Latest / A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast / Talks to Gary Russell about his choice of Day of the Daleks (2/4)

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Talks to Gary Russell about his choice of Day of the Daleks (2/4) · A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast

0:00
Okay, welcome back to a hamster with a blunt.
0:03
Penknife the Doctor Who college free podcast after our usual,
0:08
technical inexperience at the end of episode one, which Gary
0:12
worsted half of episode two already, here we are.
0:16
Save the Daleks episode 2. I can't, we can't did with up
0:20
with a play button on the remote control is basically what you're
0:23
saying is, what we get talking, we just there the actual what we
0:27
watching? Yes, relevant.
0:30
Oh then I'll press play in five. Four, three, two, one.
0:38
Let's go. Did he do you fond of e, a
0:43
camera zoom or two? Because I tell you what, there's
0:45
a fair few in this, you know. Well, you know, Paul Menards an
0:50
interesting Direction, isn't he? I think there is a thing that
0:54
happens a lot. In 70s Doctor Who and certainly
0:57
some 80's doctor, but mainly 70s.
0:59
Stokes, who, where you get directors, who can either a
1:03
really, really good in the studio, Barry.
1:05
Let's just brilliant director in the studio and Lenny means
1:10
another fantastic Direction, the studio, and then you get other
1:13
directors that are fantastic film directors, but the moment
1:16
they've done the filming. They go into the 45 camera
1:19
studio setup. They get completely lost and I
1:22
think Paul Menard falls into that category his work on film.
1:26
He's cinematography on this story.
1:29
Re is just absolutely brilliant. It was and cleverly, lots of
1:36
stuff with with focal focusing and things on the house that
1:40
brilliant sequence in episode 1 and whether they're all going
1:43
towards house and that no-account scene in episode 4,
1:47
where the injured sure is going across the grounds to get into
1:50
doubt. He's masterfully done.
1:53
But I do think in studio, he gets a little bit.
1:57
Ham-fisted and lost and I think there's a lot.
2:00
You don't know apples pull out. Well there's a lovely one
2:02
pulling out of the Dalek here. Hey I think he's trying to
2:05
suggest movement weight height where they can't move those
2:08
bulky cameras, yes. Wanna suggest that there's
2:11
movement going on. But actually if you kind of tune
2:14
into how many zooms there are, you're just aware that you're
2:17
zooming in and out all the time. And then there's got this weird
2:21
thing here where he does the the cross mixing for the obviously,
2:25
what was originally the end I suggest.
2:27
Burrs. Yeah, I was just trying to make
2:30
it look more interesting because he probably sits is one of those
2:33
directors whose probably sat down and thought God darn.
2:35
It's abhorrent to look at because I believe knew them and
2:39
clearly the set there in is actually very, very small.
2:43
I mean it gets miraculously bigger in episode 3 were
2:45
suddenly they put a table and the screen in there but it
2:48
probably is actually quite a small part of the studio.
2:50
So he's trying to make it look as interesting.
2:52
Again, there's some stuff there's a lot of seams with
2:55
Audrey Woods here where he's talking to the Daleks and he's
2:58
always talking to the gold Dalek because it's the leader and the
3:01
gold dollar is always off screen and you only see the two blue
3:05
Daleks and the eye stalk of the gold Dalek and he's you know,
3:09
all we would is giving his all in acting to this this lump of
3:12
wooden and plastic and it's a screen.
3:16
And I just think. Yeah, that's that's a sign of
3:18
what, why didn't the director go hang on a minute, stop a minute.
3:22
Jones, cut my sixteen-year-old 43 inches is actually in view,
3:26
please. And there's a lot of that that
3:29
bears on. Let's there's olive tree that he
3:34
would take notes. He said, I was always trying to
3:37
give him advice and I am a director and he just wouldn't
3:41
take notes. So seen a lot of stuff where
3:44
people who worked on this show, both actors.
3:46
And people behind the scenes, generally seem to be quite
3:50
negative about Paul, Bernard and yet bizarrely, they bring him
3:55
back a couple more times. It's not like them sat on a gun.
3:58
This guy didn't listen to what we wanted and are the Daleks we
4:01
won't use him again. It's not sort of like a love at
4:04
Bickford situation. They then employ him again
4:06
because he comes back later this season in does, he's just time
4:09
monster, doesn't he? I was reading Frontier in space.
