Latest / A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast / Talks to David Gillespie-Pratt about his choice of Underworld (3/4)

Transcript

Talks to David Gillespie-Pratt about his choice of Underworld (3/4) · A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast

• 0:22
  None hamster with a blump pen knife
• 0:35
  for doing. Quicker, quicker, quicker.
• 0:40
  One welcome back to our Hamster with a Blump Penknife, the
• 0:43
  Doctor Who commentary podcast, David.
• 0:48
  Hello. Have you ever floated down a
• 0:50
  lift shaft in slow motion? Probably not.
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  It's how you felt the day you got married.
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  Don't, don't lie to me. I'm not sure if I can quit the
• 1:02
  the the day I got married with possibly one of the most
• 1:05
  embarrassing effect shots in Doctor That shot that shot.
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  I think I I stuck an example of it on Twitter the other day
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  because it was just and the more I looked at it because I say
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  this is a story I don't revisit often.
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  I never looked at any detail and the more I just looked at that
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  that shot, it was like, oh, this is bad.
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  I like the fact that Tom Bakersfield with a scarf, as if
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  he's sort of flying. I can't work out is he is he in
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  character being quite bored and not that fussed about what's
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  going on? Because it's just like, yeah,
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  I've seen this before. Or is it just Tom not giving a?
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  Shit, I mean. We've already talked about.
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  This it could go. That could be either.
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  Of those two things, couldn't it?
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  Well, I mean, I mean, we keep cutting back to it.
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  So I think. The implication is that they've
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  been going. Down for some time if you're
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  pardon the expression. They are, and you've got three
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  different attempts to how to sell that.
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  You've got Norman Tipton, who thinks a bit lost.
• 2:07
  Yeah, he's talking. He looks like a chicken, doesn't
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  he? He looks as though, Yeah, when
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  Karinsky. Dies in the City of Death.
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  It's a bit like that. And then you've got Louise
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  Jameson, who is, I think, really trying to sell it.
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  And then you've got God Bless. God bless Louise Jameson, you
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  know, the staff mate asked her to sell in season 15.
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  I mean, can how do we describe this to you, Louise?
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  Well, you're floating down lift shaft when you're standing on
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  this blue set. Just imagine you're in this
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  Daegro green lift shaft with some muzak playing and you're
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  floating down. So just do some floating acting.
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  You know what I do think in this story there is even the point
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  where she loses interest and I don't think she ever really
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  loses interest. She's always trying.
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  But there's a bit in, I think it's episode 4 where they're
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  trapped in a cave, Ade out the Doctor and her, and she's just
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  looking bored and she just got like to the side of the of the
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  scene. Looking incredibly bored?
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  Yeah. I know the show because it goes
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  on just that little bit too long and you're like.
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  It's like is this is. This Louise on set looking bald.
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  I think it's one of those, the episodes under running a bit
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  again. Oh, we've got a bit of footage
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  here of them on The Cave set, just stick it in.
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  But yeah, that is, it's not quite as interpretable as the
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  the repeated shots of cameras or smoke coming.
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  Guards going down the corridor. Guards going down the corridor I
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  I thought the lift shaft thing was repeated.
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  But it's not. They actually have done it three
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  times. Oh no.
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  Oh, Blessed. No wonder they were getting
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  pissed. Off certainly different.
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  I always thought for ages that it was just the same shot
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  repeated. But it's like, no, no, it's it
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  is different. Just.
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  Well, I'll tell you what, let's go floating down the shaft and
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  see what Episode 3 of Underworld has to offer.
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  Would you care to counter soon? 54321.
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  I was going to ask you if you knew anything about Greek
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  mythology and all the stuff that this is based on.
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  If I'm honest, I recognize the words, but the detail as well,
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  no. And the closest I can do is I
• 4:18
  played Assassin's Creed Odyssey a few years ago.
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  That's got a lot of Greek mythology, but I know that's
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  absolutely no reflection of what happened in real life.
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  Did the plot of Underworld help you get through Assassin's
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  Creed? Obviously.
