Latest / A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast / Talks to Paul Arthur about his choice of Invasion of the Dinosaurs (3/6)

Transcript

Talks to Paul Arthur about his choice of Invasion of the Dinosaurs (3/6) · A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast

• 0:33
  Hamster with a blunt pen knife for doing quicker.
• 0:36
  And as the strains of the Ham silver blunt penknife tune fade
• 0:40
  from your ears, it's time to say, welcome to hamster with a
• 0:43
  blunt Penknife, the Doctor Who Commentary podcast.
• 0:47
  My name is Paul, and I'm here with your master Joe Ford.
• 0:53
  Master. Yeah, I I said, I think I said
• 0:57
  on the first episode, master of ceremonies.
• 0:58
  I can't I couldn't think of anything more exciting to call
• 1:00
  you. So let's go with Master Lord and
• 1:03
  over Overlord of. Overlord, Overlord of fascist,
• 1:10
  you will obey me. Yes.
• 1:12
  Absolutely. I didn't think it was going to
• 1:15
  take long, you know, before you started taking a piss out of
• 1:17
  that. Welcome to it was starting to
• 1:21
  get into your voice there. No, that's all.
• 1:24
  I don't. That's all.
• 1:24
  I enjoy seeing it so. Surprised bad as Luke Malloy.
• 1:28
  Have you heard him do it guys? Like welcome back to fuck sake.
• 1:35
  Why did we keep these people around, Paul?
• 1:37
  Well, you know, color and a bit of fun.
• 1:42
  You can stick too closely to the to the format, Joe.
• 1:45
  So you know, you don't you don't want to kind of be too too much
• 1:48
  of a slave to it. So a bit of bit of, you know,
• 1:51
  just a little bit of difference in there can life and things up.
• 1:55
  Colour and fun, you think? Oh, he's got a nice ass as well.
• 1:58
  Oh, well, I mean, yeah, I've, I've, I've never seen it so.
• 2:02
  I can guarantee, you know. Yeah.
• 2:03
  Once Upon a time, you know, he walks into a hotel room.
• 2:06
  Yeah. This isn't going where you think
• 2:08
  it is. We was in.
• 2:09
  Auckland and. He we was all staying in a hotel
• 2:13
  and he went to walk into his room and they've given him the
• 2:16
  wrong key. It was an occupied room, not
• 2:20
  occupied. By yourself.
• 2:21
  No, I wish we haven't opened the door up.
• 2:25
  We're all in the corridor. So like sort of waving him off
• 2:28
  and there's a half naked man. The spirit of Nicholas Briggs.
• 2:34
  Well, I mean, but it could well have been because of where you
• 2:37
  were. Was it?
• 2:38
  Was it him? No, it wasn't.
• 2:40
  But he didn't look happy that Luke Malloy was walking his
• 2:43
  bedroom when he was half naked. Well he should have turned
• 2:46
  around and showed him his arse and then sure would have
• 2:49
  smoothed things over. To show what true friends we
• 2:52
  are, me, Dylan and Mark just ran down the corridor laughing away
• 2:56
  from him and left him to deal with it of.
• 2:59
  Course, it's exactly what we. Think, oh, it's a quite weekend
• 3:02
  though. I'll tell you what I mean.
• 3:04
  Don't know how to party in that village.
• 3:06
  You know there was a party going on till 2:30 in the morning.
• 3:09
  Really. Yeah.
• 3:11
  You know, I was watching, I was just watching the the extras on
• 3:15
  the on the just this weekend, actually.
• 3:18
  And it does, you know, I think I'd probably be a bit bored of
• 3:22
  Doctor Who found is turning up all the time.
• 3:23
  But they seem to kind of really, really get into.
• 3:26
  It you can spot on a mile off, you know.
• 3:28
  Oh, I'm sure you could, yeah. You can usually smell of a mile.
• 3:31
  Yeah, but yeah, before you can see him all the.
• 3:33
  Scarves and the Colin Baker spats and things.
• 3:37
  You go, oh God, here we go again.
• 3:39
  I know. I mean, honestly, that party was
• 3:41
  rowdy. Miss Hawthorn was on the table.
• 3:45
  Blimey, hello. The signs were there for all to
• 3:48
  say. Indeed they were.
• 3:51
  Wait, that's the wrong job story?
• 3:54
  Yeah, to talk about. We are here to talk about Part 3
• 3:57
  of the invasion of the dinosaurs or the invasion of the
• 4:03
  dinosaurs. Apologies, I always get that
• 4:04
  wrong. Do you find that with stories
• 4:07
  with the definitive they're in there?
• 4:09
  Do you find that like hard to remember which because I have to
• 4:13
  look it up every? Time, I always get it wrong, but
• 4:17
  Rob Valentine, who is a writer, had a conversation with me
• 4:20
  recently about this. When we're doing the demons or
• 4:23
  no, we're doing the brain of Morbius.
• 4:25
  That's right. And he was saying there's a
• 4:27
  definite flow to it where you just have duh, duh, duh,
• 4:30
  something of something or the something of something.
• 4:33
  And I was like, oh, I can't tell the difference.
• 4:35
  I just sort of nodding and smiling at him while he was
• 4:37
  talking. Yeah, no, I find I have to look
• 4:39
  at it anytime I'm posting something because, you know,
• 4:42
  somebody's going to mention it if I if I leave it off or put it
• 4:45
  on. So yeah, I every single time I
• 4:48
  have to look it up for this, for whatever story, never seem to
• 4:51
  remember. You know, since, you know, I
• 4:53
  went off to get a coffee between episodes 2 and 3, I have to say
• 4:57
  I've been on the website now. I've got a fabulous set of
• 4:59
  cupboards winging their ways for me.
• 5:02
  Oh, fresh from the moon. Yes, yes, indeed.
