10 October (production): Difference between revisions
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* [[1963 (production)|1963]] - [[Donald Wilson]] wrote an extensive memo to [[Donald Baverstock]], [[Sydney Newman]], [[Joanna Spicer]] and [[Richard Levin]]. He passionately argued for a higher [[special effect]]s effort than the SFX department had apparently been prepared to give. He also pushed back against the apparent institutional sloth in deciding whether to go beyond the first four episodes. Wilson argued that the ''[[Doctor Who]]'' production team needed a longer commitment, due to extraordinary lead time necessary to produce the show. | * [[1963 (production)|1963]] - [[Donald Wilson]] wrote an extensive memo to [[Donald Baverstock]], [[Sydney Newman]], [[Joanna Spicer]] and [[Richard Levin]]. He passionately argued for a higher [[special effect]]s effort than the SFX department had apparently been prepared to give. He also pushed back against the apparent institutional sloth in deciding whether to go beyond the first four episodes. Wilson argued that the ''[[Doctor Who]]'' production team needed a longer commitment, due to extraordinary lead time necessary to produce the show. | ||
* 1963 - The fight between [[Za]] and [[Kal]] in the final episode of ''[[An Unearthly Child (TV story)|An Unearthly Child]]'' | * 1963 - The fight between [[Za]] and [[Kal]] in the final episode of ''[[An Unearthly Child (TV story)|An Unearthly Child]]'' began being pre-filmed at [[Ealing Studios]]. It was [[director|directed]] by [[production assistant]] [[Douglas Camfield]]. ([[INFO]]: ''An Unearthly Child'') | ||
* [[1965 (production)|1965]] - This was the first full day of the [[John Wiles]] [[producer]]-ship, since [[Verity Lambert]]'s final credited episode, ''[[Mission to the Unknown (TV story)|Mission to the Unknown]]'' was broadcast the [[9 October (releases)|previous day]]. Of course, Wiles had been shadowing Lambert for some time before today, and had already been taking most of the decisions for a few weeks. | * [[1965 (production)|1965]] - This was the first full day of the [[John Wiles]] [[producer]]-ship, since [[Verity Lambert]]'s final credited episode, ''[[Mission to the Unknown (TV story)|Mission to the Unknown]]'' was broadcast the [[9 October (releases)|previous day]]. Of course, Wiles had been shadowing Lambert for some time before today, and had already been taking most of the decisions for a few weeks. | ||
* [[2013 (production)|2013]] - Recording for [[The War To End All Wars (audio story)|''The War To End All Wars'']] took place at [[The Moat Studios]]. | * [[2013 (production)|2013]] - Recording for [[The War To End All Wars (audio story)|''The War To End All Wars'']] took place at [[The Moat Studios]]. | ||
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On 10 October, the following important behind-the-scenes events were known to have occurred:
- 1963 - Donald Wilson wrote an extensive memo to Donald Baverstock, Sydney Newman, Joanna Spicer and Richard Levin. He passionately argued for a higher special effects effort than the SFX department had apparently been prepared to give. He also pushed back against the apparent institutional sloth in deciding whether to go beyond the first four episodes. Wilson argued that the Doctor Who production team needed a longer commitment, due to extraordinary lead time necessary to produce the show.
- 1963 - The fight between Za and Kal in the final episode of An Unearthly Child began being pre-filmed at Ealing Studios. It was directed by production assistant Douglas Camfield. (INFO: An Unearthly Child)
- 1965 - This was the first full day of the John Wiles producer-ship, since Verity Lambert's final credited episode, Mission to the Unknown was broadcast the previous day. Of course, Wiles had been shadowing Lambert for some time before today, and had already been taking most of the decisions for a few weeks.
- 2013 - Recording for The War To End All Wars took place at The Moat Studios.
- 2017 - Recording for The Dispossessed took place at The Moat Studios.
