emailconfirmed, Administrators
129,644
edits
Enlightenment (TV story): Difference between revisions
From Tardis Wiki, the free Doctor Who reference
unsourced
Shambala108 (talk | contribs) (unsourced) Tag: Undo |
|||
| Line 169: | Line 169: | ||
== Story notes == | == Story notes == | ||
* The original title for this story was ''The Enlighteners''. Portions of Barbara Clegg's story were reworked by Eric Saward to fit into the Black Guardian trilogy, including substituting the two Guardians for her "Enlighteners". Since there were no longer any Enlighteners as such, the story was renamed ''Enlightenment''. | * The original title for this story was ''The Enlighteners''. Portions of Barbara Clegg's story were reworked by Eric Saward to fit into the Black Guardian trilogy, including substituting the two Guardians for her "Enlighteners". Since there were no longer any Enlighteners as such, the story was renamed ''Enlightenment''. | ||
* [[Peter Sallis]] was booked to play Captain Striker, as [[Fiona Cumming]] recalled that | * [[Peter Sallis]] was booked to play Captain Striker, as [[Fiona Cumming]] recalled that he had played a similarly detached character in the 1974 BBC drama ''[[The Pallisers]]''. Sallis did attend one day of rehearsal before a strike started and production dates were charged. Sallis was signed up to a ''[[Last of the Summer Wine]]'' special and so could not make the dates. So, [[Keith Barron]] was cast instead. [[David Rhule]] was originally cast as Mansell, but he also had to drop out, so singer [[Leee John]] replaced him at short notice, despite having no previous acting experience. | ||
* Every story during [[Season 20]] had the Doctor face an enemy from each of his past incarnations, to celebrate the 20th Anniversary of the programme. In this trilogy, the enemy was the [[Black Guardian]], who last faced the [[Fourth Doctor|fourth incarnation]] at the conclusion of the [[Key to Time]] saga in ''[[The Armageddon Factor]]'' (1979). | * Every story during [[Season 20]] had the Doctor face an enemy from each of his past incarnations, to celebrate the 20th Anniversary of the programme. In this trilogy, the enemy was the [[Black Guardian]], who last faced the [[Fourth Doctor|fourth incarnation]] at the conclusion of the [[Key to Time]] saga in ''[[The Armageddon Factor]]'' (1979). | ||
* This was the first ''Doctor Who'' production to have been both written and directed by women, [[Barbara Clegg]] and [[Fiona Cumming]] respectively. The second, ''[[The Witchfinders (TV story)|The Witchfinders]]'', also starred [[Jodie Whittaker|a woman]] as the Doctor. | * This was the first ''Doctor Who'' production to have been both written and directed by women, [[Barbara Clegg]] and [[Fiona Cumming]] respectively. The second, ''[[The Witchfinders (TV story)|The Witchfinders]]'', also starred [[Jodie Whittaker|a woman]] as the Doctor. | ||
| Line 177: | Line 177: | ||
* Although it is popularly believed that the story originally featured a suspenseful scene where Wrack and Mansell menace the Doctor at knifepoint in the TARDIS control room which was cut at the editing stage, this is not the case. The photographs that exist of this were specially posed for publicity purposes only. | * Although it is popularly believed that the story originally featured a suspenseful scene where Wrack and Mansell menace the Doctor at knifepoint in the TARDIS control room which was cut at the editing stage, this is not the case. The photographs that exist of this were specially posed for publicity purposes only. | ||
* The plot is similar to that of ''[[The War Games (TV story)|The War Games]]'': both involve aliens abducting humans from various points in Earth's history and using them for their own ends. | * The plot is similar to that of ''[[The War Games (TV story)|The War Games]]'': both involve aliens abducting humans from various points in Earth's history and using them for their own ends. | ||
* [[Barbara Clegg]]'s extended family spanned several social strata, and she noted with interest the way that her wealthier relations interacted with their poorer kin. Clegg was reminded of gods toying with lesser mortals, and this led to her creation of the Eternals. She also sought inspiration | * [[Barbara Clegg]]'s extended family spanned several social strata, and she noted with interest the way that her wealthier relations interacted with their poorer kin. Clegg was reminded of gods toying with lesser mortals, and this led to her creation of the Eternals. She also sought inspiration in [[the Bible]], deriving the prize of Enlightenment from the Tree of Knowledge in the Book of Genesis. Finally, Clegg seized upon the image of solar winds — actually streams of charged particles ejected from the Sun — to develop the premise of the Eternals racing through the solar system. | ||