• 5:06
  Yeah. Like for anybody who didn't
• 5:07
  listen to the last one in the witch's lab, in the back, very
• 5:11
  very back, there are a set of cupboards which are.
• 5:14
  Ugly cupboards. Ugly cupboards.
• 5:17
  Yeah, yeah. And they don't have in this
• 5:19
  story, they don't have like the the circular knobs that other
• 5:22
  stories have them have with them as well.
• 5:24
  But keep an eye out, I didn't in the previous episode.
• 5:28
  I should really give a shout out to somebody here for that.
• 5:31
  And I don't even know the chap's name, but on on the socials,
• 5:35
  he's Zoe's feather boa. He's really hot.
• 5:40
  And I. Think he turned me on to those
• 5:43
  cupboards in the first place. Zoe's feather boa.
• 5:47
  And you're frozen, Joe. Hopefully you can hear me.
• 5:50
  Oh, no, wait. I can't hear you.
• 5:53
  You can't hear me. Ohh there we go.
• 5:56
  We've normalized so. Sorry my.
• 5:58
  I mean, I heard everything you said there.
• 6:00
  So is fever by word, did you say?
• 6:02
  Yes, yeah, I. Know I think he posts lots of
• 6:05
  lovely pictures of ladies as well he.
• 6:08
  Does that too yes, but in between that he helps me out
• 6:11
  with a lot of proper hunt stuff and not.
• 6:14
  Pornographic pictures, I would add.
• 6:16
  They're all fully clothed but very tasteful, beautiful.
• 6:18
  People like Wendy Papri, people like that.
• 6:20
  You. Know yes, absolutely, yeah,
• 6:22
  yeah, lovely fella and yeah, really, really knowledgeable and
• 6:25
  that stuff. So I think it was him as they
• 6:27
  turn me on to those, but they turn up a lot all the way,
• 6:30
  certainly in a lot of perfect stories and again in the 80s as
• 6:34
  well in a few Davis and things and then as I say, all the way
• 6:37
  up to Kill the Moon because they are still commercially
• 6:39
  available. There's just an excuse really
• 6:42
  for me to once again bring up your fabulous blog, Doctor Who
• 6:45
  Prop Hunt and your fabulous Instagram account Doctor Who in
• 6:50
  sixties, 70s and 80s. That's the one.
• 6:52
  Yes. Thank you.
• 6:52
  Get the plug in before the episode.
• 6:54
  Yeah. Brilliant.
• 6:54
  You worry I've got your back, alright?
• 6:57
  No, please. But like I said last time, it is
• 7:01
  a slippery slope, all right? When you start spotting all
• 7:04
  these props, you'll be doing the run again to see what you can
• 7:08
  see. I don't know if you if you saw
• 7:09
  but last week I posted about some of the slave costumes from
• 7:14
  Destiny and where they. I saw that draconian man.
• 7:17
  Yes, Yeah, yeah, yeah. So so yeah, yeah, you know, we
• 7:23
  talked a bit tonight off the call about hobbies and how you
• 7:27
  can, you know, find life. Can't you know if your career
• 7:32
  can't be exactly what you want it?
• 7:33
  Stimulating. Indeed, then you can get a hell
• 7:37
  of a lot out of your hobbies and talk to for all of us in
• 7:40
  different ways, provides that kind of.
• 7:43
  Yeah, that's stimulus, yeah. I really love as well so weight
• 7:46
  off Invasion of Donalds, but who cares?
• 7:49
  Fabulous conversation. I really love as well the
• 7:51
  different avenues that people take.
• 7:53
  Clearly, you know, you have a massive love for researching
• 7:57
  those props, finding them in different places.
• 8:01
  I examine those fucking God awful books from the 90s in
• 8:07
  absurd detail. And as I'm taking the notes, I'm
• 8:10
  practically, you know, transcribing of the book to talk
• 8:13
  about in an hour on a podcast, you know, but I did pleasure I
• 8:17
  get from that. I can't even describe to you
• 8:19
  just pulling out the nuances and things like that.
• 8:21
  Other people. It's cosplay, it's podcasting,
• 8:23
  It's it is so stimulating. Doctor Who, isn't it?
• 8:27
  Creates, It really is. I've got, you know, the thing
• 8:30
  that they always say with Star Trek, and I know you do a Star
• 8:32
  Trek podcast as well, but it's always that cliche with Star
• 8:35
  Trek that inspired a generation of scientists.
• 8:38
  You know, like people went into the sciences because of that
• 8:41
  show. And I genuinely think a lot of
• 8:43
  people went into the arts because of.
• 8:45
  Absolute. You know that the new series is
• 8:48
  rife with people that were classic Doctor Who fans.
• 8:51
  Yeah of yeah, absolutely. So many people in TV, you know,
• 8:55
  novelists, it inspired a hell of a lot of creativity from a hell
• 9:00
  of a lot of different people. So yeah, absolutely.
• 9:02
  Springboarded careers for a lucky handful of people.
• 9:05
  You know, Ben Runovich, Rob Sheeran, people like that.
• 9:09
  Yeah, just amazing. Well, I suppose we should go and
• 9:12
  examine some classic Doctor Who and see if we can be inspired
• 9:16
  enough to springboard our careers.
• 9:19
  Hey, let's do it, yeah. Would you hang on who started
• 9:23
  this you. Oh, I did.
• 9:25
  Yeah. Yeah.
• 9:25
  Oh, yeah. I called you my master.
• 9:28
  That's right, edgy, sort of just gently taking the piss I do
• 9:31
  like. It no, no.
• 9:33
  No, please do. Please do what?
• 9:36
  Count us in, then in 321 and off we go.
• 9:44
  Handley, the subtitle says Doctor Who theme.
• 9:47
  Yes, yeah, yeah. And of course, anybody who can't
• 9:50
  hear it would want to know what was happening here.
