Latest / A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast / Talks to Gary Russell about his choice of Day of the Daleks (1/4)

Transcript

Talks to Gary Russell about his choice of Day of the Daleks (1/4) · A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast

• 0:33
  I'm still a little bump in my to do it quicker.
• 0:39
  So my name is Gary Russell and this is hamster with a blunt,
• 0:44
  penknife the podcast, in which we allegedly sit down and watch
• 0:51
  episodes of Doctor Who and discuss them and we don't get
• 0:53
  sidetracked and we don't go off on tangents, do we Joe?
• 0:56
  We're very very good about this. We are very straight and
• 1:00
  straight to the letter. No, not.
• 1:02
  So, in fact, the last time we spoke it actually became more of
• 1:06
  an interview, I got to tell you something, the numbers are
• 1:09
  score. This episode's going out,
• 1:10
  absolutely phenomenal. So thank you very much for that.
• 1:13
  I think people gave a shit about the sensor is by the end of
• 1:15
  that. I just wanted to know about your
• 1:16
  career for that was the whole point.
• 1:18
  Is we wanted to. We wanted to sort of convince
• 1:21
  people that the centroid is a good.
• 1:22
  Sorry. I'm just going to say now, the
• 1:23
  sensor is good and although we didn't talk about it, you have
• 1:26
  to go and watch it again because it's brilliant.
• 1:29
  And now we're going to do another one that I don't
• 1:32
  understand why people don't think this is one of the
• 1:35
  greatest stories in the history of Doctor Who because it
• 1:38
  absolutely is. Is what stories out there.
• 1:41
  We're going to do Doctor Who in an exciting adventure with the
• 1:45
  day and the day of the Daleks from nineteen seventy two
• 1:48
  seventy. Yes. 72 isn't it?
• 1:49
  Yes. Joel before we even go it.
• 1:52
  Did you know you are well into watching Doctor.
• 1:54
  Who at this point? Won't you do laughing watching
• 1:57
  it for 56 years? Five years at this point.
• 2:00
  My first experience of this was the target novel, which is a
• 2:03
  very different Beast, isn't it? That is fantastic as well.
• 2:08
  And then I forgot that the HF compilation VHS for that.
• 2:11
  Took out all the the Cliffhangers I was obsessed with
• 2:15
  The Arc. And honestly, I think I know
• 2:16
  every line of dialogue from this story of Lucius.
• 2:18
  The novelization of Dave, the Daleks was the first Target
• 2:22
  novelization. Overbought didn't even know
• 2:24
  novelizations existed and I walked into all with one day and
• 2:28
  there was dr. Endeavor Dalek, and doctoring,
• 2:30
  the Doomsday weapon and I can only buy one, and I was so
• 2:33
  excited because you just didn't find Doctor Who stuff back in
• 2:36
  those days and of course they have The Daleks and you want it
• 2:40
  was there was a Don it was no problems.
• 2:41
  Jon Pertwee. I know the Doomsday weapon was
• 2:44
  just a set a clause in the Mast as I isn't, I don't remember
• 2:48
  that story so I don't know what that is and of course, when I
• 2:51
  went back the next week having scroungers much money off, my
• 2:54
  dad as I could and realize it was colony in space.
• 2:57
  I was also equally excited but David, Alex, first, Terrance
• 3:00
  dicks book I ever read and it's very different from the TV
• 3:05
  version, but is just stupendous and and You just think the
• 3:10
  amount of kids in the 70s who will literally talk to read by
• 3:14
  Terrance, dicks, and welcome. Help with those early Target
• 3:17
  novels and they just elevated the art of Nava, lighting things
• 3:22
  to such a high level. I think he makes him an
• 3:24
  effortless. Yeah, lots of start a scene
• 3:29
  capture a location, or a character in a paragraph.
• 3:32
  So economically. Yeah, gift and other.
• 3:35
  Have you written a book before he did that first Target?
• 3:38
  Its behalf and space. Yes, I don't think he had.
• 3:41
  No, I think he has become of us done because he must have done.
• 3:46
  How do you don't know it's Malcolm honked at the crossroads
• 3:48
  novelizations me. I don't know if you don't know
• 3:51
  if tensed, I think he probably written things that may not have
• 3:54
  been published. But yeah, this might have been
• 3:56
  his first published work that she tells up.
• 3:59
  Brilliant story there's a interview of him on YouTube
• 4:03
  where Justin Richards got a touch about the quick reads.
• 4:06
  There's like right Terrance we need this to be you know
• 4:08
  unpretentious. Simple, you know, to the point
• 4:12
  because it's got to be for people that aren't used to read
• 4:14
  and he's like, Justin, what are you talking about?