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  Not particularly, no. But you know that that's a real
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  shame. That's, you know, there there,
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  there was a tie in dying to happen.
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  I mean, you know, floating, floating through caves and
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  everything. I mean that's that's a that's a
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  modern video game that's got slightly better visual effects
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  than it does. And yet and again, another long
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  reprise. Yeah.
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  You you can always tell, can't you?
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  That's what terrorist sticks Always said.
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  You can always tell when. We're under running because the.
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  Reprise is about 2 1/2 minutes long so.
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  This is this is going to be the most possibly the most
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  uninteresting spot potential spot.
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  But there is potentially a bit of reuse, I think reuse sets at
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  the back of the O1C set, you've got the little take reel.
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  Things like they look a lot like the ones in Resurrection of the
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  Dialects when the Doctor's having the brain.
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  Drain they do, I think that might be.
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  It's got just did. The commentary for that a couple
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  of weeks ago? Because we were watching Captain
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  Scarlett and I think that those props originated as a Captain
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  Scarlet prop. Because we I know the BBC bought
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  a whole load of props from Century 21 because a lot of
• 5:34
  stuff from Space 1999 and UFO turns up in Doctor Who.
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  So it's not out of the realms of possibility that some of these
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  small bits of set. I love playing prop.
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  Watch in Doctor Who that bloody sofa from Robots of Death from
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  Blake 7. That turns up in.
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  Time Lash Oh, it's. Fabulous.
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  And there's may. There might be some bits on the
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  spaceship, there might be some of the sofa because they are
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  sofas they've got on that upper level.
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  And the Blake 7 Gars helmets end up in Doctor Who at some point.
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  Frontiers or something? Frontiers, I was about to say.
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  Mysterious planet, but they're reusing the Earth shock.
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  Oh, they're really losing their own props.
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  And then don't they? I think they turn up in doubt
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  from the ban of men as well. So they got their money's worth
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  out of that. You know how Tom Baker used to
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  hang out at the bar, right? And get absolutely blattered.
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  That bit, That bit. There where he just rested his
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  head down. That's a bit like Tom at the bar
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  at the end of the night. We had the one last chance to
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  see the vent spewing at its smoke, for this time in reverse.
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  That's right. And I'm not going to say the
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  line again, but you know what it is.
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  I know what it is And now now we've got the guard, they've
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  taken their hats off so we can now see what they look like.
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  Now, one of their back, You know, he looks like every porn
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  actor from the 1970s with that mustache.
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  And look at their enormous shoulder pads.
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  I mean, they're giving K Omar a run for their money.
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  I mean, I think, I don't think the costume design in this is
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  it's strong, but I don't think I said during the first, first
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  episode. I think the the minions, the
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  minions of Mignos's space suits are just a bit dreary.
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  Obviously the trogs are going to be a bit dreary because they're
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  meant to be, but the colour scheme of this, it's like, we've
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  got this gold. Is it gold?
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  Yeah, it's. All goldy grey, isn't it?
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  Goldy grey on top of with grey and blonde hair on top of a
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  backdrop that's grey. And then the spaceship is just
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  all grey for the most part, or beige.
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  And the most colour in this is either the Doctor scarf.
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  Or. Some design on the floor.
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  I do quite like the design of the mad computer room, which I
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  know is this set redress, but there's some sort of purples.
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  And yellows in there and. Colour in it and this is a nice
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  little cute moment with Leela and IDAS where they're talking
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  about the sky and it's like that's that is the roof.
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  Yeah. And that's quite a nice.
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  More exchanges like that though, didn't we?
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  And I think you need Leela to be working with someone and get a
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  bit of character. She has a nice line.
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  I think it's at the end of this scene where it's like the Doctor
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  sees many fathers. It's.
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  A great line, That's a really brilliant.
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  Great Leela Line. And it's just such a shame that
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  there's just too few because, you know, growing up, you've got
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  all these reference books and they all have the most quotable
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  dialogue. And that's like.
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  Underworld does not feature. I don't think Underworld
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  features and it's a real show because there you go, don't
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  worry, do not worry. Look, there's a whopping great
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  close up on your tape reels there.