4:11
And then he has fun cheering space.
4:15
He's Daleks again which clearly he doesn't like very much.
4:18
And of course, then he goes off and does the tomorrow people.
4:21
And again, All the film work on The Tomorrow.
4:24
People is exceptional and that opening episode of The Tomorrow.
4:28
People is just some of the best British TV film work, you'll
4:33
ever see in the studio, he is completely screwed by the fact,
4:38
he's got five cameras moving around the Tim, the computer and
4:40
that's all he's got, and, and his Studio work is done.
4:43
So I think he's one of those directors that really loved
4:47
being out on location and working with film, and is very
4:50
easily lost. In studio, the only time that's
4:53
not true, is the this stuff here.
4:56
But since I sold his house where he's got a set that's big enough
5:00
for him to get the cameras moving where he wants them.
5:02
It's so interesting. You say about people being
5:04
negative about him because Katie says, in the frontier in space
5:07
Coventry that she didn't really like working with him.
5:10
He wasn't really an actor's director.
5:11
And then she's watching Frontier in space and somewhere in sort
5:15
of episodes for five or six. She goes to know, I'm actually
5:18
seeing what he was doing behind the camera and so on.
5:22
Visual Flair, that was there. And there's a, because he was an
5:24
artist and the artist side, how he was using Shadow and
5:28
lighting, and all that sort of stuff, all the stuff on the
5:31
South Bank is beautiful, isn't it?
5:34
Yeah. Well we were very recently.
5:37
Yes, yes, has been changed. I think I used to work up there
5:43
because I worked at the National Theater for a couple of years
5:45
when I'm back in the early 80s and I spent my entire life
5:49
looking for old grounds and walking up and down that spiral.
5:51
Starck a concrete. Spiral exterior staircase.
5:54
Very excited and thinking I remember where those guns were
5:57
here. 11 years before we knew what locations were no one went
6:01
around trying to find locations but I always recognized that my
6:04
oh my God this is rather the obeyed Frontier in Spain.
6:07
I went to Leeds Castle the other weaker right and stood on that
6:10
bridge and said next time, I should not be so lenient and
6:12
jumped in. Did you watch for canine going
6:16
round and round and round in a little?
6:21
Do you know, You said what are people that this is a tangent
6:24
now. But someone suggested I watch it
6:26
tomorrow because I've never seen an episode.
6:27
It's all downhill breadbox. Now, this is how we're gonna
6:30
stick on this one. Starring Peter Davison awful.
6:34
I've never seen anything quite like it in my life.
6:36
I don't know. That's not a good episode of The
6:38
Tomorrow. People to start with the very
6:41
first story of The Tomorrow People.
6:44
Very first five episodes story is bloody brilliant.
6:47
Absolutely brilliant. And then the story that open
6:50
season two the blue and the green can I think might be poor.
6:52
Bernard is also a sulli, fantastic.
6:56
People is one of those series more.
6:59
So than Doctor Who or anything else that is utterly variable
7:03
and you can have a really, really good story.
7:05
Followed by really terrible story and sadly as it goes on
7:09
for its eight seasons, the first 10 to outweigh the good ones,
7:14
but there is always moments of The Tomorrow People, which
7:16
actually brilliant and most of that is because the people
7:19
playing The Tomorrow. People are good.
7:21
Fun. No, I bought a massive hard-on,
7:24
your Christian Schmidt more teams in the reboot.
7:27
Yeah, do tomorrow, remember Jean Marsh as the Mad bug lady?
7:31
Yes, marvelous. Sorry, I'm back off.
7:33
Their the Daleks again, I loved more people in all versions.
7:36
I think is such a great concept and done properly could be quite
7:40
brilliant today. I should probably do the run
7:42
then they do another reboot that yeah, they didn't American
7:45
reboot and and it starts really well and then very quickly.
7:49
You can see they don't really know what they're doing with it.
7:51
It. They kind of thought this is a
7:53
really great idea for a show and then they kind of go.
7:55
I she doesn't, we're kind of lost here.
7:58
There's nowhere to go with this and it's a shame.