• 9:53
  Of course. Yeah.
• 9:57
  John Pearl would look radiant there and that big close up he
• 9:59
  gets in his eyes. I am the governor, all right?
• 10:03
  I'm single handedly turn this show around from something
• 10:06
  that's on death's door to get in.
• 10:08
  I mean Part 1 of this got 11,000,000 viewers.
• 10:11
  Right. Yeah, It's still at the height
• 10:13
  of his powers, isn't it? Yeah.
• 10:15
  God, what is that monstrous beast?
• 10:21
  But you know, we talked before about how Mike's kind of
• 10:25
  conflicted and, and his kind of moral stance and we, you know,
• 10:28
  he's I think this is great Franklin jumping to to Perth
• 10:32
  with his rescue here. This is this is really good
• 10:34
  action in this scene. But he says in the commentary,
• 10:37
  look at me, I'm so brave, I go and get the gun.
• 10:40
  I've got the yeah, but you put him in fucking danger in the
• 10:42
  first place. You know you're not being brave
• 10:45
  when you're the one responsible for the danger.
• 10:48
  Oh my God, don't. We're seeing a massive foot
• 10:50
  here. Is there a leg or something?
• 10:52
  Am I imagining it? I said where?
• 10:55
  You see? It's like, no.
• 10:57
  Oh boy, look at that shot from below.
• 11:01
  Oh, he looks pissed, that dinosaur.
• 11:05
  Here we go. Oh, we've all been there on a
• 11:08
  Saturday night. I.
• 11:11
  Know how many gutters have you woken up in, Paul?
• 11:14
  01 or two, one or two. I can usually find my way home
• 11:17
  eventually. That's.
• 11:19
  I've woken up inside a few gutters, but let's not talk
• 11:21
  about it, all right? But we talked before about like,
• 11:27
  you know, some of the monster effects work in the world and
• 11:29
  they don't work and the movement isn't a whip but in.
• 11:31
  But I think actually the way that that dinosaur falls is
• 11:33
  pretty good, it feels like. It was.
• 11:35
  Is it a slow motion? I don't know it maybe it's like
• 11:37
  it's slowed down a bit, Yeah, Because it feels like it's got
• 11:39
  some real heft to it as it gets the ground.
• 11:41
  Put some rocks in that prop. Right down it goes.
• 11:45
  Now I don't need to ask you, prop master, I shall call you
• 11:49
  but but I assume the dinosaurs were never used again.
• 11:57
  I'd love to know where they where they turn up.
• 12:01
  Yeah. I mean, you can't imagine.
• 12:03
  They were the people who did it, though.
• 12:05
  They went on not long after to do Disney's.
• 12:08
  One of our dinosaurs is missing. And I think they pretty did a
• 12:11
  slightly better job on Disney money than they did for this.
• 12:14
  So racist that movie, but very funny.
• 12:18
  So I'm very conflicted watching it.
• 12:20
  Usually he's in that as well, you know.
• 12:22
  He is, isn't that? Yeah, yeah.
• 12:23
  But you see the mad sort of Colonel that's shooting away.
• 12:27
  On the reco, yeah, yeah. Yeah, very funny.
• 12:30
  Now Martin Jarvis's character, the Butler, he's a very
• 12:34
  interesting character in the book, isn't he?
• 12:36
  Ex fireman got damned, his face got damaged in a fire.
• 12:41
  He he, he he definitely needs a little bit of fleshing out
• 12:44
  because there isn't a huge amount here for him on on the
• 12:46
  screen. And I think the previous isn't
• 12:48
  time for that. I mean, we do get an
• 12:50
  understanding of what Whitaker's motivations might be and and
• 12:54
  Grover and and Finch, but we don't, yeah, we don't really
• 12:57
  know what Butler's all about. Why does Peter Mars always play
• 13:00
  somebody sinister? I don't think he could ever play
• 13:03
  somebody charming, could he? Yeah.
• 13:06
  Did you see that Tyrannosaurus Rex in the window there?
• 13:09
  I think this is this is. He's having a little lie down. 3
• 13:13
  regulars there in in the set and and like you can see all the way
• 13:16
  through to the back he's. Breathing.
• 13:18
  You see it moving? Yeah, he's sort of going now.
• 13:26
  Watch this frozen again. Don't.
• 13:27
  You worry. I'm gonna keep talking.
• 13:31
  Watch this Sarah Jane figuring out everything.
• 13:33
  Now, look, I know there's time travel going on, and I know the
• 13:36
  exact people that are dabbling in it, right?
• 13:40
  Yeah. But no one's listening.
• 13:42
  No what I should? Yeah, they really should.
• 13:46
  No, Yeah, this story just gives Sarah so much to do.
• 13:49
  I think she really shines. I think Yates really shines in
• 13:53
  this Great, great story for both.
• 13:55
  I've got an original observation for you now, Paul.
• 13:58
  You know, I think you can tell whereabouts you are in the
• 14:02
  Pertwee era by the size of his bouffant haircut.
• 14:08
  I mean, it's pretty bouffant. He's a little Barbara Bouffant
• 14:11
  here, isn't he? He is, you know what though,
• 14:14
  that I, I don't think I'd pay a huge amount of attention to
• 14:18
  that. That's a bit like for me, I know
• 14:20
  people bang on about his hair quite a lot, but for me that's
• 14:23
  like the the TARDIS prop, the police box.
• 14:27
  People put a lot of attention into the different differences
• 14:31
  between all the police boxes. For me, I kind of think they all
• 14:34
  look like a Big Blue box. You, the prop master should be
• 14:37
  saying that you. Know, I know, I know it's a
• 14:39
  weird thing and and I just don't get the the fascination for for
• 14:44
  that particular prop and I yeah, I don't really get the
• 14:47
  fascination for John's hair as well.