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  I I it's that's going to go on those things where I'm going to
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  go and pause things and go that's the same, isn't it?
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  How could you possibly say that's uninteresting?
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  I mean, that's the sort of content the listeners are here.
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  For I I think I'm doing that thing of kind of protecting
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  myself. I think we were talking about
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  this off mic about being. It's like, you know, not being
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  embarrassed about you being geeky.
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  But every now and again that that that little bit of instinct
• 9:01
  kicks in of going people might judge me then, then I then
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  you're right, I should just remember where I where I am,
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  what I'm doing and who I'm talking with in terms of teaser
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  and to the audience. Exactly.
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  We're all aware because we love the same thing as you.
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  We all love the same thing. Do you know what I do know?
• 9:18
  A podcast host? Yeah.
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  The most affable man you're ever going to meet.
• 9:22
  Nobody in his life apart from his partner, obviously knows he
• 9:26
  is a Doctor Who fan and that he runs a Doctor Who podcast.
• 9:30
  He's managed to completely separate the two things.
• 9:32
  That's interesting. That's astonishing, isn't?
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  It I mean, I I mean, I couldn't do it.
• 9:40
  I think I I told you the idea of doing a podcast then I go, I
• 9:43
  can't actually think of a a a new way in or anything like
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  that. Then and it was again talking
• 9:48
  with my husband about it and he just goes just turn up at other
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  peoples don't don't get caught. Don't get caught up in like
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  Commission. Keep putting yourself on a
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  schedule and everything like that.
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  So just enjoy it for as long as you want to do it.
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  He's like, keep doing your videos because you enjoy doing
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  that and that's your hobby. Your videos are marvellous.
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  I need to do some more but I'm waiting on.
• 10:07
  I need to get a new microphone but it's like because it was my
• 10:11
  40th and someone said what do you want for your 40th?
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  And like I'd like a new microphone please.
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  My brother in I haven't got a clue what I'm looking at.
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  So I think I I not unreasonable to say they're just wandering
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  around some caves so we ain't got to worry about underwear.
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  There's not a lot, there's not a lot canines floating around.
• 10:33
  That your videos are as detailed, I'd say, as sort of
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  the Gavroy Mill, you know, the Dalek Army ones.
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  And and and that's I mean because I think they're fine.
• 10:45
  I I I love those and so that's that's really I'm very
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  flattered. I don't always lost always lost
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  the word. I think for me my main thing is
• 10:53
  keep it short because sometimes when you go on you get these
• 10:55
  recommendations from YouTube and like oh that sounds like an
• 10:58
  interesting topic. How long is this video?
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  Two hours. I mean, I always say.
• 11:03
  Especially when you see also reaction videos, which I don't
• 11:05
  watch anymore because I got quite fed up with them, but
• 11:09
  like, we're reacting to the latest Disney Plus trailer look.
• 11:13
  Do you know what? I get it, though?
• 11:14
  I do get reaction videos because I people sort of want, it's like
• 11:19
  confirmation bias. They're watching people react in
• 11:22
  the way they reacted and so you can get very emotional through
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  their eyes. But I always feel like the
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  people doing the reaction videos, that is the laziest.
• 11:30
  Form of thing you can put out just putting something on and
• 11:33
  watching. It and then filming it and then
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  putting that. Out, I'd say.
• 11:38
  There are times where it can be really quite interestingly done.
• 11:41
  Now we're coming up to Volish. They're at the lift shaft now.
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  Oh. Yes, and the music can I?
• 11:48
  You can. If you want to sing the music,
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  you're more than welcome. It's basically just that.
• 11:56
  Over and over again. And we've got just push.
• 11:59
  And did you notice the camera there again the?
• 12:01
  Camera was there, I've lost count, but it's probably the 5th
• 12:04
  or 6th time. Look at Tom's face.
• 12:06
  He's like, oh, let's go push. Everything.
• 12:09
  He's in a good mood here because this is in.
• 12:11
  This is just after he's been regaling the Allen Lake store.