8:00
Whereas actually, I think done in Britain, it's one of those
8:04
shows that needs to be terribly, British and a bit gritty, and a
8:07
bit sort of good for kids and not made in a studio, but made
8:11
on film, it needs the Doctor Who treatment because the concept of
8:17
this could be you, you could wake up one morning and break
8:20
out and have all these soup. Hours as a kid again and this is
8:24
around the same time his death toilets because tomorrow peoples
8:26
around this time. It was a very exciting thing to
8:29
watch this more people and realize that that could be you
8:32
and that you you are of an age when you're growing up and you
8:35
could actually you could break out and you could be the next.
8:38
And they made this whole thing everything in all the publicity
8:41
was always about, you know, it could be you.
8:43
You could be a tomorrow person, one day that was a very exciting
8:47
thing for kids. So you had that lovely thing of
8:50
very domestic. It could be Me Tomorrow, People
8:54
on ITV, and then on the other side, you had day of the Daleks
8:58
and the Sea devils and the the time monster and everything,
9:01
which is the Pure Fantasy of Doctor Who, which is just so
9:04
wonderful. I suppose, the equivalent there
9:06
is a, you could be the companion, you know.
9:08
It could choose you, you could skip into the service, you know,
9:11
I'm sure I know. That's exactly the reason for
9:14
Doctor Who companions. It's meant to be audience
9:16
identification and the person you talked to.
9:19
And there's a there's a kid I never won.
9:23
Its ever thought, oh, I could be a doctor who companion.
9:26
I don't think I ever thought. I'd like to be a doctor who
9:28
companion. I just liked the companions, but
9:31
I never thought I could get in the Tardis and go off and have
9:34
adventures with the doctor. Where's The Tomorrow?
9:36
People, I firmly believed that one day, I was going to wake up
9:39
and I was going to be able to read people's minds and move
9:42
things. Move objects around doctor him
9:44
never had me thinking and I don't remember it ever being a
9:47
thing at school that we ever thought we would be the Ins, you
9:52
know, for Doctor Who I Was for, they're a bit too squeaky clean
9:55
for me to told by into. That could be me until Rose
9:59
Tyler came along and she was all catty and jealous, and I was
10:02
like, oh yes, it could be me. It could be me, but I think
10:05
that's because you had you you're a child of the 80s.
10:08
So you had your Tegan's and your Talos and in this has and
10:12
parries and everything who your right arm squeaky clean and
10:16
quite pure. Even, even turlough, who tries
10:18
to be a villain for four episodes and then forgets about
10:21
it. But back in the 70s, and I'm not
10:24
saying that they weren't squeaky clean, but you didn't look at
10:27
Liz or Joe, or particularly sarah-jane in that sort of
10:31
light. You just went there, the doctors
10:34
friends. And I think I just don't think
10:38
that we thought we wanted to be companions when we were playing
10:42
doctor and do. The Daleks is a story that
10:45
particularly had kids in the playground at school playing
10:48
Doctor Who because it was dialects, everyone wanted me in
10:50
unit. And everyone wanted to be a
10:53
Dalek, nobody ever wanted to play Joe Grand and nobody ever
10:56
wanted to play the doctor, did everybody wash sit, when your
10:59
soul is everybody watching. That's why.
11:01
I mean, it was the weird kids were the ones that didn't watch
11:04
it. Generally in a quarter, 25 kids,
11:07
20 of them would watch Doctor Who and Monday mornings was, you
11:11
know, too much to the annoyance of the teachers was all talk
11:15
about Doctor Who and Sugar Smacks when they brought their
11:18
badges out, you know, that was a huge thing at school.
11:20
We were all swapping Badges to make sure we all got a complete
11:23
set of Badges, and I've experienced in the 80s, was the
11:27
other way round. It wasn't weird.
11:29
Outcast of did, watch it. There was a point in Doctor Who
11:33
wear it. I think the seismic shift
11:34
happens with the grain Williams era not because of him but it's
11:40
that time, it's Star Wars and suddenly people who weren't into
11:45
sci-fi went and watched Star Wars and I know said she quite
11:48
good, then they found themselves watching The Invisible enemy.
11:51
Me and Rob the world how bad was or underworld.
11:54
And just go go, you guys and cause a lot of people will
11:58
automatically grow out adopted by that point.
12:00
So suddenly the people who are still interested in Doctor Who,
12:03
which is looking really quite crap, because it's now got
12:07
something to compare to day. The dogs didn't have anything to
12:09
compare to, you know, you have Soylent Green and Fantastic
12:13
Voyage if you were lucky to compare to.
12:15
But unfortunately, for the grain Williams here it had Star Wars
12:18
and eventually Close Encounters came along.