• 4:16
  That's what I write all the time anyway, and yet makes it
• 4:20
  spectacularly readable. Anyway, I can hear terrence's
• 4:24
  voice saying that as well. We'll talk about a few ways as
• 4:31
  long as you do by five with terrorists, he goes back and
• 4:35
  corrects what, he might be considered to be mistakes.
• 4:39
  That were made like he puts in the, in the final saying,
• 4:43
  doesn't it? That was edited out of the
• 4:45
  thing? We're going to see in a minute.
• 4:47
  Yes. But that's the joy of
• 4:48
  novelization since you always do that.
• 4:51
  And I would imagine in all honesty that at the time, he
• 4:55
  would novelized a of the Daleks He was working from scripts, so
• 5:01
  probably thought that scene was there any way he actually
• 5:03
  probably forgotten at that point that it wasn't even there
• 5:06
  because he would have been working purely from scripts.
• 5:08
  No visuals knows days, you can just phone up.
• 5:11
  The boot Target, couldn't find out.
• 5:12
  The beam is helping us over a VHS of death, the doll.
• 5:15
  It's just, you know, in those days, it would have appeared on
• 5:18
  a massive great big one inch machine that cost millions and
• 5:21
  millions of pounds to how so you didn't have it.
• 5:23
  All Terrance would have had was a handful of photos and in those
• 5:26
  days we didn't have photos that we have Have today, and those
• 5:30
  scripts. And so, yeah.
• 5:31
  That's what he's from memory of being in Paris.
• 5:34
  Yes, and thank, you know, I remember when I was sitting in
• 5:37
  an office for you doing marks and we said, we should have a
• 5:40
  see when this happens when we couldn't do it.
• 5:42
  So we put it in the book back on enormously, it's a very bad.
• 5:47
  Very, very bad toes. It's impersonation, I promise
• 5:49
  never to do that again. That's why I was absolutely
• 5:52
  compelled by that impression. And I think of your promise, you
• 5:55
  will all start watching it. We've gone off her diversion
• 5:57
  already. Um, I'm just a bad influence on
• 6:01
  you all night. Haribol also a warrior, what is
• 6:04
  that last page of the a Droid Invasion?
• 6:06
  Do you remember that? Where?
• 6:08
  He's literally going? Oh no.
• 6:10
  I'm sorry, bro. Bob, but you have you have a
• 6:12
  tied up anything here at the last paragraph is him going,
• 6:16
  right? We're gonna have to get to
• 6:17
  duplicate and take them all over there.
• 6:19
  We're going to contact unit and do this brother.
• 6:21
  They basically ties up every plot Point that's been left
• 6:24
  dangling. And then just write the Android
• 6:26
  invasion was over. Yeah, which you get a feeling is
• 6:31
  a certain amount of joy in his mind that he'd actually finished
• 6:34
  another motivation of this, really quite that rest of the
• 6:38
  first three episodes, vendor invasion of brilliant.
• 6:40
  And the last episode completely naturally falls apart.
• 6:44
  I still don't understand why they put an eye patch over guy
• 6:48
  crepe its face. It still makes absolutely no
• 6:51
  sex. His Eye Is there.
• 6:54
  How many people live their entire life and never lift their
• 6:57
  own iPad? Because it's not like he's at
• 7:01
  he's come down in the last five minutes, he's been there for
• 7:04
  months if not years at that point and it never occurred to
• 7:07
  him whenever he had a shower clean under the old bucket.
• 7:16
  Okay. Okay.
• 7:18
  Obviously that's lost. While take it.the Android
• 7:20
  patient. They own the building, but day
• 7:22
  of the Daleks Countess in off. Skippers in your answered what?
• 7:27
  All right. Five, four, three, two, one.
• 7:32
  Off we go. I do have a question for you.
• 7:37
  Yes. I know you said off my, you
• 7:39
  know, talk a little bit about being a wee Nipper.
• 7:43
  What was your first experience of this?
• 7:45
  I did. You love it?
• 7:47
  This story. Gotcha.
• 7:48
  So I'm sorry, I'm just going to say that title sequence is the
• 7:54
  epitome of why I was in the for Doctor Who there is never been a
• 7:57
  better title sequence than the purple.
• 7:59
  First party title sequence, the weirdness holla.
• 8:03
  All of it than the sound, the, the 70's style shapes.
• 8:08
  The pert, we face in it, that logo the Wake, those in two
• 8:11
  episodes. The Artic ice, just it just is
• 8:15
  Doctor. Who's of people of my age.
• 8:17
  I Dev adults was, I suppose, I was just excited that doctor who
• 8:22
  was back when we were all excited, everyone at school, was
• 8:24
  it cited? A, I lived, in an era where the
• 8:28
  only people that didn't, Stopped, who want to say?