• 14:49
  I guess it goes up and down. I it just doesn't.
• 14:51
  I don't really know. Is it too much?
• 14:53
  But I think we talked before about the colour of his jackets
• 14:58
  and I love this blue on him, I think.
• 15:01
  Yeah, I do too. I mean, I think all of his
• 15:03
  jackets in 11 are grey. I love the green one in Monster
• 15:08
  Peloton as well. I mean.
• 15:11
  Yeah, he could. Carry off any smoking jacket,
• 15:14
  couldn't he? He is a sexy bastard, isn't he?
• 15:18
  Yeah. That's right, what does she say
• 15:19
  in 30 years in the TARDIS? I'd follow him in the TARDIS
• 15:22
  anyway. So, so damn sexy.
• 15:24
  She goes. Oh, Sarah, for God's sakes, when
• 15:28
  the crisis has passed, there'll be nothing to photograph.
• 15:30
  Well, yeah, yeah, yeah, of course.
• 15:32
  What would there be? Some photograph.
• 15:34
  Here's a great way to get her in danger.
• 15:36
  She's there, snapping away. The fucking Dino wakes up.
• 15:41
  Yeah, yeah, this is so good. We haven't really talked about
• 15:44
  the music too much, but I think The Simpsons does a really good,
• 15:48
  some really good kind of looty spy kind of music when she's
• 15:52
  kind of mooching around in the hang of there.
• 15:56
  I think that's really good. I always remember that the later
• 15:59
  on in the story, when they're sort of wandering around the
• 16:02
  corridors of the, you know, where they're doing the time
• 16:04
  experiments, right? There's a sort of whip cracking
• 16:07
  right going on in Dudley's music.
• 16:09
  That's right. Oh Sarah, I love your jacket
• 16:12
  look. At that, yeah, she means
• 16:13
  business now. She's got a leather jacket on.
• 16:15
  I see it. Look, she's putting it all
• 16:18
  together. It's like, where the fuck is the
• 16:19
  doctor? Oh, he's here.
• 16:20
  OK. Yeah, she's got such a way list
• 16:23
  Laden delivering exposition like that where like she's but you
• 16:26
  know, she's having to say, oh, there is this scientist and he
• 16:29
  was famous for this and this and this, but she delivers it, you
• 16:32
  know, like such a great way where she's just recording, you
• 16:35
  know, she's bringing it back to her mind.
• 16:37
  She's recalling the info. It's, I don't know, it just
• 16:39
  feels really natural. She's a thoughtful actress,
• 16:41
  isn't she? Yeah.
• 16:43
  And I just love her sort of terrible word, that's all.
• 16:46
  Gumption, that's all. No, I'm not the little woman.
• 16:49
  I've got the bloody facts here. You will listen to it.
• 16:52
  And then she is. Now they're just ignoring me.
• 16:55
  Yeah, fine. I'm going to go and do it
• 16:57
  myself. And this is where he's like, oh
• 16:59
  shit, well, I'm beyond all this, so I'm going to put you away
• 17:02
  now. Yeah, we talked before I think
• 17:04
  the last time about, about this, about John Bennett's performance
• 17:07
  and how he's just sinister enough.
• 17:10
  The like, you know, like an intensive viewer might suspect
• 17:13
  him of, of being up to something.
• 17:15
  But you know, he's kind of you can kind of fly under the radar
• 17:18
  a bit. And you just think he's just an
• 17:19
  ordinary kind of bulky army captain that you've the kind
• 17:23
  that you've seen before in a in a perky story.
• 17:25
  Look at all those. Decorations on his uniform.
• 17:27
  I mean, he's an upstanding soldier.
• 17:30
  Oh, exactly. The sort of person to be behind
• 17:32
  these nefarious time experiments.
• 17:34
  No, no, of course somebody you would absolutely trust.
• 17:37
  Oh, here's Sarah and I was just fluttering her eyelids.
• 17:39
  You wouldn't write a pass which you generally.
• 17:42
  Yeah. And she thinks she's kind of
• 17:43
  coming up with the idea of like, oh, I can get something out of
• 17:46
  him, but he's kind of planting that seed.
• 17:48
  He's going. He's the one who's going.
• 17:50
  Yeah, I suppose I could do that for you.
• 17:51
  Yeah. When's the last time we see
• 17:55
  Sarah doing anything journalistic?
• 17:57
  I think it's Terror of the Zygot.
• 17:58
  You know, she's there's a scene where she's sort of writing up a
• 18:01
  story in the Fox Inn. After that, I don't think it's
• 18:04
  ever mentioned again. No, no.
• 18:06
  I mean, I guess like with the Tom stories, you did get them
• 18:10
  travelling a lot more though they're a kind of away from unit
• 18:13
  that they're kind of travelling into space.
• 18:16
  And there's obviously less obvious reason why you would
• 18:20
  bring that up. But I do think it's, it kind of
• 18:22
  means that she's kind of missing quite a bit, I think.
• 18:26
  And she doesn't, and I said before and probably will get
• 18:29
  some kind of comments on this in my, my opinion of, of Sarah.
• 18:33
  And I do like, I do like Sarah a lot.
• 18:35
  I think she's a great companion. I just don't have the love for
• 18:38
  her that a lot of people do have.
• 18:40
  And, and I think she's better here where it's kind of it's
• 18:43
  more grounded and she's got a reason for what she does.
• 18:47
  Yeah. It's all right, Paul.
• 18:48
  Some people have to prefer Dodo over Sarah.
• 18:50
  I mean, that's all right. Perverted kink, but it's fine.
• 18:55
  You putting words in my mouth there, Joe?
• 18:56
  I told you that in confidence. Oh yeah, sorry.
• 18:59
  You know when you get to the Sarah Jane Adventures, Oh God, I
• 19:03
  love that show. So I've just started doing the
• 19:04
  commentaries on those. I'm having a blast with him.