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  Here we go. Oh.
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  My God. Look at Norman trying.
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  To and sort of. Louise James is.
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  Doing a sort of gravity. Defying thing, isn't she, but
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  oh. And.
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  And Tom's just like, yeah, scarf.
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  It's on the little monitor as. Well, but the same shot.
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  The thing is, they're coming down slowly down this, this, the
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  shaft, and it's like alert, alert, and they're still coming
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  down. We get you.
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  Know you know when like. A a young child.
• 12:46
  You know, does you know you ask a young child to count backwards
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  and they sort of turn their back on you and count?
• 12:51
  Forwards and you go, oh, and you pat them on the head because
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  they tried, even though they got it completely wrong.
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  That's how I. Feel washing underworld
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  sometimes. You know, bless you.
• 13:01
  You're adorable. You are.
• 13:04
  And back on the so this. Is a good go, yeah.
• 13:07
  Good bit of economy in terms of you know and it makes sense it's
• 13:10
  the sister ship or the the same culture therefore it would be
• 13:13
  the same design so that all works you.
• 13:15
  Know what? They could have gone to town
• 13:17
  with this, with some really exotic drapings and lots of dry
• 13:21
  ice. And again, it feels a bit half
• 13:24
  hearted, even though the lighting's a bit better.
• 13:27
  I think sometimes a lot of these stories would be immeasurably
• 13:31
  improved with a little bit of dry ice and just bring the
• 13:33
  lights down a little bit further.
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  And if anybody would like to know, Sophie.
• 13:36
  Audrey is on an episode of Corners on YouTube telling you
• 13:40
  how you can do it. Sorry.
• 13:43
  Just another little thing for. YouTube there.
• 13:45
  There's a bit in a minute over there.
• 13:46
  Try and light this sort of Brazier.
• 13:48
  Thing and it takes forever. Did you notice?
• 13:51
  Yes, it it's, it's quite it. It all it all kind of portrays
• 13:55
  the we're doing this in a rush. I mean The thing is we've now
• 14:00
  got the seers which you know, the the, the the slightly
• 14:03
  unfortunately shaped robots and it was, it took me a while to
• 14:08
  realise that one of them because they were they're but I say
• 14:12
  proper actors. They've got proper named guest
• 14:14
  stars in these costumes, and one of them is Richard Shaw, who
• 14:20
  plays Lobos in space. Museum.
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  The charisma. I can't handle it.
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  And he's in. He's in frontier space.
• 14:29
  He's in creator mass in the pits.
• 14:30
  You know, somebody who's capable of probably being doing a fairly
• 14:33
  decent guest performance is hidden under a hood, under a
• 14:39
  mask. Yeah, I'm really thankful as
• 14:42
  well. And there's that point of
• 14:44
  there's just maybe too many characters at this point.
• 14:47
  Because it's almost like if you just had the seers as the the
• 14:51
  the lead guards, then you could actually spend a bit more time
• 14:55
  with them, build them up a bit more as these sort of secondary
• 14:57
  villains. But apart from that you've had,
• 15:00
  they've had their masks off for a bit.
• 15:02
  Like this whole bunch. The the crew, the descendants,
• 15:06
  you know the what? The trogs.
• 15:08
  Why do we care about any of them?
• 15:10
  Like we never get to know any of them.
• 15:11
  We never really understand the infrastructure of of their
• 15:14
  community. I'll I'll give you an example of
• 15:17
  of how Russell T Davis does this sort of thing really well when
• 15:20
  he's got sort of on mass scenes. Do you remember that bit in
• 15:23
  Christmas Invasion when all the people with the blood types
• 15:26
  start leaving their houses and going up and, you know, you
• 15:29
  could be like, oh, well, why do we care about these people?
• 15:30
  They're just a load of people we don't know.
• 15:32
  And then you've got that thing and that woman going, you know,
• 15:34
  no, please go back in the house. You're scaring me now, you know,
• 15:37
  and and you just get a little, just a little emotional insight
• 15:41
  and you suddenly care about these people.
• 15:44
  Yeah, there is. Absolutely.
