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Doctor Who (TV story): Difference between revisions
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Through mid-September, Leekley's script made the rounds of all the various organisations which had to approve it (Amblin, BBC Television, BBC Enterprises, the Fox network and Universal). Ironically, the death knell was sounded by Segal's own boss, Steven Spielberg. Spielberg was concerned that Leekley's script veered too closely to his own [[Indiana Jones]] franchise, and on [[26 September (production)|26th September]] asked Segal to start again with a new writer. This meant that principal photography would be delayed until at least February 1995. | Through mid-September, Leekley's script made the rounds of all the various organisations which had to approve it (Amblin, BBC Television, BBC Enterprises, the Fox network and Universal). Ironically, the death knell was sounded by Segal's own boss, Steven Spielberg. Spielberg was concerned that Leekley's script veered too closely to his own [[Indiana Jones]] franchise, and on [[26 September (production)|26th September]] asked Segal to start again with a new writer. This meant that principal photography would be delayed until at least February 1995. | ||
The BBC, particularly BBC1 Controller and longtime Doctor Who supporter [[Alan Yentob]] and [[Tony Greenwood]] of BBC Enterprises were still enthusiastic about ''Doctor Who'' | The BBC, particularly BBC1 Controller and longtime Doctor Who supporter [[Alan Yentob]] and [[Tony Greenwood]] of BBC Enterprises were still enthusiastic about ''Doctor Who'' and around the start of October, at the instigation of Universal, Segal met with veteran writer/producer [[Robert deLaurentis]]. DeLaurentis agreed to put together a new story proposal, using Leekley's script as a starting point but wanted to accentuate its "fun" aspects. | ||
On [[7 October (releases)|7 October]], DeLaurentis delivered a new draft of the storyline. This time, in the process of meeting Lizzie in World War II London, the Doctor also discovers that his father (no longer named Ulysses) was involved in a plot to assassinate Hitler. They travel forward to the United States in 1994, where the Doctor is reunited with his father. The Master lures the Doctor, his father and Lizzie to Skaro for a final confrontation. There, the Doctor destroys the Master's time-travelling warship, though the Master himself escapes with his Daleks. Other minor alterations included Castellan being renamed Casteloan (though this would subsequently be changed back), and giving Lizzie a bulldog companion named Winston, who stays with the Doctor at the story's conclusion. | On [[7 October (releases)|7 October]], DeLaurentis delivered a new draft of the storyline. This time, in the process of meeting Lizzie in World War II London, the Doctor also discovers that his father (no longer named Ulysses) was involved in a plot to assassinate Hitler. They travel forward to the United States in 1994, where the Doctor is reunited with his father. The Master lures the Doctor, his father and Lizzie to Skaro for a final confrontation. There, the Doctor destroys the Master's time-travelling warship, though the Master himself escapes with his Daleks. Other minor alterations included Castellan being renamed Casteloan (though this would subsequently be changed back), and giving Lizzie a bulldog companion named Winston, who stays with the Doctor at the story's conclusion. | ||
At this stage some of the key crew positions started to be filled, most notably British director Geoffrey Sax, whose work included episodes of Bergerac and Lovejoy. Because the movie would be filmed in British Columbia, Canadian regulations meant that most of the rest of the crew would come from the country. This included production designer Richard Hudolin, | At this stage some of the key crew positions started to be filled, most notably British director [[Geoffrey Sax]], whose work included episodes of ''[[Bergerac]]'' and ''Lovejoy''. Because the movie would be filmed in British Columbia, Canadian regulations meant that most of the rest of the crew would come from the country. This included production designer Richard Hudolin, whose major task was a redesign of the TARDIS console room. Segal wanted to invoke the Jules Verne feel of the wooden version of the set used during Season Fourteen, but on a much grander scale. | ||
Construction on the TARDIS sets began very early on, during September, before the project had even been officially green-lit. Around the start of October, Fox announced Doctor Who would air in mid-May 1996. May was one of three key "sweeps" periods for the American networks (the others falling in November and February), when ratings performance determines advertising rates for the next quarter. Consequently, expectations for Doctor Who would be fairly high. | Construction on the TARDIS sets began very early on, during September, before the project had even been officially green-lit. Around the start of October, Fox announced Doctor Who would air in mid-May 1996. May was one of three key "sweeps" periods for the American networks (the others falling in November and February), when ratings performance determines advertising rates for the next quarter. Consequently, expectations for Doctor Who would be fairly high. | ||
