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Nemesis (CON episode): Difference between revisions
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Fixing links to disambiguation pages, replaced: director → director (2)
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The title is a reference to the 1971 Agatha Christie novel {{w|Nemesis (Christie novel)|of the same name}}. | The title is a reference to the 1971 Agatha Christie novel {{w|Nemesis (Christie novel)|of the same name}}. | ||
The thrust of the episode was to explain how ''Unicorn'' was, in production terms, very much like a traditional hour of mystery television. The story required, because of the storytelling conventions it tried to honour, a large cast — all of whom had to be equally filmed so the [[director]]'s shot choices didn't give away the murderer. This meant, as several participants explained, many more takes of the same scene than usual for ''[[Doctor Who]]''. The impact of having to setup multiple times for the same scene to cover different actors was explained several times throughout the episode. | The thrust of the episode was to explain how ''Unicorn'' was, in production terms, very much like a traditional hour of mystery television. The story required, because of the storytelling conventions it tried to honour, a large cast — all of whom had to be equally filmed so the [[Director (crew)|director]]'s shot choices didn't give away the murderer. This meant, as several participants explained, many more takes of the same scene than usual for ''[[Doctor Who]]''. The impact of having to setup multiple times for the same scene to cover different actors was explained several times throughout the episode. | ||
== Aspects of production covered == | == Aspects of production covered == | ||
* The [[visual effects]] setup of the final scene with the [[Vespiform]] at the lake | * The [[visual effects]] setup of the final scene with the [[Vespiform]] at the lake | ||
* The filming of the scene in which the Doctor rids his system of [[cyanide]] | * The filming of the scene in which the Doctor rids his system of [[cyanide]] | ||
* How [[cinematographer]], [[director]], [[gaffer]] and actors came together to film the narratively complex dinner scene against the backdrop of a thunderstorm | * How [[cinematographer]], [[Director (crew)|director]], [[gaffer]] and actors came together to film the narratively complex dinner scene against the backdrop of a thunderstorm | ||
* The problems of filming a [[car]] chase with two vintage cars that couldn't actually travel more than about twenty miles an hour and how a [[low loader]] came in handy | * The problems of filming a [[car]] chase with two vintage cars that couldn't actually travel more than about twenty miles an hour and how a [[low loader]] came in handy | ||
