and videos of the filming here:
Scooty's photobucket account
(If I have used any material you didn't wish to be shared, please let me know and I'll remove it immediately. Apologies in advance.)
(If I have used any material you didn't wish to be shared, please let me know and I'll remove it immediately. Apologies in advance.)
Tuesday, December 23
Advent 22
Sorry for the lateness, got a bit of internet trouble at home. Right, PODCAST!
This is a preview of the podcast that will accompany The Next Doctor. Its got RTD and Julie Gardner chatting away which is always great.
And as usual I suggest watching it on the BBC site, simply because it brillant. But never mind if not!
This is a preview of the podcast that will accompany The Next Doctor. Its got RTD and Julie Gardner chatting away which is always great.
And as usual I suggest watching it on the BBC site, simply because it brillant. But never mind if not!
Friday, December 19
And in other news...
More newspapery goodness on current Who stuff. Yes indeed. And thanks to people on the DWF (baraduim in particular) who actually find all this stuff.
Women for Doctor
Catherine Zeta Jones for Doctor
And finally...
- Chatting to RTD (Mirror)
- DT in a musical Doctor Who? (Telegraph)
- Torchwood Dominates Gay Visibility Awards (BBC America)
Saturday, November 8
RTD interview
The BBC Writers Room have wonderfully added an interview with RTD all about his career and his time on Doctor Who. Tis a long one, so I've picked out a few of the questions. But I strongly advise you to go read it properly!
You're the showrunner on Doctor Who, which means you're in complete control - when do you have to lay down the law and say no to people?
It sounds like quite an antagonistic process. It's not, it's a team process, you've chosen to work with these people in the first place. I think it's right that the writer has more responsibility - the writer's created it. I know how it should feel and what sort of cast it should have, what sort of colours it should be, what sort of speed it should build at, so I have a lot to say about that.
Phil Collinson and I, I don't think we've ever had a proper argument. We disagree about casting, we disagree about all sorts of things but we've never, from all the years of making the show - and it's a very tough show under very great pressure - we've never had what you'd actually call an argument. Because it's creative, when you've got the people there it just works that way.
Being a producer is something I think all writers should do and I think it's a process we should head towards, but a lot of writers are mad. They're barking a lot of the time. They've got to learn they can't stand there and say "No, that shirt should be blue." (Unless the script says "I like your blue shirt," then something's gone wrong.)
You're a big fan of Doctor Who. Did you know what you wanted to do with it when you took it on?
I did know it very well, and there are a million different versions I could have made, but in the end I probably didn't think about it too much and just sat down and wrote on instinct. Because they'd come to me, they said we want you to do it, so in the end you've got to have the nerve or the confidence to say they want a version of this in the way that I write. They want the Russell T Davies version of Doctor Who, which is always going to have barmy mothers, and sexy men, and jokes, and a sense of humour that switches to darkness in the flick of an eye. That's my style and speed and energy and I'd like to think I bring an honesty to it as well.
It's a weird one, Doctor Who, because in many ways it's the one piece of work I've written that bears an audience in mind more than any other, and it's the most successful. As a writer I'm a bit stuck on this, because as a writer you're meant to sit and say story is the most important thing, don't think about the audience, just follow the story, and I have done that for years. Now I find myself genuinely sitting there, not with charts and things but instinctively thinking I want more women watching this, I want the old fans watching this, I want children watching this, and doing things to take care of that.
You still could never have foreseen it would work, it's still a massive shock, it still surprises me to this day, it delights me to this day that it works. But we couldn't have predicted that, so when you see it happening it's actually quite strange. You sit there thinking, record-breaking viewing figures, number one in the charts, you sit there thinking that's what I planned. Which is weird, it's not meant to go that way.
How much do you plan what you write?
It's sort of half-planned and half-improvised. I'm in a really lucky position because being an executive producer, I'm there all the time. So I think about it all day and every day. I've got every option going through my head all day, every day. But in the end the story tells itself to you. You sort of look at them and you think well Rose Tyler loves being with the Doctor, and it's just common sense, there's no other ending, she's never going to choose to leave. I'm never going to kill her, so you've got to invent two parallel universes and split them up, and it's got to be that big. You know she can't be injured or lost or something like that, she's got to be safe with her parents, and you literally end up inventing a whole parallel world in order to solve a plot problem
Why do you have episodes of Doctor Who that hardly include David Tennant?