• 15:46
  There's no emotion in there. So I mean, classic, Classic
• 15:49
  here. Wasn't always full of emotion
• 15:52
  anyway. That's right, isn't it?
• 15:53
  Like, I don't mind that. There's nothing wrong with that.
• 15:55
  I think it worked. But what you have here is you're
• 15:59
  right, there's no because there's no really sympathetic
• 16:01
  characters. The only one that really gets
• 16:04
  any sort of meaningful dialogue is Idas, and he's wet.
• 16:09
  I mean, I'm reading a review. Herek as.
• 16:12
  Well and herek herek is is, although he's not in it as much
• 16:15
  as I watching it now going. I'm not.
• 16:18
  I don't think the last time I've spotted him, actually, Joe was
• 16:20
  about he's been. Out of it for a while.
• 16:21
  Got stuck behind the door, and I know he gets a bit more to do at
• 16:24
  the end of this episode, but like you've got Igman, that's
• 16:29
  his his father because it was a review.
• 16:31
  That said, I couldn't even tell you what Iman looks like because
• 16:34
  you never see him in any sort of close up because he's always in
• 16:37
  either sort of mid shot or long shots.
• 16:39
  And it's like, well, he's not the only one, because there's a
• 16:42
  there's Naya who is introduced in this episode.
• 16:46
  It's like I always forget that they actually have.
• 16:48
  That is that one of the drugs? It's.
• 16:51
  One of the drugs. She's got a bit of dialogue in
• 16:53
  three and four. Oh, because she has.
• 16:56
  She's chatting with Leela later. But look, I could never
• 17:00
  remember. It's only when watching God, Oh
• 17:02
  yeah, there's this is the character who popped.
• 17:03
  In I didn't know that person existed, so thank you for for
• 17:06
  making me realise that. Did you see that sort of rickety
• 17:09
  bridge that they just had there? It was an actual.
• 17:12
  Bit of set. In the caves.
• 17:15
  It's a bit of set because there's a close up when our leg
• 17:18
  falls on it and you can see it's a bit cobbled together, but it's
• 17:21
  probably meant to be. But the thing with some of these
• 17:24
  productions, it was like, is it meant to be cobbled together or
• 17:27
  is it just and and oh the escape scene is, is, is.
• 17:35
  The trouble with the dad as well right is, is every time he's
• 17:38
  given dialogue is is that sort of like frustrating to camera
• 17:41
  going no, my son, you know. Like, get out of here.
• 17:45
  Yeah, it's all this sort of portentous dialogue as well.
• 17:48
  And yeah, I mean, it's not brutally done.
• 17:53
  I mean the guest, I mean one I would get one thing I think the
• 17:58
  the laser effects are actually are they not.
• 18:00
  Bad at all, and I like the. Shields that bounce.
• 18:03
  Them back the shield. Gun is really and it's because I
• 18:06
  believe and no doubt somebody will correct me that for this
• 18:10
  story they did an effects day after they did all the
• 18:14
  recording. They did it and I think it was
• 18:16
  if it was not the first time they did it.
• 18:18
  It was rare that they had the studio gallery only days.
• 18:21
  I think it's. Apparently there was.
• 18:23
  Another show sets going up and they used the gallery on the
• 18:26
  same day. And that allowed them to do all
• 18:29
  the effects in post production because I think they're using in
• 18:33
  Invisible Enemy. They had to do it as live and it
• 18:36
  took forever. And I think you can do when you
• 18:39
  watch Invisible Enemy, you can sometimes tell.
• 18:42
  Whereas here I think the visual effects those those sort of
• 18:45
  lasers and that work. Really.
• 18:46
  Well, they're actually on, certainly on the because I've
• 18:49
  got the VS, VHS copy here. Some of them are losing colour
• 18:52
  coming across the bridge because that.
• 18:55
  That poor bridge, because that's all they've got.
• 18:57
  We just keep going over it like. And then you've got this shot,
• 19:02
  which I think they use it as an exact.