• 19:07
  And is there anything more classic Who in the new series
• 19:11
  and the Sarah Jane Adventures? I mean, it's just divine.
• 19:14
  Yeah, really. He does really hear that spot.
• 19:16
  She's back doing stories all the time, hunting out, you know, and
• 19:20
  being secretive and sneaky and hiding around in hospitals and
• 19:24
  bases and things. In one episode, she goes, what
• 19:28
  the hell do you think pays for all this taking in washing?
• 19:32
  I'm a journalist. She's wonderful.
• 19:37
  So Mike Yates has now cut open all of the chains.
• 19:41
  Cut the chains. You kind of think that the T Rex
• 19:43
  would burst out of those anyway. That's quite a good shot, don't
• 19:46
  you think of him in the half dark, opening his eyes.
• 19:49
  Yeah, I think, I think this stuff is really successful.
• 19:52
  Yeah. With the larger T Rex head just
• 19:54
  in the dark like that, I think really really works.
• 19:57
  The funniest moment of the whole story is about to come, though,
• 20:00
  is when he bursts out that wall. I love that and whole.
• 20:03
  Chunks of bricks fall away. Now, Lucy McCall, we've got to
• 20:08
  shout you out at this point, because this is literally How I
• 20:10
  Met her, right? I did this commentary way back
• 20:12
  in the misty dawns of It's not my third or fourth one.
• 20:16
  And Lucy had done all of her fabulous, you know, woolly
• 20:19
  puppets, right? And she's got loads of
• 20:22
  characters from Invasion of the Dinosaurs, including the D Rex.
• 20:25
  And she made a paper wall. A burst dinosaur.
• 20:29
  Amazing. It was wonderful.
• 20:34
  Yeah. This is iconic for me.
• 20:35
  I just think this is fantastic. And I, you know, we've been
• 20:40
  pretty positive about these dinosaur effects.
• 20:42
  I genuinely think a lot of them really work.
• 20:44
  But even when they they aren't successful, I think if you're
• 20:48
  going to criticize Doctor Who for his effects, you're probably
• 20:52
  watching. The Yeah, go and watch Blake's.
• 20:54
  Oh, no way. Actually, there's new Blake 7
• 20:58
  coming up. Have you seen I?
• 20:59
  I just heard the news today, yeah.
• 21:01
  I mean, people won't be happy when it's got decent effects or
• 21:04
  they're not like the olden days, you know?
• 21:06
  This doesn't look like the 70s. Oh no, look at it now, that's
• 21:10
  clearly got someone's hand in it there when he goes through the
• 21:12
  window. Isn't it raw?
• 21:18
  Oh boy, I love dinosaurs, Paul. It brings out the kid in Oh I.
• 21:22
  Was going to ask that. Yeah, you were You a dinosaur
• 21:24
  kid. You like it?
• 21:25
  Well, I mean, I love chewets as well and so you mix the two
• 21:28
  together in the adverts, it's just wonderful.
• 21:31
  That you know, that's such a silly little adverb.
• 21:34
  Real highlight of the of my childhood whenever.
• 21:36
  They came on the TV. Like, oh, brilliant.
• 21:38
  It's. Climbing up the bloody Empire
• 21:40
  State. Oh strawberry chewy.
• 21:44
  How lovely. And he used to have massive
• 21:48
  gobbits of of like saliva that would come out because they were
• 21:51
  so juicy. Oh, that's great.
• 21:54
  The tail hit in the window. Yes, and then this.
• 21:57
  Isn't it slow motion smash? Yeah.
• 22:02
  Oh, great stuff. And it's interesting to think
• 22:04
  that these these effects were considered bad at the time.
• 22:07
  You know, obviously that's was famously unhappy with them, but
• 22:11
  I don't think they're really that bad at all.
• 22:12
  Not too sure about that very light bit of paper that just
• 22:16
  knocks her out. So you think I thought that was
• 22:18
  effective? Very heavy.
• 22:21
  Oh, she got fair old clunk. And then you see that again,
• 22:23
  like you talk about the gorge on the first look we're.
• 22:26
  Out on the lash again. He's got his heads trapped in
• 22:28
  all the girders. Oh, it's another ceiling.
• 22:32
  My God, two ticks for Invasion of the Dinosaurs.
• 22:39
  Oh, they're really selling this though.
• 22:40
  Oh, they get runaway Sarah Jane. Yeah, the way that shot with
• 22:43
  them running like that, that's, that's really dramatic.
• 22:45
  That's a. Tracking shot right?
• 22:46
  They must have a track along there.
• 22:48
  To do it, they must do, yeah. And they wait for it, wait for
• 22:51
  it. He just wants to say hello,
• 22:57
  right? Oh my God, we can.
• 23:03
  Yeah. We get a lot of recurring stuff
• 23:05
  in our in our commentaries. Obviously had the drashings
• 23:07
  bursting out of stuff and now we got a big old green boy
• 23:12
  bursting. Through Yeah, well, I'm used to
• 23:14
  things bursting out at me, you know, like it's just a common
• 23:17
  complaint, not breakdown. Those walls, haven't you, Jovy?
• 23:20
  Yeah. Yeah, exactly.
• 23:22
  There's no walls between us anymore, Paul.
• 23:23
  All right. Oh, that is iconic, isn't it?
• 23:28
  I honestly, genuinely think that is yeah.
• 23:31
  And and you, he's one of those. And I said before, I think I
• 23:34
  said on on an earlier episode, I'm one of those fans that's a
• 23:37
  bit of a contrary bugger. So if you tell me Genesis of the
• 23:39
  Daleks is the best story of all time, I'm I'm going to find
• 23:42
  fault with it. But I'll tell you, Sarah J Smith
• 23:45
  is the best companion of ah, yes.