• 8:32
  We're a bit weird and probably sat in the corner or, like my
• 8:35
  stranger frame friend, Jane Edwards, who didn't have a TV?
• 8:39
  A parents didn't believe in television.
• 8:41
  So he wouldn't ever have one and she was living dr.
• 8:43
  Hoover Kara, sea through the other, sort of 25 people in my
• 8:46
  school in my class at school because she'd never seen it, and
• 8:50
  we'd all talked about it and she get excited and she'd be
• 8:53
  thrilled about going to do you know what it was?
• 8:55
  Because she couldn't see each other.
• 8:55
  That's it but it was a big thing.
• 8:58
  So so Doctor Who coming back? For a new series when you're of
• 9:03
  sort of was that I 78 years old, you kind of its like 10 years
• 9:13
  since since the demons finished, you know, it can't only be a few
• 9:17
  months. It it felt like ten years a
• 9:19
  whole school year virtually gone past, it seemed so Doctor Who
• 9:22
  come back at Christmas. Visit was a Big Thrill and a big
• 9:25
  excitement and it was trailed the week before in a little
• 9:29
  photograph of John. Pertwee in a Dalek against a red
• 9:32
  Flash. And I was hired as a Dalek It
• 9:38
  didn't occur to me that the Daleks have been away because
• 9:44
  it's only about four years, really.
• 9:45
  But it was it 67%, it isn't evil of the Daleks, let's for five
• 9:51
  years, there's something to somebody who.
• 9:54
  So what it for me, as a kid Daleks are still everywhere.
• 10:01
  They were in, they begin in TV comic, they would probably at
• 10:05
  that. Has anything.
• 10:05
  They'd been in countdown at this point?
• 10:07
  But they were in the annuals that we all had our Doctor Who
• 10:13
  stuff and dialects for everywhere.
• 10:14
  So I remember years later reading articles in found these
• 10:20
  things about how important it was that the Daleks are back in.
• 10:22
  It was a big launch and the dog had been in it for five years
• 10:25
  and the, but it's a kid in 1972. It actually didn't seem that the
• 10:31
  darks happen to me. The Daleks were always part of
• 10:33
  Doctor Who and it's only when you sit down, think actually the
• 10:37
  Cuz they haven't been on television for five years, but I
• 10:40
  didn't think that nonsense do to me.
• 10:42
  It was just, the Daleks are back.
• 10:43
  Of course, they're back because that's what doctor who does
• 10:46
  because you equated Doctor Who and the Daleks even if they
• 10:50
  weren't on to have a vision with being one person, practicing to
• 10:54
  pass on the same thing. So it was very exciting.
• 10:57
  They were back but I don't think it had quite the thrill for me
• 11:00
  and my friends at school. That Barry Letts probably
• 11:03
  intended it to have light opening didn't either?
• 11:07
  Every season, we have like a big bang and to be fed.
• 11:10
  The rate is were climbing throughout Italy, stylist.
• 11:13
  These are words that are the tens are by their very own
• 11:16
  spectacularly. Well now, now, we've got one
• 11:18
  just saying, we just got to this sequence in day of the Daleks,
• 11:22
  but has that, obviously, the kiss off at the end, which got
• 11:25
  cut by Paul Menard with his - of inductor, which means that this
• 11:30
  made no sense. But don't tell you, 1972, I
• 11:33
  didn't worry about. I'd forgotten about this scene,
• 11:35
  so when it didn't happen, At the end of episode 4.
• 11:39
  I don't think anyone any of us at school go promise that scene
• 11:42
  back in episode 1 because you didn't think about things
• 11:45
  particularly in those days as a there's a common by somebody on.
• 11:49
  One of the special features I think it's on the day of the
• 11:51
  Daleks thing because I'm sure it's probably bury saying it.
• 11:54
  Or maybe it's Terrance saying actually saying, you shouldn't
• 11:57
  put the explanations in episode 4.
• 11:59
  You should always put them in episode 2 or 3 Because all
• 12:02
  people want from episode 4. They remembered all of that
• 12:04
  story and all they want is bangs of The final episode I
• 12:08
  completely disagree with that. From the from the point of view
• 12:11
  of a kid. You remember the big moments of
• 12:16
  an episode, a week apart? But you don't remember actually
• 12:21
  the blow by blows, what the story is about, it probably
• 12:23
  doesn't matter a great deal. It's about Doctor Who in the
• 12:26
  Daleks, and some gorillas, and it's in the future, but the
• 12:29
  actual explanation stuff, it is actually quite good to have it
• 12:32
  reiterated every week. There's a, there's a policy in
• 12:37
  agent for many, many years called show, don't tell because
• 12:41
  everyone hates Exposition. And I actually think that's a
• 12:43
  really stupid rule to have. Exposition and reminding the
• 12:48
  audience. What's going on in a story is
• 12:50
  not a bad thing. Because kids, I mean, probably
• 12:55
  today's kids are more sophisticated than we were but
• 12:57
  kids generally go always excitement and television, they
• 13:01
  don't necessarily sit down and write down the plot points every
• 13:04
  week and because in those days, You had no.