12:21
And so that reflection of the audience was, yeah, doctor who
12:26
really is cheap nasty because it couldn't keep up.
12:29
Whereas this what have you found it fandom then suddenly got a
12:34
big voice didn't they at that time as well?
12:36
Game that Phantom got the big voice at the point where the
12:38
show really wasn't very good. You know, and there's a lot of
12:43
again, there's a lot of modern-day people reclaiming
12:47
season 17 and going on. Now it's really clever and Ryan.
12:50
Brilliant and superb. Urban witty and Gia it's not
12:53
it's still rubbish. He made you know but you know.
13:01
All right. So there's a shot there.
13:02
That bogum just being obliterated by surer and the
13:06
whole camera moves like three inches to the left.
13:09
Making the effect look pretty quite terrible but it didn't
13:14
matter in 1972. When you do a bad effect in 1977
13:18
or 78 and you simple grid Beings Nobles, suddenly, that
13:23
comparison, that is an unfair comparison, but it's there, and
13:27
you can't avoid it. And that's the seismic shift,
13:30
where Doctor Who suddenly became something.
13:31
That was only like by weirdos and Geeks, whereas previously,
13:34
the widows and the Geeks are the ones that didn't watch Doctor
13:37
Who my servants inside. Very interesting in the war
13:40
isn't deep special features where he goes, look, we can use
13:43
the same techniques. They're using those films that
13:46
they're doing but we need the time and we need the money, you
13:48
know? All right.
13:49
Is that unfair present? But let's go.
13:51
All about the overall mass for a second because this will
13:53
absolutely is the, I think the period are fantastic aliens.
13:59
Well, this is John fiedler's friedlander's.
14:01
First Doctor Who gig which he got my accent?
14:03
I think, did you do? If you want done, I'm not an
14:13
expert on friedlander's work. I know we did the Japan onions,
14:19
but I know he started with the 0 g and then brilliant.
14:23
They look fantastic. Hi memorable.
14:26
And those guys are so tall. I mean they're all about 67.
14:32
I know a lot of people take the Mickey but he loved that fella.
14:34
Who's the one of them talking very slow.
14:36
You know, I've found the people and then the other ones that I I
14:39
doing that. I'm sorry.
14:41
And just says, no complications. I love love it, but that isn't
14:46
what happens. Oh, go on.
14:48
There's no complications is the same one.
14:50
That's just me. Talking slowly.
14:52
This ain't over and it's just like that's so Mo gone and
15:02
everyone talks about it being two separate ones.
15:04
It's very funny because the other ogon just stand there and
15:08
kind of going Is it time for a cup of tea at, you know, can I
15:13
ask you a question about the Daleks invading the Earth is
15:17
this the same Dyke invasion of Earth from the Dalek invasion of
15:20
Earth? No.
15:22
Okay, no, no. Actually, the rare moment of
15:26
dogs who continuity in here is the Daleks refer to it?
15:30
That they are invading Earth again.
15:32
Oh, the go down. It actually, says, in episode 3
15:35
or 4? We have invaded Earth again, it
15:38
is clearly Enought. I mean it's blatantly not
15:41
because you know when the Daleks invaded Earth in 2150 ad or
15:45
whatever it was it still look like 1960s Earth and and this is
15:51
a very, very different Earth of, you know, to knock down bricks
15:55
and some silver paint on your face.
15:56
So it's clearly can't be. And I don't think in 1972, will
16:01
71 when they were putting the story together, they remotely
16:03
sat down, and thought this is just going to contradict, and
16:06
then I probably Terrence at some point.
16:08
I'll shit they did. Dalek story.
16:10
Didn't they set with the dogs invaded, I'll just add the word
16:13
again in solves all the problems nicely.
16:15
That's quite a funny joke. He says I should be, I think he
16:18
says like that make it for the fans.
16:21
He's right. Let's just put our piece of good
16:23
television and they'll watch was generally.
16:27
That's how old on who should be made.
16:28
Because generally Doctor Who fans love knitting it all
16:34
together or saying it can't be knitted together but it was
16:39
another one. There's also questions but
16:42
that's what Dr. Who fans do and I think it is the duty of the
16:47
people making the show, not to give two monkeys about what the
16:51
fans will think continuity wise and let the fans have their fun,
16:54
trying to work, it all out and it's the duty of the person
16:58
making the show. I think this is true of all
17:00
television. Just up to the duty, is to make
17:03
something that's entertaining for four episodes in 1982 or 50
17:06
minutes in 2022. You know, that's, that's your
17:09
duty is to be interesting for 52 minutes.