• 23:47
  He's that there's a bit of that going on and and watching this
• 23:51
  for the first time and you know, the headline news is when you go
• 23:54
  in the the the dinosaurs are ropy.
• 23:56
  But I genuinely watch this for the first time and thought,
• 24:00
  actually, you don't know what I've seen worse.
• 24:02
  And I genuinely think a lot of it works really, really well.
• 24:04
  Can you hear the great time Raven watching this?
• 24:06
  I mean, the dinosaurs are great. Yeah, yeah, absolutely.
• 24:10
  You people listen to you, took care of yourselves.
• 24:13
  All right. Get over this forward
• 24:14
  embarrassment from Paul watching this with his family.
• 24:17
  All right. And love for dinosaurs.
• 24:19
  Yeah, I mean, I did. I did.
• 24:21
  It did hurt me a little bit when the wife laughed at T Rex.
• 24:23
  I will, I will admit, but. That's not a youthmism, is it?
• 24:29
  Well, she, I mean, we've been together over 20 years.
• 24:31
  You think she'd be used to it by now, but it's always.
• 24:34
  The trouble T Rex. Oh my God, does it buy it.
• 24:40
  Doesn't burst through walls, I could tell you that, but.
• 24:45
  Oh, you don't get this on track one.
• 24:47
  Oh, yeah, OK, you. Won't be talking, but you're
• 24:50
  frozen, so I'm going to keep talking.
• 24:52
  Should worry. I'll continue.
• 24:54
  Conversation away from what we're talking about.
• 24:56
  But yeah, we're getting towards the cliffhanger.
• 25:00
  I love how you're improvising these moments.
• 25:04
  See, you've learned. Now whenever you freeze, you
• 25:07
  just keep talking. It's perfect.
• 25:09
  Yeah, yeah, yeah. Well, now we've got past the the
• 25:12
  the wall bursting bit. For me, this whole sort of
• 25:15
  second third of the episode is that kind of lead up to to the
• 25:20
  to the clear Fang errors. I love the idea as well of a
• 25:23
  lift being in a filing cabinet room.
• 25:26
  But isn't that exciting? It's.
• 25:27
  So the same and stuff like that, isn't it, You know, espionage,
• 25:31
  underground bases. Mundane kind of room with filing
• 25:36
  cabinets, but suddenly that's a lift or we're not even there
• 25:40
  yet. I'm just.
• 25:40
  What did she say? Run away, she goes, and we'll
• 25:42
  let the grown-ups do the work. Bullshit.
• 25:46
  She goes, I'm going to do it myself.
• 25:47
  Look at this. She goes.
• 25:50
  If they had a nuclear thing, it would have.
• 25:53
  It would be tested. There will be records.
• 25:55
  She is figuring it all out. Go, Sarah.
• 25:58
  Yeah, absolutely. Actually, there's a really nice
• 26:02
  role for Benton throughout this. He gets great scenes here with
• 26:06
  Sarah where he's desperately trying to stop her from going
• 26:09
  off. What is it she says?
• 26:10
  Tell them I'm going out to play. Yeah.
• 26:13
  But he gets to show his genuine horror when he realises that
• 26:18
  Yates, his friend Yates, is behind all this.
• 26:21
  And then he gets great stuff with Pertwee at the end.
• 26:24
  Usha Venusia uja on me. Yeah, yeah, yeah.
• 26:28
  He is a solid story for I think the only, the only one he
• 26:31
  doesn't get much time in this is the Brigadier, isn't it really?
• 26:34
  But. But otherwise, yeah, it's really
• 26:36
  good for. The Brigadier gets that great
• 26:38
  moment where he does a standoff with General Finch.
• 26:41
  Yes, we've got that to look 40 and doesn't he see a?
• 26:43
  Triceratops in the London Underground.
• 26:47
  Yeah. Oh yeah.
• 26:48
  With, with the doctor. Yeah, that's actually what we're
• 26:51
  talking about. Of course he does.
• 26:52
  He has plenty to do. Yeah.
• 26:53
  Of beasties. That he's faced in the half dark
• 26:56
  in the underground is. Back here again.
• 27:01
  Oh. I've been innocent that time.
• 27:03
  Now this Charles, he's just far too charming to be good, isn't
• 27:07
  he? But like.
• 27:08
  I talked earlier about how surprised I was and I think I
• 27:11
  genuinely, I mean, the cliffhanger when we get to it,
• 27:14
  it's just mind boggling that she's not on the earth.
• 27:17
  She's in a spaceship and she's been away for more bumps.
• 27:20
  But just to reveal before that we get to it, like him being I,
• 27:25
  I genuinely believed him, right? We we've seen the Finch being a
• 27:27
  bit shady, but we'd not sink her over at being shady at all.
• 27:30
  Well, the Doctor. Literally, I think if the doctor
• 27:33
  says we can trust this person and generally speaking we trust
• 27:36
  them exactly. He's given the the.
• 27:38
  Doctors given the seal of approval that we know that, you
• 27:41
  know, he's, he's got his heart in the right place.
• 27:43
  So yeah, absolutely. It is very, very funny.
• 27:46
  That, you know, at one point there's Finch and Grover and
• 27:49
  Yates in a room. I think it's an episode, too.
• 27:51
  And slowly but surely throughout the story, we learned that
• 27:55
  they're all part of this scheme. That mean they didn't have a
• 27:57
  hope unit really, didn't they? I think this is another nice.
• 28:01
  Set. It's, it's like a, the sort of
• 28:03
  parliamentary set you'd get in yes minister or something like
• 28:06
  that. You know, very yes, Minister,
• 28:07
  isn't it? Yeah, definitely.
• 28:09
  And and not seen again, you know, is it seen again after
• 28:12
  this? I'm not sure if you notice.
• 28:13
  It's nice mahogany. Cupboard at the back there.