• 13:09
  I mean, I wasn't sitting there even with an audio recorder at
• 13:11
  this point so you had no way of referring back to the previous
• 13:15
  episode. You just had your memories of
• 13:16
  last Saturday and to an eight-year-old kid, seven days,
• 13:20
  Saturday disaster. A might as well be a month.
• 13:23
  Well, it is what 22 and a half minutes of that Saturday as
• 13:27
  well, you know, and you waited whole Saturday do and, you know,
• 13:30
  you're thinking, I don't even remember what the climax.
• 13:32
  I don't remember what the Cliffhanger was sellers
• 13:33
  accepted, but I know I will remember when it starts.
• 13:36
  I go. Yeah, of course, that's How it
• 13:37
  ended because you're not, you're not watching television, real
• 13:42
  lie. To remember that sort of stuff
• 13:43
  you're watching television, to be loving it for the 22 minutes.
• 13:47
  That is on TV. We now, solve it later years,
• 13:51
  when we go back, watch this in, you know, and it's hot in its
• 13:54
  entirety and with critical about it.
• 13:57
  And we're studying in all these way, this is being made pretty
• 14:00
  much on the fly back in the 70s. More importantly, it was made to
• 14:05
  be seen in 22 segments, some Apart, it wasn't made to be sat
• 14:09
  down with two, sad old men like us and sitting again, why?
• 14:15
  So continuity mistake and all that doesn't make any clothes
• 14:18
  and all that doesn't match what we're gonna be doing now that
• 14:21
  right there in those days because it wasn't watched in one
• 14:27
  long. Go.
• 14:28
  Do you ever do that like, were you ever watch a story when you
• 14:31
  know like a week apart and episode at a time?
• 14:34
  No, don't sit Doctor Who for me these days particularly
• 14:36
  perfectly. Is comfort food.
• 14:38
  So, you know, the slightest moment where I'm thinking a bit
• 14:42
  kind of I'll slap early on, and then, for my, for exactly, the
• 14:47
  same exactly the same. I go straight to per week.
• 14:50
  If I'm having a bad day. It's look how because it's the
• 14:54
  best ERA of Doctor Who. That is.
• 14:57
  It is just perfection. There is no, such thing is
• 15:01
  almost no such thing as a bad Pertwee story cause of access,
• 15:06
  but the restroom or just you Streets above anything else.
• 15:08
  So for me, it's my poetry is my automatic go to and this is a
• 15:13
  story. I have seen a billion times
• 15:15
  because of that because it's so good and then there's a second
• 15:18
  best. I will probably go for a
• 15:19
  Davison. But resting Salman is.
• 15:23
  My second would be calling, not enough of them.
• 15:27
  As I be interesting, I was an angry, teenager 40 times.
• 15:32
  Now there's a, there's a few more Davison's, and there are
• 15:36
  Collins. But I don't drifting towards Tom
• 15:39
  or anything like that. Can I draw your attention to?
• 15:42
  She's not on the screen right now.
• 15:43
  Miss pageant, doesn't she's not in their story for very long.
• 15:46
  She's obviously off smoking 20, Benson's or something like sure
• 15:50
  that's been ordered, dr. Hope she's fabulous.
• 15:52
  I wish you was, he violent. Brilliant cheese didn't have a
• 15:55
  fantastically long career after this.
• 15:58
  And if I remember rightly is actually ill and doesn't make
• 16:03
  the final studio recording. So, although credited for
• 16:06
  episode 4 is actually a Sigma is glorified extra in the film
• 16:09
  sequence is outside. Oddly house and her lines are
• 16:11
  given to somebody else but she's brilliant and she's very
• 16:14
  convincing the way she argues. With original sales, the time
• 16:20
  Paradox storyline and time travel in general which is so
• 16:23
  obviously something that Doctor Who wasn't really nice here.
• 16:26
  Now we suddenly jump forward to the 22nd century and there's all
• 16:30
  brood Amorous making his chair go around with his feet, very
• 16:34
  durable. Bre woods and Aubrey, Morris or
• 16:35
  Greenwoods, I will Louis Marx and terroristic between that
• 16:39
  managed to do is break down the ideas.
• 16:42
  Very simply but never patronising me and in a really
• 16:45
  interesting way where the plot develops in really interesting
• 16:49
  ways that's not an easy thing to do.