17:12
It's not your duty to sit down and go.
17:15
What will they say about this? Will it tie into an obscure
17:18
reference in the 1990s novelization or somebody?
17:22
You know, I mean, let's be honest though, review each
17:24
other. There are times when the show
17:26
was being made a bit like that, where there's no continuity.
17:30
Petit was particularly in the 80s, even some Focus.
17:34
You know when you are continuity advisor, that was take a look
17:37
over the script and say, well that doesn't make sense data
17:39
that contradicts that, you know. And that's why it's a terrible
17:42
idea to have a continuity and a person you know it's the script
17:47
editors job really. If he wants to to look up and
17:50
go, have we ever done a story with the Loch Ness monster
17:52
before all we have are well probably time that shouldn't
17:55
have a reference, the Loch Ness monster but the script is
17:57
doesn't do that. It's up to us to Piece it
18:01
together and go well with us karason and and the borage share
18:04
the lockers Loch Ness at the same time you know it's not the
18:08
duty of the program to worry about continuity because their
18:12
duty is to make a good damn good story.
18:14
My favorite is on the Atlantis, is the mention in the Demons of
18:17
the underworld or Menace time on start.
18:20
Each one of those is only like two or three years apart, he
18:24
cared and quite right. They shouldn't care.
18:27
They absolutely shouldn't care. It's our job.
18:30
To work out the discrepancies. It's not the producers job to
18:34
worry about that. You know, I think I have a seat
18:37
but it is an enormously clever seen beautifully written with
18:42
Aubrey Woods tricking, Joe Grant and, and making out that, you
18:46
know, they're all the, the gorillas are terrible.
18:49
People are he's just playing on what she's done and everything
18:53
and it's a lot and this is beautifully directed because
18:56
somehow he poor Bernard has managed to get to those Huge big
19:01
cameras right up close on both those actors and cutting across
19:04
them. It's wonderful.
19:06
And then you cut to this wide shot there's no sign of them at
19:08
all and the focus on those cameras wasn't brilliant in
19:11
those days. It's lovely Seekers.
19:13
All these sequences in the control as control room.
19:17
I think look absolutely amazing. It's only when you go into the
19:20
Dalek side of it that it all looks a bit.
19:23
Yeah. I you know Aubrey Aubrey was
19:25
he's given a really interesting performance here and Barry Letts
19:29
and carrot sticks. This Agreed.
19:31
Yeah. They don't like it, do they?
19:33
They they were no, no Barry. Doesn't he says it's a
19:35
theatrical performance and he saw playing a very Grand and
19:38
terroristic just goes and he should be as Grand as possible.
19:41
He's the villain in her life. I think he's brilliant and his
19:45
grave. I think no more theatrical than
19:48
Roger, Delgado. He even delivers a lot of the
19:51
same lines as Roger Delgado and delivers in the same way, I
19:54
didn't think his theatrical. I don't think he's over the top.
19:56
He's also an utterly brilliant actor.
19:59
I mean is seen in Charlie Chop factories.
20:01
One of my favorite old remembering Blake's ever.
20:04
He's brilliant in Blake's 7 o God have to literally Supreme,
20:09
come on back East but he's lovely.
20:13
This, what so you is he isn't he isn't he isn't using your eye in
20:18
1972. When this finished ask people
20:22
started. It was the first year of Our
20:23
Gospel, okay? And John Polk was going to be
20:26
there. Not suppose going to be a guest.
20:29
So me and my friend, Jonathan wrote to ask aspel and say, do
20:36
you know, because they said write in and tell us what clips
20:38
and dogs who you'd like to see. So we wrote in to ask aspel and
20:42
we said the clip, we most want to see is the controller being
20:45
exterminated at the end of day of the Daleks and they didn't
20:48
show instead. They just showed the Daleks
20:50
attacking oddly house and because I think his death is one
20:55
of the best Doctor Who dead. But he's got layers as he
20:59
there's a sequence where he lets them go, and then the camera
21:01
Zooms in on him and gives him a moment where it's like, fuck
21:05
what I do. Now, the other thing to do is
21:07
watch his body language in all his scenes where he is
21:10
confronting the Daleks and say, even if the Dalek is off
21:12
screaming, he's talking to him, watch his body language.
