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'''''The Caves of Androzani''''' was [[Peter Davison]]'s final regular appearance as [[the Doctor]]. It was also [[Graeme Harper]]'s first credited ''[[Doctor Who]]'' [[director]]ial gig. Widely praised by fans, ''Caves'' was voted the single best televised ''Doctor Who'' story in a 2009 poll conducted by ''[[Doctor Who Magazine]]''. ([[DWM 413]]) | '''''The Caves of Androzani''''' was [[Peter Davison]]'s final regular appearance as [[the Doctor]]. It was also [[Graeme Harper]]'s first credited ''[[Doctor Who]]'' [[director]]ial gig. Widely praised by fans, ''Caves'' was voted the single best televised ''Doctor Who'' story in a 2009 poll conducted by ''[[Doctor Who Magazine]]''. ([[DWM 413]]) | ||
As a [[regeneration]] story, it offered many unusual elements. Perhaps the most obvious was that it was written by [[Robert Holmes]]. Although the most prolific writer of the 1963 version of the programme, this was his only regeneration story. ''Caves'' was also the first regeneration story to allow for a brief scene with the incoming Doctor. Unlike any of his predecessors, [[Sixth Doctor|the new Doctor]] was given the final words of the story — something that would happen | As a [[regeneration]] story, it offered many unusual elements. Perhaps the most obvious was that it was written by [[Robert Holmes]]. Although the most prolific writer of the 1963 version of the programme, this was his only regeneration story. ''Caves'' was also the first regeneration story to allow for a brief scene with the incoming Doctor. Unlike any of his predecessors, [[Sixth Doctor|the new Doctor]] was given the final words of the story — something that would happen in regeneration stories of the revived series. It was also the first time the Doctor willingly and explicitly underwent a regeneration solely to save a [[companion]]. Furthermore, it was the first time since 1966's ''[[The Tenth Planet (TV story)|The Tenth Planet]]'' that the Doctor regenerated before the end of the then-current series, and the first since ''The Tenth Planet'' that occurred inside of the TARDIS. | ||
From a behind-the-scenes perspective, Harper's direction was hailed by those involved with the production as highly innovative. Particularly noteworthy were Harper's more free use of camera movement than usual at the time and his direction from the studio floor. Harper's energetic and more personal directorial style sharply contrasted most who preceded him. Unlike Harper, most directors of the 1963 version of ''[[Doctor Who]]'' generally preferred to work in the booth and relay their messages to the actors and crew through the [[production assistant]] stationed on the floor. Peter Davison, in particular, found Harper's more direct style much to his liking. He lamented he had waited until his last story to receive this bolder style of direction, and that he would've stayed on the series longer if this directorial style was present during more of his tenure ([[DCOM]]: ''The Caves of Androzani''). | From a behind-the-scenes perspective, Harper's direction was hailed by those involved with the production as highly innovative. Particularly noteworthy were Harper's more free use of camera movement than usual at the time and his direction from the studio floor. Harper's energetic and more personal directorial style sharply contrasted most who preceded him. Unlike Harper, most directors of the 1963 version of ''[[Doctor Who]]'' generally preferred to work in the booth and relay their messages to the actors and crew through the [[production assistant]] stationed on the floor. Peter Davison, in particular, found Harper's more direct style much to his liking. He lamented he had waited until his last story to receive this bolder style of direction, and that he would've stayed on the series longer if this directorial style was present during more of his tenure ([[DCOM]]: ''The Caves of Androzani''). | ||