• 28:16
  That's my sort of cupboard, you know?
• 28:17
  Right. Yeah.
• 28:18
  Nice. Not.
• 28:19
  Not not a back form sci-fi cupboard that could be on the
• 28:22
  moon, we should have assumed. That something sinister was
• 28:25
  going on. It's all under lit this scene
• 28:27
  right with shadows all over the wall.
• 28:30
  OK. But like, like if you're paying
• 28:32
  attention that you'd notice the the shot coming down and, and
• 28:36
  the hum of the you hear that the lift.
• 28:38
  Going, don't you? Yeah, yeah.
• 28:41
  And when she goes, oh. Boy, I do choose my friend well,
• 28:44
  don't I? Yeah, but like, this is a Sarah
• 28:50
  centric episode. This.
• 28:52
  She was the one in the hangar taking the pictures.
• 28:54
  She's the one here doing all the investigating and she gets the
• 28:57
  cliffhanger and it and it and it makes.
• 29:00
  Sense because of of who she is and and and the stories that
• 29:03
  they've set up. It's quite sad, actually,
• 29:05
  because Liz. Sladen didn't really write Paddy
• 29:09
  Russell as a director. She said that what Paddy would
• 29:12
  ask her to do would be to go over a scene again and again and
• 29:17
  again, and she felt as if the sort of the truth of the scene
• 29:20
  would go because nothing was spontaneous anymore.
• 29:24
  She said it was especially bad in Pyramids and Mars.
• 29:27
  But I mean, look at her performance in this.
• 29:29
  Look at her performance in Pyramids and Mars.
• 29:31
  It's two of the best you're going to see.
• 29:32
  So like, I think Paddy may have had something.
• 29:36
  Yeah. And I totally.
• 29:37
  And I think she seems to be that kind of director who really,
• 29:40
  really thinks things through and takes her time with with stuff.
• 29:46
  Oh, like this? The house, Miss Smith?
• 29:48
  Yes, she's gone out to play. What?
• 29:52
  Oh, yeah. What's he?
• 29:53
  Say he says something like Sometimes I can don't understand
• 29:57
  that girl. Sometimes that girl baffles.
• 30:00
  Me. There's been a few lines
• 30:02
  actually. Isn't it during the time warrior
• 30:04
  He goes, young girl, I think you'd be a bit too old for that
• 30:07
  sort of thing. You know, Barry, let's and
• 30:11
  terror sticks have found sex at last.
• 30:14
  Not together, Not together. Oh, I love this room.
• 30:18
  It's very nice in 84 this room, isn't it, right, with that
• 30:21
  pulsing light? And it's like a like a really
• 30:24
  heavy interrogation. And well, again, we're back to
• 30:26
  the. Mystery that we kind of we you
• 30:28
  know, we've got a handle on what's happening.
• 30:30
  We know that the dinosaurs have been dropped in from the past,
• 30:34
  but now we're in completely different territory again and
• 30:36
  we're like what the hell is this?
• 30:38
  She's in this this kind of red room, this pulsing lights and
• 30:42
  and you're right, it is very nice native for, isn't it?
• 30:44
  You can't get comfortable with this.
• 30:46
  Story. Can you?
• 30:47
  No, Yeah, no, definitely. Not like people that say that
• 30:49
  that. It's just loads of padding and
• 30:52
  very dull. I'm not entirely sure what
• 30:54
  you're watching not, not at all. Because it is that that build,
• 30:58
  it builds on episode by episode, the mystery and the reveals and
• 31:02
  all of that stuff. And this is, as I say, genuinely
• 31:07
  the cliffhanger along, as I say, along with Planet of Evil where
• 31:10
  they get ejected from the spaceship.
• 31:12
  This is the one cliffhanger that genuinely flawed me and I, I
• 31:16
  completely did not expect to see.
• 31:19
  And and and it it takes the story somewhere completely
• 31:22
  different that lighting is. Superb.
• 31:26
  It's just so simple. There's four lights in the room,
• 31:28
  she can't get away because they're on every wall and then
• 31:31
  Paddy goes in on her face. So you just say it completely
• 31:33
  dark and then lit up. It's really effective.
• 31:37
  I say denim is quite hot in the future indeed.
• 31:40
  That everybody. Will be wearing denim.
• 31:42
  Fucking hell, now you. Need to distract me all right
• 31:44
  from this fella because he has all the tightest jeans on you
• 31:47
  have ever seen in your life. It's.
• 31:50
  Worse than the later? Episodes, all right?
• 31:53
  Oh, my God. Yes, Yeah, he's turned around.
• 31:56
  Yeah, Jesus Christ, Planet Spaceship.
• 32:00
  What's going on? They're.
• 32:03
  Like super tight, but also really flared as well.
• 32:05
  So which is quite a quite a trick, isn't it?
• 32:07
  Yeah, he's very pretty. I'll go and say the lion.
• 32:10
  Three months ago I. Don't I genuinely do not think
• 32:13
  you there is a better cliffhanger as and as they
• 32:16
  completely floored me. The the criticism you get is
• 32:21
  that in the next episode that is revealed that that you know you
• 32:25
  you figure out pretty quickly that they're not because it cuts
• 32:27
  back to the the earth stuff. Well, no, I, I.
• 32:30
  Think the clue is there in the yeah, it's still it's still
• 32:36
  blood and hydro. Technically, you could figure it
• 32:39
  out straight away. Well, I think it's such a rug
• 32:41
  pool that you're like, oh, what what?
• 32:44
  It does exactly what you. Want it to do as a Cliff what a
• 32:47
  cliffhanger should do and very, very frequently doesn't do.
• 32:50
  Yes, they could go what the I would need to come back next
• 32:53
  week. I need to see what they rely so
• 32:55
  much. On false jeopardy cliffhangers,
• 32:57
  don't they? Rather than great plot
• 32:59
  surprises, Yeah, and they all fit the.