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The next step was to cast the major roles. Sylvester McCoy had already agreed to appear, fulfilling a promise he had made to himself in 1989 to hand off the role of the Doctor to a successor in proper fashion. Jo Wright, in fact, had wanted Fourth Doctor [[Tom Baker]] to appear instead, but Segal was adamant that the telefilm continues from where the original series had left off. | The next step was to cast the major roles. Sylvester McCoy had already agreed to appear, fulfilling a promise he had made to himself in 1989 to hand off the role of the Doctor to a successor in proper fashion. Jo Wright, in fact, had wanted Fourth Doctor [[Tom Baker]] to appear instead, but Segal was adamant that the telefilm continues from where the original series had left off. | ||
Segal also briefly considered the idea of including a role for [[Sophie Aldred]] as [[Ace]], the Seventh Doctor's final companion. This, however, was quickly vetoed by the BBC. Segal did decide to give the [[Seventh Doctor]] a new wardrobe, having long disliked the umbrella and the question-mark pullover which were hallmarks of the original outfit. McCoy, similarly, had detested the pullover. Costume designer Jori Woodman composed a new costume which echoed the earlier version but was much more refined; to Segal's delight, McCoy brought with him the hat he had worn throughout his time in ''Doctor Who''. | Segal also briefly considered the idea of including a role for [[Sophie Aldred]] as [[Ace]], the Seventh Doctor's final companion. This, however, was quickly vetoed by the BBC. Segal did decide to give the [[Seventh Doctor]] a new wardrobe, having long disliked the umbrella and the question-mark pullover which were hallmarks of the original outfit. McCoy, similarly, had detested the pullover. Costume designer [[Jori Woodman]] composed a new costume which echoed the earlier version but was much more refined; to Segal's delight, McCoy brought with him the hat he had worn throughout his time in ''Doctor Who''. | ||
With production just weeks away, Jacobs was working on fashioning his script into a finished form. The BBC was much more receptive to his November draft, but passed it along to an in-house script editor, [[Craig Dickson]], for comment. From this came the decision to eliminate the Millennium Star concept, with the Master's focus now simply to take over the Doctor's body. | With production just weeks away, Jacobs was working on fashioning his script into a finished form. The BBC was much more receptive to his November draft, but passed it along to an in-house script editor, [[Craig Dickson]], for comment. From this came the decision to eliminate the Millennium Star concept, with the Master's focus now simply to take over the Doctor's body. | ||
Jacobs' newest draft was ready by 29th December, and this was fundamentally the version which was recorded. Other small changes eventually made included changing Grace's surname from Wilson to Holloway; eliminating the Bill And Ted reference (which the BBC felt was out-of-date) by renaming the former Pete; having the Master break Bruce's wife's neck instead of shooting her; and excising a scene where the Master callously kills a hospital patient who resembles the Seventh Doctor. Much of Chang Lee's background had also been lost to timing issues by this stage, with all references to Sam and Jimmy Lee being dropped. | Jacobs' newest draft was ready by [[29 December (production)|29th December]], and this was fundamentally the version which was recorded. Other small changes eventually made included changing Grace's surname from Wilson to Holloway; eliminating the Bill And Ted reference (which the BBC felt was out-of-date) by renaming the former Pete; having the Master break Bruce's wife's neck instead of shooting her; and excising a scene where the Master callously kills a hospital patient who resembles the Seventh Doctor. Much of Chang Lee's background had also been lost to timing issues by this stage, with all references to Sam and Jimmy Lee being dropped. | ||
[[File:2 TARDIS props Bidding Adieu.jpg|thumb|2 Police Box props. ([[DOC]]: ''[[Bidding Adieu: A Video Diary]]'')]] | [[File:2 TARDIS props Bidding Adieu.jpg|thumb|2 Police Box props. ([[DOC]]: ''[[Bidding Adieu: A Video Diary]]'')]] | ||
As 1996 dawned, numerous difficulties still remained to be overcome. Geoffrey Sax had originally been promised a luxurious thirty-day shoot, but Beaton subsequently curtailed this to twenty-five days to save money. Then Segal discovered that the BBC did not actually own the rights to the familiar Doctor Who theme music; this rested with Warner/Chappel Music, who wanted to charge a hefty fee for its use. Universal balked at this, but finally Segal convinced the BBC to pick up the cost. The new theme arrangement would be composed by [[John Sponsler]] and [[John Debney]]. Segal had not realised that McGann had recently cut his hair severely for another production until McGann arrived in Vancouver for a photo shoot on 7th January; this meant that hair stylist Julie McHaffire had to hastily put together a wig. | As [[1996 (production)|1996]] dawned, numerous difficulties still remained to be overcome. Geoffrey Sax had originally been promised a luxurious thirty-day shoot, but Beaton subsequently curtailed this to twenty-five days to save money. Then Segal discovered that the BBC did not actually own the rights to the familiar Doctor Who theme music; this rested with Warner/Chappel Music, who wanted to charge a hefty fee for its use. Universal balked at this, but finally Segal convinced the BBC to pick up the cost. The new theme arrangement would be composed by [[John Sponsler]] and [[John Debney]]. Segal had not realised that McGann had recently cut his hair severely for another production until McGann arrived in Vancouver for a photo shoot on [[7 January (production)|7th January]]; this meant that hair stylist Julie McHaffire had to hastily put together a wig. | ||
=== Filming begins === | === Filming begins === | ||