• 19:04
  This is the example they use in documentaries because every time
• 19:07
  they do an effect it takes the generation of the mass to take
• 19:10
  down. And the fella says on the
• 19:12
  documentary that at some points it was getting to the point
• 19:14
  where it was unbroadcastable or what was accepted to be
• 19:17
  broadcasted. And they were watching on the
• 19:20
  DVD. There were some of these shots
• 19:22
  looked like they were from an off air because the quality has
• 19:25
  just gone down so much. It's like we said, isn't it?
• 19:28
  It's all been made in desperation.
• 19:30
  This. And but they're doing things
• 19:32
  that would lead to become the norm, doing all your your laser
• 19:35
  effects. Single camera as well, isn't it?
• 19:38
  It's all. Single camera.
• 19:39
  Every single camera. Well, it's.
• 19:41
  Normally it's multicam in the studio.
• 19:43
  And I think they mostly get away with it.
• 19:45
  I think sometimes there's a lot of discontinuity when you have
• 19:48
  cuts in the same scene. So there's a bit in Part 2 where
• 19:52
  the Doctor Lee that got hide in was it the minecart and they cut
• 19:56
  to a close. So they go in and they cover
• 19:58
  themselves with the the, the foil sheet and then there's a
• 20:01
  close up where it's kind of not quite covering them.
• 20:02
  So there's a lot. Clearly not quite so.
• 20:05
  That's the end of this episode, isn't it?
• 20:07
  There she is, and there's a shot of Leela coming up, which I
• 20:11
  think was a meme for a while of her just looking a bit confused.
• 20:14
  Oh, do you don't know? I did know this woman existed
• 20:16
  because on the info text, apparently she's come from like
• 20:19
  a prestige period drama, so she's had a.
• 20:22
  Massive role. As she's.
• 20:24
  Doing this and and and having to and the the challenge that some
• 20:28
  of these actors have they're delivering this dialogue all
• 20:31
  kind of in the Oracle and the and.
• 20:34
  It's it's all neat. Some weight, don't worry.
• 20:37
  It it, it's all very basic. In fact, you know what this
• 20:40
  needs? It needs they need to hang a
• 20:42
  Lantern on it more that it needs to be more sort of Steven
• 20:44
  Moffett, a bit more meta. Because we are keep going down
• 20:47
  the same corridor, because we do keep going across the same
• 20:50
  bridge. Someone needs to just.
• 20:52
  Let the audience know we know we're going across the same
• 20:54
  bridge. So go, oh, Jesus Christ, another
• 20:57
  bridge. You know something like that,
• 20:58
  you know, But because it's all just.
• 21:00
  Played as if it's a vast area where every area looks.
• 21:04
  Exactly the same. Well, it sort of.
• 21:07
  Exposes of exactly what? Was happening behind the scenes.
• 21:11
  I think it it it it's almost like they should have just said,
• 21:15
  look, we may just need to be a little more tongue in cheek with
• 21:17
  this. We just have to you know, you
• 21:19
  need the wits to carry you through.
• 21:20
  Normally that would be Tom, but he's not doing it here.
• 21:24
  I just think there's no time for it.
• 21:26
  It it's basically everything is telling the story and it's just
• 21:31
  telling the story and here we are.
• 21:34
  I don't know how far we're into this.
• 21:35
  It's like said, yeah, we're not far off the end and it's like it
• 21:39
  doesn't feel like a lot has happened and it's like what it
• 21:43
  is very slight in terms of the story in.
• 21:47
  Terms of incident as well in episodes 2:00 and 3:00.
• 21:50
  There's not a lot and I think it gets a bit muddled as well.
• 21:54
  Like what this next sequence where they're they're they're in
• 21:57
  the so they're getting in the carts, they're going, they're
• 22:00
  being pushed around and then the cliffhanger, It's terrible.
• 22:05
  It's the car just going over the edge, isn't it Of.
• 22:08
  A clear form. And then and then what was
• 22:11
  their. So their plan was what they were
• 22:13
  going to go through the crusher, but then they fall into the
• 22:15
  crusher. Yeah.