21:15
He does things with his hands and he does things with his
21:18
shoulders that make you go. He's terrified of the Daleks,
21:21
he's absent. He's sweating.
21:23
He's probably got sweaty Palms. He's brilliant.
21:26
He just gives And percent in this about that person praying
21:29
danglars well, with the doctors condemning it in episode three,
21:33
those seats are brilliant and the expression on his face when
21:36
the doctor saves him, from the turret front from the guerrillas
21:39
and and you he just, you just feeling go.
21:42
I've just been saved and it's so much changes in him at that
21:45
point. And then you've got that lovely
21:47
scene in episode 4 in the in the tunnel where he's just
21:50
absolutely magnificent. I mean, I don't think anyone do
21:53
you know more outrage better than poetry, you know.
21:57
Now, I will agree with with Terror sticks and Barry Letts
22:00
here, but this whole sequence it's fine with, with an
22:05
Attenborough, he's shooting in somehow make a choice, doesn't
22:08
it? But then partly comes out and
22:10
just stand and shoots that over on for no reason.
22:14
And even as a kid I remember thinking that's, that's not
22:18
something we teamed up to do before the, they take out the
22:23
other version now. No, I don't think so.
22:26
In fact, they had a special effect.
22:27
A definite even more horrific. Yes, paper.
22:31
Yes. Fuck off.
22:32
You don't need that, though. Disintegrated end of, I'm sorry,
22:36
I do. I love do the Daleks so much and
22:39
I utterly despise I'm afraid. I'm sorry to everybody that
22:42
worked on it because I'm sure it's a lot of hard work winter.
22:44
I really don't like the special edition because I don't think
22:47
with the exception of Nick's voice, I don't think any of the
22:50
things they've added enhance it, particularly tall.
22:53
And one of the things that is most upsetting is that It's
22:57
integrated ray gun effect where people just sort of dispersed
23:00
and that's not the point of Addison to, they haven't been
23:03
blown up. They've just been disappeared.
23:06
Vaporize, it's such a hurry. I was assumed, they were sort of
23:09
sucked into the Vortex or something like that.
23:11
You know, some agencies is a horrible way to die, you cease
23:15
to exist, nothing left of you for anyone to find.
23:18
This is again, great, episode ending, not a crash through the
23:21
rotor to say, it's the Daleks. But now it's the doc to see that
23:25
I've the audience, all the Daleks first episode And now the
23:28
doctor seen the Daleks and it's just, it's clever build up
23:32
because it's not done. That Terry Nation thing I hate
23:36
to say but Terry nation in episode one would have kept the
23:39
reveal of the Daleks to that very last scene.
23:41
And you go what's called are the Daleks?
23:43
I know the doctrine and poor Bernard doesn't he gives you a
23:46
glimpse of the Daleks quite early on in the doesn't?
23:49
It just goes report. That's right.
23:57
That's exciting, that's how you want Doctor Who to be.
24:02
It's just an afternoon choice, that tiny to Second shot
24:05
everything I do as well. I'm sure it probably wasn't in
24:08
the script in the scriptures for Ian off-screen voice saying
24:10
report and he makes the decision to go, we know it's a Dalek
24:14
story. So let's see a glimpse of them
24:16
and then snatch it away again and not give you anything to the
24:19
end of the episode. It's very clever and a distinct
24:21
reverse of what happens in things like planet of the Daleks
24:24
and death to the Daleks where a get in Genesis even.
24:27
The where the word is in the title, but you still don't see
24:30
them until the last second. I've paused now, we've got to
24:33
the end of the student have actually remembered to pause.
24:35
I'm a, I think Joe in episode 3. We ditch, we like contempt 70s
24:41
now that we were entirely in the whole episodes other than of
24:45
quick shots in the brig at the beginning.
24:47
If I remember rightly, I think everything then is set in the
24:49
future for that one episode aside from you know perhaps a
24:52
little over use of a car park but they found somewhere it is
24:57
Actually Grim, though, isn't it? It's very dark episode who as it
25:02
the grimmest it's ever been. As we'll see when we get there
25:06
just how really dark and negative.
25:09
And but I'll talk about how terribly typical for the 70s,
25:15
but that dystopia actually is what car white boy.