• 33:01
  Same Bill isn't it's always the monster reveal is always like
• 33:05
  no, doctor, you will die. It's always that's what you get
• 33:08
  and you're like, OK, say this a billion times and the resolution
• 33:13
  is not going to matter. But with something like this,
• 33:15
  you I need to know what happens next because because like hang
• 33:20
  on, is she in space? That can't she can't be in
• 33:21
  space. I genuinely thought that that's
• 33:24
  what they done. I think watching like thinking
• 33:27
  back to that cliffhanger, I didn't clock the the bruise on
• 33:31
  the head straight away and I was like, holy crap, right.
• 33:36
  I don't think you're. Supposed to really clock it
• 33:38
  because she touches it, doesn't she?
• 33:40
  When they're talking to her and she's like, no, that doesn't
• 33:42
  make sense that that would be a scar now rather than blood, you
• 33:46
  know? Yeah, Really clever.
• 33:48
  I'm trying to think of other cliffhangers that sort of really
• 33:52
  surprised me. I think, you know, one that
• 33:56
  always gets me is the Daleks episode 4, where they've done
• 34:00
  that massive escape out of the city and like, right, come on,
• 34:04
  we need to go back to the TARDIS.
• 34:06
  Oh God, The fluid link. We've left it back in the city.
• 34:10
  That's a good, that's a good surprise because you've
• 34:11
  forgotten all about the fluid link by that point.
• 34:14
  That's good one. What?
• 34:16
  Else what else? Oh, the one I always talk about
• 34:19
  is Set Your Deaf episode 2. I think that's exactly what I
• 34:23
  should be asking you, doctor. And you're like, what the fuck
• 34:27
  are you doing in the past? No, you're right, I think.
• 34:31
  Yeah, you're right, because I'll probably wouldn't have picked it
• 34:34
  because I had. That's when I remember from
• 34:36
  seeing as a kid. So I didn't have the same impact
• 34:40
  watching it later, but it's like a plot surprise.
• 34:42
  Rather than Yeah, yeah, it's. Taking that like this, it's
• 34:45
  taking that plot somewhere completely different and you and
• 34:48
  you don't know what the next bit of it is going to be.
• 34:52
  It's not like there's a very simple briticum and a little bit
• 34:55
  of simple jeopardy that the doctor's going to get out of
• 34:57
  next time or isn't going to matter at all.
• 35:00
  You're right, this is taking the the story somewhere else.
• 35:03
  Try to think of a new. Series cliffhanger.
• 35:06
  That surprised me because I feel that stuff we've watched as
• 35:09
  adults. I mean, I've got to say, all of
• 35:12
  the Stolen Earth just delighted me.
• 35:14
  But that cliffhanger where it looked like he was regenerating
• 35:16
  my story? Oh, no, you.
• 35:18
  Yes. Yes, 100% that is the one time I
• 35:24
  I can remember watching the the modern show where yeah, that
• 35:28
  elicited the same response. Totally didn't see it coming.
• 35:31
  I think actually maybe I I don't know if they had to read
• 35:34
  something about it before and I'm not sure, but if I had even
• 35:38
  then, it didn't take the rub off that because I was he was so out
• 35:41
  of the blue and and you know, I'm not Russell C Davis is the
• 35:45
  biggest fan, to be honest with you, but genuinely for as a
• 35:49
  cliffhanger idea. How good is that?
• 35:54
  How? Good is that idea that holy shit
• 35:56
  there's a regeneration we we didn't sell it through though?
• 35:59
  Did he? No.
• 36:00
  Well. That's the that's the problem
• 36:03
  with that is like you never, and it's the problem really inherent
• 36:06
  with all cliffhangers is the the resolution is never going to be
• 36:09
  as satisfying. But that's not really what the
• 36:11
  cliffhanger's for. You know, the cliffhanger is to
• 36:13
  to make you go, holy crap, what the fuck?
• 36:15
  What's happening next? And yeah, I think for me, we've
• 36:20
  never had a regeneration. Mid story and then they did 1
• 36:23
  mid story where they sort of got pulled in two like a cracker and
• 36:27
  we were all like, well what the hell was that?
• 36:30
  There's two of them. What's going on?
• 36:31
  Yeah, I think everyone's still a bit confused about all of that.
• 36:38
  Seemed to be unnecessary, didn't it?
• 36:39
  Suddenly, we all tear in. Half for some reason, OK, and
• 36:42
  and they all tear in half. All the way down, back down the
• 36:45
  line. What I don't what you're talking
• 36:47
  about. Anyway, I mean, we're halfway
• 36:52
  through, we're ending here tonight, but we are coming back
• 36:55
  to for 3/4 to six. But boy, boy, what a great run
• 37:00
  of episodes so far. Fabulous.
• 37:03
  Thank you very much for picking Invasion of the Dinosaurs.
• 37:05
  Is is there a Corker? People do tend to say.
• 37:08
  You know that four and five is where things get a bit say me
• 37:11
  and it's just a lot of running around.
• 37:12
  I'll tell you what all that stuff where he's being haunted
• 37:15
  through the woods by unit. Ah, bloody love that stuff.
• 37:17
  So I've got great stuff to come and we've got the.
• 37:20
  The humor, Bill. Oh, I've forgotten that.
• 37:23
  Right, we've got Dino on Dino action, Dino on Dino action.
• 37:28
  I mean, it's still. The Brig and the.
• 37:30
  Doctor in the Tubes, all of that stuff's really.
• 37:34
  And of course. John Perk, we sermon at the end,
• 37:37
  You know, take this world you've got.
• 37:40
  Yeah, yeah. Well.
• 37:42
  Until then, thank you very much, Paul.
• 37:45
  See you soon, Joe.