• 16:52
  It's science fiction for kids. And basically I think you sit
• 16:57
  down and you say in Exposition they've gone forward to the 22nd
• 17:02
  century. That's all you need.
• 17:04
  Someone tells 8 year old Gary Russell there now in the 20s
• 17:07
  Century. I don't need any other stuff
• 17:09
  around it. I don't need to know how they
• 17:11
  got there. I don't need to know why they
• 17:13
  got there. I don't need to know the
• 17:15
  scientific accuracy of Tantra. It's just bollocks.
• 17:19
  It just needs to be telling a good story which do the Daleks
• 17:22
  does brilliantly for this, you know, the whole time.
• 17:24
  Travel thing is great fun and yes you can sit down at the end
• 17:28
  of it. Go for me.
• 17:29
  I think the Paradox looks very, very cleverly.
• 17:31
  It is a good time Paradox, probably couldn't be done really
• 17:35
  but it really, really works. But it doesn't matter.
• 17:38
  It's a nice payoff at the end of episode 4 but again in 1972, I'm
• 17:43
  not convinced I sat there going. Oh, that's really clever.
• 17:46
  Because that relates back to what happened in episode 1, with
• 17:49
  a double bubble, it didn't care. It was just men with guns,
• 17:52
  shooting at 0, g on Daleks and blown up houses.
• 17:55
  And that's what we want as a kid.
• 17:56
  And I do think that sadly, We tend these days to forget that
• 18:03
  storytelling can afford to be quite simplistic.
• 18:06
  People is good if it's a good story.
• 18:09
  Well told you don't need all the bollocks around it, to try to
• 18:13
  justify what you're doing. The moment you have to justify
• 18:17
  something in a story, your story is back because the audience
• 18:20
  should be carried along and not have time to sit down and think
• 18:23
  it's actually doesn't work very well.
• 18:25
  And it's typically thing about us as Doctor Who fans in.
• 18:29
  That we do that. We sort of commit autopsies on
• 18:33
  our episodes of Doctor Who and the worst thing of course, is we
• 18:37
  can do an autopsy on a 1972, sorry.
• 18:39
  Because we've got 50 years since it went out and lots of research
• 18:43
  and we know what how it was made.
• 18:45
  The worst thing is when people are doing autopsies of a modern
• 18:48
  episode of Chris's or stevens, or Russell's 30 seconds, after
• 18:52
  it's finished and think automatically.
• 18:54
  They're experts on television and they know what went wrong
• 18:57
  and brother, and no one sits down it.
• 18:59
  You know what? Have a bit of patience.
• 19:01
  Sit back and let it percolate for a few weeks, or a couple of
• 19:04
  years and then go examine it and find out whether it works or
• 19:07
  not. It's a curious thing.
• 19:08
  You know how people tend to spoil their own enjoyment of
• 19:12
  something that's being delivered to entertain them.
• 19:14
  It's baffling to me. Sometimes, I wish I was trying
• 19:17
  to look for the best, I have critical, but I always try to
• 19:20
  look for the best. I think there's a degree of
• 19:23
  one-upmanship as well, with with fans, and this has been going on
• 19:26
  since the late 70s, really went fandom.
• 19:29
  Ali started being hypercritical of of things.
• 19:31
  It's not a new thing to be hypocritical, but I think it
• 19:35
  comes down to a degree of one-upmanship that you never got
• 19:37
  at school but in in adult life and buy a diamond sword over 16,
• 19:44
  you kind of you want to be seen to be critical.
• 19:48
  You want to be seen to be clever.
• 19:50
  Oh, well, obviously there's a shit episode of Doctor.
• 19:52
  There's a terrible episode such as all full episode of casualty
• 19:55
  because they did this and this and this and you actually don't
• 19:58
  know and If you're talking about, but you kind of want to
• 20:02
  seem amongst your peers that you are clever.
• 20:05
  And you are adding a new, you can dissect television.
• 20:08
  Most remote Person Public for me, not just person in the room
• 20:11
  though, you know, usually the loudest person saying that sort
• 20:13
  of thing. Yes.
• 20:14
  Yes. It's the old Pub culture and
• 20:17
  that's what social media multiplies because you can be
• 20:20
  the loudest person in the room because you're actually the only
• 20:22
  person in the room, talking, so automatically become the loudest
• 20:25
  person in the room, I can't believe I'm about to draw your
• 20:29
  attention. Tension because I'm a fellow
• 20:30
  thumb pointing out the most obscure details here, but these
• 20:32
  fabulous women hovering their hands in the air.
• 20:36
  Well, clearly pretty Apple technology 50 years early
• 20:41
  because they're basically just swiping that's all they're doing
• 20:45
  but it's kind of simple shorthand for this is real.
• 20:49
  Yeah, there's no clue what I love about this.