Every year we do an episode that has very little David Tennant in – that's simply because of cost. We used to make 13 episodes a year, and then when it became a huge success they gave us a Christmas episode as well, so we now have to make 14 episodes in the same time that we made 13. So every year we have to work out a way of taking David and the companion out.
We could pay everyone to stay on a few more weeks and do another episode but it's a very long shoot, and David goes off and does stuff for HBO or BBC1 in every break, so it gives your lead actors a chance to do something else. So it's part logistics, part cost, part interesting system, because out of that we've got some really interesting episodes. Some great ones, I think. It keeps everyone on their toes.
What is your favourite episode that you've written of Doctor Who?
Oh I can't answer that. Honestly I really can't answer that. It's like asking what's your favourite child. I like them for different reasons.
There's an episode called Gridlock that I really like, but I like that one because it was the first episode I wrote completely in Cardiff. I used to go to and fro from Manchester to Cardiff, carry scripts and disks and emails with me between two cities, and with Gridlock I was going oh I've had enough of that, I live in Cardiff, I'm going to do it in Cardiff. So that episode was a psychological breakthrough in a sense. You know the superstitions you have as a writer, you think here's my Manchester desk, I can only write at my Manchester desk. I used to believe that, for two years. And Gridlock broke that superstition and I wrote it in Cardiff. Now of course I'm stuck writing in Cardiff.
So I like that one, but for very different reasons to the one you mean. That might not be the best episode, although it is marvellous, but it's very personally good for me.
You're the showrunner on Doctor Who, which means you're in complete control - when do you have to lay down the law and say no to people?
It sounds like quite an antagonistic process. It's not, it's a team process, you've chosen to work with these people in the first place. I think it's right that the writer has more responsibility - the writer's created it. I know how it should feel and what sort of cast it should have, what sort of colours it should be, what sort of speed it should build at, so I have a lot to say about that.
Phil Collinson and I, I don't think we've ever had a proper argument. We disagree about casting, we disagree about all sorts of things but we've never, from all the years of making the show - and it's a very tough show under very great pressure - we've never had what you'd actually call an argument. Because it's creative, when you've got the people there it just works that way.
Being a producer is something I think all writers should do and I think it's a process we should head towards, but a lot of writers are mad. They're barking a lot of the time. They've got to learn they can't stand there and say "No, that shirt should be blue." (Unless the script says "I like your blue shirt," then something's gone wrong.)
You're a big fan of Doctor Who. Did you know what you wanted to do with it when you took it on?
I did know it very well, and there are a million different versions I could have made, but in the end I probably didn't think about it too much and just sat down and wrote on instinct. Because they'd come to me, they said we want you to do it, so in the end you've got to have the nerve or the confidence to say they want a version of this in the way that I write. They want the Russell T Davies version of Doctor Who, which is always going to have barmy mothers, and sexy men, and jokes, and a sense of humour that switches to darkness in the flick of an eye. That's my style and speed and energy and I'd like to think I bring an honesty to it as well.
It's a weird one, Doctor Who, because in many ways it's the one piece of work I've written that bears an audience in mind more than any other, and it's the most successful. As a writer I'm a bit stuck on this, because as a writer you're meant to sit and say story is the most important thing, don't think about the audience, just follow the story, and I have done that for years. Now I find myself genuinely sitting there, not with charts and things but instinctively thinking I want more women watching this, I want the old fans watching this, I want children watching this, and doing things to take care of that.
And when Doctor Who started in 1963 it was a very specifically designed programme. It was actually put together by a focus group for that slot on a Saturday night, it was invented. It wasn't one man. A whole summer's worth of research went into it saying what people want. Put a child in it, put responsible adults in it, put a mysterious old man in it... All the format was worked out by committee. So in some ways I'm still being true to that and going, actually, well that worked then and I think it'll still work now.
You still could never have foreseen it would work, it's still a massive shock, it still surprises me to this day, it delights me to this day that it works. But we couldn't have predicted that, so when you see it happening it's actually quite strange. You sit there thinking, record-breaking viewing figures, number one in the charts, you sit there thinking that's what I planned. Which is weird, it's not meant to go that way.