* It was originally intended that Jackson would not reappear after the second episode, but during filming [[Eric Saward]] became concerned that it appeared that he had been executed and so he and Clegg rewrote part three to include him. | * It was originally intended that Jackson would not reappear after the second episode, but during filming [[Eric Saward]] became concerned that it appeared that he had been executed and so he and Clegg rewrote part three to include him. | ||
* Because part three was discovered to be running short, scenes from part four were brought forward and the final scenes with the Guardians were extended to compensate. | * Because part three was discovered to be running short, scenes from part four were brought forward and the final scenes with the Guardians were extended to compensate. | ||
| Line 187: | Line 187: | ||
* [[Fiona Cumming]] had originally hoped to simulate the rocking of the ships by mounting the sets on rollers but the idea was dropped due to costs, with the effect achieved by moving the cameras instead. | * [[Fiona Cumming]] had originally hoped to simulate the rocking of the ships by mounting the sets on rollers but the idea was dropped due to costs, with the effect achieved by moving the cameras instead. | ||
* The photo of Tegan's Aunt [[Vanessa (Logopolis)|Vanessa]], one of the items created by Marriner from the contents of her mind, was shot specifically for the filming, requiring [[Dolore Whiteman]] (who had played the character in ''[[Logopolis (TV story)|Logopolis]]'') to be contracted for a one-day photoshoot. | * The photo of Tegan's Aunt [[Vanessa (Logopolis)|Vanessa]], one of the items created by Marriner from the contents of her mind, was shot specifically for the filming, requiring [[Dolore Whiteman]] (who had played the character in ''[[Logopolis (TV story)|Logopolis]]'') to be contracted for a one-day photoshoot. | ||
* The models of the boats, used in the racing sequences, were props sourced by visual effects designer [[Mike Kelt]] following extensive research at | * The models of the boats, used in the racing sequences, were props sourced by visual effects designer [[Mike Kelt]] following extensive research at the National Maritime Museum. | ||
* The ships were mounted on rods for filming, while the oars were battery operated. The model of Davey's ship remained intact, with explosion being a filmed effect that was edited into the sequence. | * The ships were mounted on rods for filming, while the oars were battery operated. The model of Davey's ship remained intact, with explosion being a filmed effect that was edited into the sequence. | ||
* [[Mike Kelt]] was shocked by the dilapidated state of the TARDIS console prop, and was worried about damaging it while filming the explosion from Part One, and asked [[John Nathan-Turner]] if he could replace it but was told there was no money available | * [[Mike Kelt]] was shocked by the dilapidated state of the TARDIS console prop, and was worried about damaging it while filming the explosion from Part One, and asked [[John Nathan-Turner]] if he could replace it but was told there was no money available | ||
| Line 203: | Line 203: | ||
* [[Peter Davison]], [[Janet Fielding]] and [[Mark Strickson]] all disliked the dynamic that had developed between the characters, with Davison wondering why the Doctor would want to travel with a pair that was often portrayed in such a disagreeable light. [[John Nathan-Turner]] accepted their criticism, and encouraged them to work together to improve the characterisation. | * [[Peter Davison]], [[Janet Fielding]] and [[Mark Strickson]] all disliked the dynamic that had developed between the characters, with Davison wondering why the Doctor would want to travel with a pair that was often portrayed in such a disagreeable light. [[John Nathan-Turner]] accepted their criticism, and encouraged them to work together to improve the characterisation. | ||
* The first draft of Part One did not contain any of the material concerning the Guardians, and Turlough was a peripheral figure, with the script focussing on the relationship between Marriner and Tegan. | * The first draft of Part One did not contain any of the material concerning the Guardians, and Turlough was a peripheral figure, with the script focussing on the relationship between Marriner and Tegan. | ||
* [[Eric Saward]] | * [[Eric Saward]] rewrote portions of the script pertaining to the story-arc, particularly the final confrontation scenes at the end of Part Four. | ||
* [[Peter Moffatt]] had been originally scheduled as the serial's director, but following the problems with the later abandoned ''Space Whale'' script he was asked to helm its replacement due to his experience, and so [[Fiona Cumming]] was asked to take over. | * [[Peter Moffatt]] had been originally scheduled as the serial's director, but following the problems with the later abandoned ''Space Whale'' script he was asked to helm its replacement due to his experience, and so [[Fiona Cumming]] was asked to take over. | ||
=== Ratings === | === Ratings === | ||