• 20:52
  There's a couple of things I really love about this that we
• 20:55
  should talk about the future thing one.
• 20:58
  Which is As you say is there's no controls on those tables.
• 21:02
  We would know that we can see any way but they're just moving
• 21:05
  their hands over them and sort of doing what they do because it
• 21:08
  looks futuristic. The other thing is you see it?
• 21:11
  And a couple of episodes later you'll see it.
• 21:14
  They don't have, it didn't read anything.
• 21:17
  They have to kind of like Braille and computer cut out
• 21:20
  stuff and they run that hands along it while they're talking
• 21:23
  and that's how they read. I've never oh, you watch it
• 21:27
  later. Nobody reads anything.
• 21:29
  They look at each other in the eye and they're running their
• 21:31
  fingers along the top of this Braille like paper.
• 21:33
  And that's how they get their messages.
• 21:36
  And I just thought. Again that's a simple way of
• 21:39
  going to the kids. This is the future.
• 21:41
  This is what and the other thing that's so lovely about it which
• 21:45
  doesn't happen. Very many Doctor Who's is it's a
• 21:48
  joy for the makeup Department because they very cleverly every
• 21:51
  single person from the 22nd century.
• 21:55
  The rulers has his kind of lean on their face which really makes
• 21:59
  Seeing reflect in that set because the set is very silver
• 22:02
  and green. So by having that Silver makeup
• 22:05
  and you look at the look at the next time, he's on the air.
• 22:08
  Look at Audrey Woods, his fingers, he's wearing
• 22:11
  fingernail, he's wearing finger varnish when blue varnish on his
• 22:14
  fingernails and it just again adds to the sort of futuristic
• 22:19
  and world news of it. And I don't think until robots
• 22:22
  of death, anyone ever really sat down and used makeup to very
• 22:28
  subtly. Tell you that your working
• 22:30
  environment. Yeah, but it makes the world
• 22:33
  come together but the all the girls operating, the control are
• 22:37
  all the security guards. They all have that silver thing
• 22:40
  on their face. It's just brilliant.
• 22:42
  And we talked about part where he's one man, Food & Wine show
• 22:45
  here, please. Yes, his wine, which is a touch
• 22:48
  sardonic but not cynical. So it is best, isn't it?
• 22:52
  It's like everyone just loves poetry because he's that
• 22:59
  perfect. 70s renaissance, man. Yeah, it's never gonna lose but
• 23:05
  Weezy. Well, except Inferno.
• 23:09
  But you have to lose Inferno but that's a whole different thing
• 23:11
  to talk about one day. And there's a lot of redness,
• 23:14
  though, looking smelling that glass off and then you've got
• 23:18
  this brilliant scene. Here we go.
• 23:20
  With the, the, the connection between Yates and Benton's bacon
• 23:25
  saying, you know, give us some food, darling.
• 23:27
  And Joe, gives him the food and then Yates just comes up as an
• 23:31
  accident. Yeah.
• 23:35
  What a prick and it's the fact that he know, even when he's
• 23:39
  talking to Benton about it and he said tells him to go off and,
• 23:43
  you know, investigate those other troops.
• 23:46
  There's a smile on Captain Yates his lips because he knows he's
• 23:49
  it's such a 62 portal Benjamin in all of those units stories,
• 23:53
  even, I don't really think there's a poor one.
• 23:55
  I think there's a lot. I love about even the time on
• 23:57
  stuff but there's all those lovely little character moments
• 24:01
  with the unit guys in all like, even if it's a terrible scene or
• 24:04
  bad episode of whatever this cute stuff going on, and is
• 24:08
  absolutely just rampant with it. You think that?
• 24:11
  I mean, people would talk about the demons.
• 24:12
  And I think it's because the cops always talk about that in
• 24:14
  museum. People to make the demon has
• 24:15
  been sort of the epitome of the unit family but it isn't.
• 24:19
  I think this story, Re has so many little lovely moments
• 24:23
  between Benton and Yates and the Brigadier and any combination of
• 24:27
  that. But fantastic sequence.
• 24:29
  Where Yates and Benton later on, go back to the unit HQ, and they
• 24:34
  talked to the doctor on the flag, and the doctors, not
• 24:36
  there, in the doctor is on the phone, and he does that, don't
• 24:40
  forget to tell the Marines, right?
• 24:41
  And yeah. It just looks like I told you.
• 24:45
  Is it listen to me? I'm a captain.
• 24:47
  I know what I'm talking about the bring it.
• 24:49
  Is I Shit. Well, they're obviously right
• 24:52
  that I can't possibly tell Benson and Yates there, right?
• 24:54
  And there's love the moments. Like The larva is when the
• 24:57
  doctor where the president has doctor come back at once when it
• 25:00
  goes on knowing full. Well, if we're gonna listen to
• 25:03
  it, don't get to see him again. Yeah, they're great.