How much do you plan what you write?
It's sort of half-planned and half-improvised. I'm in a really lucky position because being an executive producer, I'm there all the time. So I think about it all day and every day. I've got every option going through my head all day, every day. But in the end the story tells itself to you. You sort of look at them and you think well Rose Tyler loves being with the Doctor, and it's just common sense, there's no other ending, she's never going to choose to leave. I'm never going to kill her, so you've got to invent two parallel universes and split them up, and it's got to be that big. You know she can't be injured or lost or something like that, she's got to be safe with her parents, and you literally end up inventing a whole parallel world in order to solve a plot problem
Why do you have episodes of Doctor Who that hardly include David Tennant?
Every year we do an episode that has very little David Tennant in – that's simply because of cost. We used to make 13 episodes a year, and then when it became a huge success they gave us a Christmas episode as well, so we now have to make 14 episodes in the same time that we made 13. So every year we have to work out a way of taking David and the companion out.
We could pay everyone to stay on a few more weeks and do another episode but it's a very long shoot, and David goes off and does stuff for HBO or BBC1 in every break, so it gives your lead actors a chance to do something else. So it's part logistics, part cost, part interesting system, because out of that we've got some really interesting episodes. Some great ones, I think. It keeps everyone on their toes.
What is your favourite episode that you've written of Doctor Who?
Oh I can't answer that. Honestly I really can't answer that. It's like asking what's your favourite child. I like them for different reasons.
There's an episode called Gridlock that I really like, but I like that one because it was the first episode I wrote completely in Cardiff. I used to go to and fro from Manchester to Cardiff, carry scripts and disks and emails with me between two cities, and with Gridlock I was going oh I've had enough of that, I live in Cardiff, I'm going to do it in Cardiff. So that episode was a psychological breakthrough in a sense. You know the superstitions you have as a writer, you think here's my Manchester desk, I can only write at my Manchester desk. I used to believe that, for two years. And Gridlock broke that superstition and I wrote it in Cardiff. Now of course I'm stuck writing in Cardiff.
So I like that one, but for very different reasons to the one you mean. That might not be the best episode, although it is marvellous, but it's very personally good for me.
Read the full article here!
Sunday, October 26
Book Fest
If you check out the TimesOnline then you can see a fantastic clip of RTD and Barrowman doing a Q&A session for Cheltenham Literary Festival
There are worse things than, for one evening at least, looking like you’re part of a gang consisting of John Barrowman, Russell T Davies and yourself.
Even if your role in the gang is an understandably nominal one, consisting of little more than reading some hurriedly-scribbled, half-arsed questions off a notepad, and sweating a lot.
At this year’s Cheltenham Literary Festival, one of the biggest events was The Times’ talk with Russell T Davies and John Barrowman, on the subject of the inconceivably successful reinvention of Doctor Who.
Over the course of an hour and a half, and some amazingly obvious questions from me, John and Russell discuss why they love the show, how secretly controversial it is, how difficult it is to write, reveal future monsters, barrack Prince Charles for turning down a cameo, and disclose who farts most in the confines of the TARDIS – John Barrowman, or David Tennant.
Read the full article and enjoy the video Here!
Monday, October 13
'Swine' Prince Snubs Dr Who Role
...Is the amusing title that Sky News gives this report.
Apparently RTD asked the Price of Wales to appear in a cameo for Doctor Who and he said no. So RTD called him a miserable swine. Not to his face! Just in jest during a Q&A session.
I don't know why they felt the need to repeat "miserable swine" twice, but I assume its for impact. Hence why I've made sure its been stated 4 times already.
Writer and executive producer Russell T Davies told 2,000 sci-fi fans the Prince snubbed his invitation to star in the popular BBC drama.
Mr Davies OBE, 45, went so far as to call His Royal Highness a "miserable swine" when speaking at the The Times Cheltenham Literature Festival.
Referring to his new book Doctor Who: The Writer's Tale, Mr Davies was asked about his plans for a Prince Charles cameo in the time-travelling series.
His response surprised members of the audience when he declared: "He turned us down, the miserable swine."
I don't know why they felt the need to repeat "miserable swine" twice, but I assume its for impact. Hence why I've made sure its been stated 4 times already.
Anyway, you can read the full story here
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