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[[Mike Kelt]] and [[Clayton Hickman]] then examined the creation of the model shot used to open episode one. Glynn remarked how the script's description of the space station as a "cathedral" inspired him to use instruments common to churches, like bells and organs. Kelt then went into great detail on how [[motion control]] was used to achieve the effect. Colin Baker then considered whether it was wise to spend so much of the [[serial]]'s — and, indeed, ''season'''s — budget on that one shot. | [[Mike Kelt]] and [[Clayton Hickman]] then examined the creation of the model shot used to open episode one. Glynn remarked how the script's description of the space station as a "cathedral" inspired him to use instruments common to churches, like bells and organs. Kelt then went into great detail on how [[motion control]] was used to achieve the effect. Colin Baker then considered whether it was wise to spend so much of the [[serial]]'s — and, indeed, ''season'''s — budget on that one shot. | ||
Saward then began an examination of the trial segments themselves. Baker and [[Michael Jayston]] then opined that some of the trial segments could have been improved if the [[Sixth Doctor]]'s penchant for punning on [[the Valeyard]]'s name had been excised. Both felt that the characters should've been allowed to meet each others as equal wits in the trial room, rather than the Doctor being so, as the [[Inquisitor]] put it, "puerile". | Saward then began an examination of the trial segments themselves. Baker and [[Michael Jayston]] then opined that some of the trial segments could have been improved if the [[Sixth Doctor]]'s penchant for punning on [[the Valeyard]]'s name had been excised. Both felt that the characters should've been allowed to meet each others as equal wits in the trial room, rather than the Doctor being so, as the [[Inquisitor]] put it, "puerile". | ||
Bryant, Baker, Saward and Hickman next talked about how the relationship between the [[Sixth Doctor]] and [[Peri]] was different in this story than it had been in [[season 22]]. | Bryant, Baker, Saward and Hickman next talked about how the relationship between the [[Sixth Doctor]] and [[Peri]] was different in this story than it had been in [[season 22]]. | ||
[[Tony Selby]] then related how he first met [[John Nathan-Turner]] and how that meeting directly led to him being cast as [[Sabalom Glitz]]. Following that, Baker, Bryant and Sangster reflected on the "stunt" casting of [[Joan Sims]]. | [[Tony Selby]] then related how he first met [[John Nathan-Turner]] and how that meeting directly led to him being cast as [[Sabalom Glitz]]. Following that, Baker, Bryant and Sangster reflected on the "stunt" casting of [[Joan Sims]]. | ||
There then followed a discussion of how [[OB]] video allowed for greater rehearsal time for [[location filming]]. | There then followed a discussion of how [[OB]] video allowed for greater rehearsal time for [[location filming]]. | ||
Kelt then returned to explain the construction and use of the [[L1]] [[robot]], which was unusual as robotic props went, because it had to work even on rough, forested terrain. A clip from ''[[Blue Peter]]'' followed in which the robot's designer, [[Mike Ellis]], had a chat with his daughter, [[Janet Ellis]], a presenter on that program. The [[L3]] robot was also discussed as being perhaps more technically problematic than the L1. | Kelt then returned to explain the construction and use of the [[L1]] [[robot]], which was unusual as robotic props went, because it had to work even on rough, forested terrain. A clip from ''[[Blue Peter]]'' followed in which the robot's designer, [[Mike Ellis]], had a chat with his daughter, [[Janet Ellis]], a presenter on that program. The [[L3]] robot was also discussed as being perhaps more technically problematic than the L1. |