• 22:17
  So it's all a bit. They they Are they trying to go
• 22:20
  back to the seer again? They're trying to get back into
• 22:22
  the ship through because they talk about all the ingested
• 22:24
  rock. There's the crusher.
• 22:26
  Yeah. So is that how they were trying
• 22:27
  to? So it's It's not.
• 22:29
  And the direction just doesn't help and.
• 22:32
  Really doesn't. And and you know, we repeat
• 22:36
  ourselves ad nauseam. Because of what it.
• 22:38
  The the the madness that is going on behind the scenes.
• 22:41
  That's why it don't make no sense.
• 22:43
  Like in in a a more smooth production when this sort of
• 22:47
  thing happens, I'm less forgiving, but I kind of get it.
• 22:52
  I think there and there is a there's a long discussion about
• 22:55
  how forgiving can we be towards top two stories.
• 22:59
  I think I I kind of put that out there over the weekend in terms
• 23:02
  of why as fans are we more forgiving to certain stories
• 23:06
  over others. And like the this was a story
• 23:11
  like Invasion Time made under really difficult, stressful
• 23:16
  circumstances. It was a miracle they got made
• 23:18
  but they can't just get a major kicking.
• 23:20
  Same thing, things like Twin Dilemma, Time and Irani, and
• 23:22
  which I know you've been doing a lot of.
• 23:24
  You've been getting through some interesting story choices.
• 23:26
  That Well, that's because everyone chose all the best ones
• 23:29
  first. Now I'm 600 episodes in.
• 23:31
  I'm just left with the Drake. And yet when you know, I know
• 23:37
  people enjoy things like flux, but anytime someone comes in to
• 23:40
  criticize it's like but it was made during the most difficult
• 23:42
  circumstances we have to be. So you're willing to go to say
• 23:48
  be accepting of behind the scenes issues and difficulties
• 23:50
  and that's why maybe the final product.
• 23:52
  I think I saw that when people talk about Legend of the Sea
• 23:54
  Devil saying, you know it was made under difficult
• 23:56
  circumstances. So you're willing to give that a
• 23:59
  bit of a free pass, but not elsewhere and and?
• 24:03
  I will say I think flux is an extraordinary production
• 24:08
  regardless of the circumstances it was made under.
• 24:13
  I I might have to read it. I I struggled with it.
• 24:15
  I I I did. I may have to go back and give
• 24:18
  it. I had to take five things into
• 24:20
  the cutaway bunker recently, and my Blu-ray set of the Flux DVDs
• 24:24
  was one of my five Doctor Roofing's I took down there.
• 24:26
  So that tells you how high I I held that one.
• 24:30
  And that's that's the good thing about, I think a lot of fans,
• 24:34
  and certainly like a lot of the fans that we all sort of know is
• 24:36
  that we can disagree. We can respect and disagree and
• 24:40
  Seth. Fraser Gregory, who is
• 24:42
  frequently wrong. I I quite like the Dominators.
• 24:47
  It's. Funny how you go straight to the
• 24:49
  Dominators there. Well, you know, we all do.
• 24:52
  And here we go. We're now coming to.
• 24:55
  Oh my gosh, it's. Quite possibly the the the most
• 25:00
  ridiculous, No more ridiculous than the lift shaft scene is the
• 25:04
  reveal of the seers. I've got to say, you know, if I
• 25:07
  asked my raft to go into the bedroom right now and to open my
• 25:10
  top drawer, you see something very similar to those seers.
• 25:14
  Revealed as he did. I mean, they are very rude
• 25:18
  looking, aren't they? They look rude and I don't know
• 25:21
  if it's the glowing red eyes or the the, the, the.
• 25:25
  It doesn't really make a lot of sense.
• 25:28
  I'm so sorry to laugh, but that old man pushing them out, the
• 25:33
  thing there. It's like something.
• 25:34
  Out of Monty Python, It's like something out of the Life of
• 25:37
  Brian. It's one of those things of
• 25:41
  what's going on. I wonder whether or not this is
• 25:44
  where, if somebody, if somebody's got a copy of the
• 25:47
  camera script, I would love to have a copy of the script.
