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Enlightenment (TV story): Difference between revisions
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== Story notes == | == Story notes == | ||
* The original title for this story was ''The Enlighteners''. Eric Saward changed the title as he believed it might confuse viewers as the two enlighteners weren’t seen until the end of the story. | * The original title for this story was ''The Enlighteners''. [[Eric Saward]] changed the title as he believed it might confuse viewers as the two enlighteners weren’t seen until the end of the story. | ||
* [[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 ''[https://en.wikipedia.org/wiki/The_Pallisers The Pallisers]''. Sallis did attend one day of rehearsal before a strike started and production dates were charged. Sallis was signed up to a ''[https://en.wikipedia.org/wiki/Last_of_the_Summer_Wine Last of the Summer Wine]'' special and so could not make the dates. So, [[Keith Barron]] was cast instead. | * [[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 ''[https://en.wikipedia.org/wiki/The_Pallisers The Pallisers]''. Sallis did attend one day of rehearsal before a strike started and production dates were charged. Sallis was signed up to a ''[https://en.wikipedia.org/wiki/Last_of_the_Summer_Wine 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 (TV story)|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 (TV story)|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. | ||
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* [[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 National Maritime Museum. | * The models of the boats, used in the racing sequences, were props sourced by visual effects designer [[Mike Kelt]] following extensive research at [[National Maritime Museum|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 | ||
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* [[Janet Fielding]] struggled with the low cut ball-gown she wore during filming as it threatened to expose her breasts on a number of occasions. At one point, [[Peter Davison]] concluded a line with the ad-lib, “Oh, and Tegan, put your boobs back in!” whereupon Fielding realised that she had accidentally exposed herself. | * [[Janet Fielding]] struggled with the low cut ball-gown she wore during filming as it threatened to expose her breasts on a number of occasions. At one point, [[Peter Davison]] concluded a line with the ad-lib, “Oh, and Tegan, put your boobs back in!” whereupon Fielding realised that she had accidentally exposed herself. | ||
* The ball gown worn by [[Lynda Baron]] was made especially for the serial and was the most expensive costume on display. | * The ball gown worn by [[Lynda Baron]] was made especially for the serial and was the most expensive costume on display. | ||
* The newspaper found by the Doctor in part one was a reprint of ''The Times'' from September 1901, while the food and drink served during the party scenes was all real. | * The newspaper found by the Doctor in part one was a reprint of ''[[The Times]]'' from September [[1901]], while the food and drink served during the party scenes was all real. | ||
* [[Mark Strickson]] was injured while filming the scene of Turlough throwing himself overboard, when the Kirby wire he was suspended from broke, leaving him only able to walk with difficulty for several weeks. | * [[Mark Strickson]] was injured while filming the scene of Turlough throwing himself overboard, when the Kirby wire he was suspended from broke, leaving him only able to walk with difficulty for several weeks. | ||
* During filming, the electricians union the EEPTU, had begun strike action which disrupted the filming of a number of BBC productions and potentially meaning the final three serials of the season would have to be abandoned. The electricians dispute was settled, but it had badly affected the series recording schedule. The crew were able to shoot the following serial ''[[The King's Demons (TV story)|The King's Demons]]'' on schedule, meaning that there was only one recording block left for the part-completed ''Enlightenment'' and the planned season finale, ''The Return''. With some filming already completed, and its importance in concluding the Black Guardian story-arc, it was decided that ''Enlightenment'' should take precedence and so it had its second production block moved to January 1983, while ''The Return'' was abandoned. Due to the delays, the serial only finished filming around a month before its transmission date, meaning that composer [[Malcolm Clarke]] only received the first episode for scoring a week before broadcast, having to rely on musical cues he had recorded weeks earlier without having seen any footage. | * During filming, the electricians union the EEPTU, had begun strike action which disrupted the filming of a number of BBC productions and potentially meaning the final three serials of the season would have to be abandoned. The electricians dispute was settled, but it had badly affected the series recording schedule. The crew were able to shoot the following serial ''[[The King's Demons (TV story)|The King's Demons]]'' on schedule, meaning that there was only one recording block left for the part-completed ''Enlightenment'' and the planned season finale, ''The Return''. With some filming already completed, and its importance in concluding the Black Guardian story-arc, it was decided that ''Enlightenment'' should take precedence and so it had its second production block moved to January 1983, while ''The Return'' was abandoned. Due to the delays, the serial only finished filming around a month before its transmission date, meaning that composer [[Malcolm Clarke]] only received the first episode for scoring a week before broadcast, having to rely on musical cues he had recorded weeks earlier without having seen any footage. | ||
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* [[Eric Saward]] takes the credit for getting [[Barbara Clegg]] the writing job, citing the lack of female writers on the show. | * [[Eric Saward]] takes the credit for getting [[Barbara Clegg]] the writing job, citing the lack of female writers on the show. | ||
* [[Peter Davison]] thought it was an excellent script, while [[Mark Strickson]] felt that only a woman could write the intensity seen onscreen. | * [[Peter Davison]] thought it was an excellent script, while [[Mark Strickson]] felt that only a woman could write the intensity seen onscreen. | ||
* [[Fiona Cumming]] was disappointed that [[Barbara Clegg]] was never asked to write for the show again. The two met for the first time when recording the DVD commentary, claiming that they were forbidden to meet. Clegg described discussing anything with [[Eric Saward]] as uncomfortable. | * [[Fiona Cumming]] was disappointed that [[Barbara Clegg]] was never asked to write for the show again. The two met for the first time when recording the [[DVD]] commentary, claiming that they were forbidden to meet. Clegg described discussing anything with [[Eric Saward]] as uncomfortable. | ||
* [[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]] rewrote portions of the script pertaining to the story-arc, particularly the final confrontation scenes at the end of Part Four. | * [[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. | ||
*[[Barbara Clegg]] gave many of the Eternals names with nautical connotations. Captain Striker's surname came from a steamboating term for an engineer's apprentice, while Marriner was a slight corruption of “mariner”. Captain Wrack took her surname from an archaic word for a shipwreck. Critas the Greek was inspired by ''Critias'', one of the dialogues of [[Plato]] which told the story of [[Atlantis]]. Captain Davey was an allusion to the phrase “Davy Jones' locker”, meaning the depths of the ocean. | |||
*It was [[Fiona Cumming]]'s idea that the Eternals not blink, and she strove to find actors who could adopt a suitably aloof demeanour. | |||
*[[Fiona Cumming]] had to relinquish an assignment on the soap opera ''[https://en.wikipedia.org/wiki/Take_the_High_Road Take The High Road]'' in order to complete the serial. | |||
=== Ratings === | === Ratings === | ||