• 25:06
  But I have people say that part. We is a little what sort of work
• 25:10
  are coming out of that? Kind of only arrogant period
• 25:13
  into where? He's a bit gentler for further
• 25:15
  down the line. I'd rather like it to be able to
• 25:17
  asshole, you know. Damn well I think he needs to be
• 25:20
  - I mean, he never is that much and he's very rude to Joe Grand
• 25:23
  in the demons, I think. But then he's rude to everyone
• 25:27
  in the demons. I think the demons is an
• 25:28
  interesting bit of writing because it's Barry Letts where
• 25:31
  he's writing, Pertwee is as William Hartnell and all that,
• 25:35
  all that stuff in the pub and they're looking at haunted
• 25:37
  beast. And everything in poetry is
• 25:38
  quite rude and abrasive. Other than that, he's not
• 25:41
  terribly rude. An abrasive.
• 25:42
  He's very fond of Joe right back.
• 25:44
  Sort of, by the time you've got to mind of evil.
• 25:48
  The relationship between him and Joe and the Should do him in the
• 25:51
  Brigadier, is a lot of fun and a lot of goodness.
• 25:56
  Remember, I had a problem in cursive Peloton where he's like,
• 26:00
  oh, do you like being a princess princess?
• 26:02
  And just the chemistry guy that boy is on fire.
• 26:06
  You can tell that the the two of them here are having a
• 26:10
  friendship off screen, that is very much like Diana Rigg and
• 26:15
  Patrick mini in The Avengers. You can just see the chemistry
• 26:18
  on-screen, because they They are clearly all good friends and
• 26:22
  when you add Courtney and Levine and Franklin into the mix, it's
• 26:27
  just wonderful. It's just really really good.
• 26:29
  And look, there's Jimmy Winston, people talk about Jane T doing
• 26:33
  sort of stunt casting in the in the late 80s, with pop stars and
• 26:37
  things that cost Jimmy Winston in a leading part in day of the
• 26:41
  Daleks and nobody sits down and goes all that.
• 26:43
  That's poor Bernard doing stunt casting is it?
• 26:46
  But wow, what I talk about pooping our thank you for
• 26:49
  bringing him up. Of out of batteries there as
• 26:51
  well. And let's just have a moment.
• 26:53
  Let's just worship at the feet of a nebari.
• 26:56
  She is a goddess as here is Gypsy.
• 27:00
  Kent Sara, Kent as the unit radio operator who I just love
• 27:06
  because again she just gives side I to the Brigadier, all
• 27:11
  right? Yeah, just need is one of the
• 27:13
  berries on the commentary for this, right?
• 27:15
  And I've heard, you know, once your actors come on, like the
• 27:18
  one we play Queen Stella remotes, repeller Do you have a
• 27:20
  clue why she was there for the commentary?
• 27:22
  She sort of going along with it because I don't really I want
• 27:24
  it. And a very comes on to the
• 27:26
  Coventry. If they are the Daleks and she
• 27:28
  is intelligently picking apart this piece of television and
• 27:33
  praising it for what it is and I think she she went out of direct
• 27:37
  didn't see it. A lot of work.
• 27:40
  No, it's not very clever lady. Probably didn't get treated.
• 27:44
  Like lots of people in the 70's probably wasn't treated as well
• 27:48
  as she should have been caused by suspect.
• 27:49
  A lot of mail Directors and actors are probably quite
• 27:51
  frightened of a woman with the guts and the smarts that she had
• 27:56
  no hint of embarrassment. That's why would you be
• 28:01
  embarrassed? It's brilliant.
• 28:04
  Look at those. We had a trim phone at home.
• 28:08
  That was exactly the same color as that the two-tone green trim
• 28:10
  phone. I remember watching this as a
• 28:13
  kid and kind of looking across a phone and a doctor who has
• 28:17
  phones like ours. It's little things like that
• 28:19
  that I used to I love about it. And, you know, I feel like the,
• 28:22
  they don't always get this, right?
• 28:24
  The exterior and the interior much worried about me.
• 28:27
  Yeah. Yeah.
• 28:28
  Although they do have a pawnshop and in this big, big house for
• 28:34
  massive sort of sixties wall. Coverings and hangings, right?
• 28:37
  Don't lie in keeping with everything else that he has in
• 28:42
  this household. Of course, they do make this
• 28:44
  thing in the beginning of how it isn't Reginald sells his house.
• 28:47
  He's been put here for safekeeping but then everyone.