• 25:49
  I would love to know whether or not that spending they shot
• 25:54
  everything that they needed for that cliffhanger or whether
• 25:57
  there's something missing, because I think it really feels
• 26:00
  like there's some dialogue or something not there.
• 26:04
  I'll tell you what I'll do between episodes.
• 26:06
  Three and four. I'll quickly for oh, there you
• 26:08
  go. There's Chapter 11, The Crusher.
• 26:11
  I'll find the bit of dialogue and I'll try and explain to you
• 26:13
  what's occurring. OK.
• 26:16
  These are the legs we're having to go to, to have the book on
• 26:18
  hand to explain what's going. On to understand the story.
• 26:24
  Oh. Listen, I mean, poor, poor
• 26:26
  Norman Stewart, you know, he gets underworld and then it's
• 26:28
  like, right, You can come back next year.
• 26:30
  What am I doing? Power of Crawl.
• 26:32
  Bless his heart. Although do you know, I will say
• 26:35
  the location work in power of Crowd I think is the best stuff
• 26:37
  for you. I I I think the location work is
• 26:41
  great. I think.
• 26:42
  I think model work for the most part is actually quite decent.
• 26:45
  I think there's a couple of match shots that quite work, but
• 26:50
  I think all the outdoor stuff looks great.
• 26:53
  The second they get into the studio, you can see why he
• 26:58
  probably wasn't asked back for another year, but then he kept
• 27:02
  getting Pennant Roberts back in. By all accounts, he was so
• 27:06
  technically competent on the invisible enemy, wasn't he?
• 27:09
  He was the the director's voice on the studio floor.
• 27:13
  Yeah, he was the production assistant or something on.
• 27:16
  He was so good at ushering all the actors about in all those
• 27:19
  sequences in the Doctor's brain. Graham Williams is like, ah, he
• 27:22
  could do this. He could direct.
• 27:24
  And the stuff in the Doctor's brain, because that's CSO sets
• 27:27
  throw a lot on it, but a lot of that is actually really.
• 27:31
  Good. Pretty.
• 27:31
  Good. And because there's not many of
• 27:34
  them, they don't dedicate nearly three episodes to it, and they
• 27:39
  have a variety of shot. They actually have close-ups.
• 27:42
  And it's kind of that fantastical nature of, you know,
• 27:46
  your inside doctor's brain. Therefore, if it looks a bit
• 27:48
  weird and a bit abstract, it doesn't matter.
• 27:51
  But here we're just floating around.
• 27:54
  Love that bit where they're doing round ring, ring of roses
• 27:57
  and all that. Water's coming at you sometimes?
• 28:02
  That Cliff. There's a Part 2 of Invisible
• 28:04
  everywhere. They're holding hands, spinning
• 28:06
  around. It's like, OK, it's a bit silly,
• 28:10
  but again, you don't care. So because because you and I
• 28:14
  have sort of discovered that the writing lacks somewhere, that
• 28:20
  the characters lack personality, that the actors are sort of a
• 28:25
  bit lost because of what's going on, how they're shooting this
• 28:30
  and there is a lot of running around and it's technically
• 28:35
  incompetent in places. Can you understand?
• 28:38
  Why some people would struggle with this, yeah.
• 28:42
  I think I wouldn't put it bottom of a pole, but I can see why
• 28:46
  people do because I think it's it's an experiment, but it is a
• 28:52
  failed experiment because they don't do anything like this
• 28:58
  really. Ever.
• 28:59
  Again, not in the classic series, no.
• 29:01
  I mean, the Rings of Acatin is basically this, isn't it
• 29:03
  everyone? In front of.
• 29:04
  Green screens for the most part. And everyone loves the rings of
• 29:07
  Acaten. Well, I quite like that one
• 29:09
  actually, but. No, no one else.
• 29:11
  Does. Well, look, we're going to hit
• 29:14
  the the shocking and gripping Denu.
• 29:18
  Moore of Underworld with Episode 4.
• 29:21
  Are you ready? I'm ready.
• 29:24
  Let's do it.