• 28:50
  The 22nd century assumes it is his house and it sort of becomes
• 28:54
  his house after that. But I like that because that's
• 28:57
  again is we can say with the power of hindsight is a clever
• 29:01
  thing of history is being written by the winners and
• 29:04
  therefore, they would think that was bred from Santa's house
• 29:07
  because why wouldn't they all they know?
• 29:09
  Is they got to go to the house where this man lives the whole
• 29:12
  thing about their immediate assumption.
• 29:15
  You know, I'll wrestle says blew himself up with everyone else.
• 29:17
  Nobody sits anything to. Why did he do that?
• 29:19
  They just Just go. Well, that's what we're told in
• 29:21
  history happened. Therefore, he must be the bad
• 29:24
  guy, and I love that fact that they get little things up that
• 29:28
  wrong. No, they do.
• 29:29
  That whole mistaken identity thing with the dog.
• 29:30
  So they thinks he should. I love the gap or so that we
• 29:33
  don't just read that paper down there and they really didn't.
• 29:36
  Okay. You're not stuffy yeah boas as
• 29:42
  well in this because that's very convincing that she's in charge
• 29:47
  sure as the hothead that's gone off and Nathan got killed and
• 29:52
  Boaz is very sort of cynical. Mm and angry with an axe because
• 29:57
  he's there, he's got a singular Mission, he's been sent on but
• 30:02
  anytime that being the raccoon pulled out from under his feet
• 30:06
  all the time, sometimes you have these low guest characters
• 30:09
  convinced Doctor Who stories and I feel like, yeah, they're not
• 30:11
  they specifically designed for this story.
• 30:13
  As sometimes you have characters come in me.
• 30:14
  Like I believe they have history before this story, and they're
• 30:17
  going to go on and have an adventure office and I've I
• 30:20
  believe the Dynamics are this ended, the Daleks turned up and
• 30:24
  I've just briefly want you to talk about the voices, the
• 30:27
  staccato Dalek voices. Again, one of those things that
• 30:31
  I never noticed until I've been in fandom for about 10 years and
• 30:35
  everyone goes over dollar, boys. Don't like to rush it.
• 30:38
  You know, the cause they're not Peter Hawkins or Road.
• 30:40
  Skeleton back in 1972 and, you know, watching as a kid Frontier
• 30:46
  in space and death to the Daleks in Genesis and everything where
• 30:49
  they won't. Magical voice artists, you know
• 30:51
  Michael we should comes in at one point to do them as well.
• 30:54
  Then it's a Dalek voice, it didn't matter.
• 30:56
  It was a dark to my mind, your course that was a Dalek.
• 30:59
  That's what they sound like. Yes I can look at it now and go.
• 31:02
  Yes they are too slow and pronouncing it.
• 31:05
  But you know that was a decision that was made and who cares.
• 31:10
  They're Daleks, can I ask you a question about Dolly courses?
• 31:13
  You may not choose to answer this but it wasn't that big
• 31:15
  finish book so I tend to believe that is true.
• 31:18
  Did you once play a Dalek in that big?
• 31:20
  Fish story and then you yourself chose to take it out.
• 31:22
  Yeah, absolutely. It was, it was, it must mean,
• 31:25
  genocide machine and I was terrible.
• 31:28
  I was the campus gaze darling you've ever heard.
• 31:31
  And I was up against a lot, you know?
• 31:33
  So that shows how camping day I must have sounded, and we're up
• 31:38
  as locks house doing the doing the voices, because they were
• 31:41
  all done afterwards. We didn't do them in studio and
• 31:45
  the end of it. We went back, you can.
• 31:48
  I went home with the stuff, and Nick flavor it back, and he just
• 31:52
  looked at me and I listened and I just went.
• 31:54
  Yeah, I'm sure aren't I gonna rerecord it?
• 31:57
  And so here agree recorded doing a different dialect, boys.
• 32:00
  All of my stuff because yes, I was just the gayest a darling
• 32:04
  you've ever heard and is interested on this special
• 32:06
  edition. You know, I am a massive fan of
• 32:08
  networks is do voices, felt fundamentally wrong, to hear
• 32:13
  that Dalek voice coming out of these days.
• 32:16
  This is so ingrained in my child weird thing with this story that
• 32:23
  I don't understand why it was done and why it was done so
• 32:28
  badly in that episode 2 and 3, and they don't do it episode 4,
• 32:34
  but episodes two and three, start with the recap going into
• 32:38
  the theme music again and then it's abruptly, cut off.
• 32:42
  And it's have just a weird decision.
• 32:46
  A probably by Paul Bernard for doing it.
• 32:49
  But also weird that Barry Letts who had done all that
• 32:52
  experimentation in season seven with new title sequences and
• 32:55
  trying to work out what worked and what didn't didn't sit down
• 32:58
  and go. This is us to ship this simply
• 33:01
  doesn't work. It's just an odd thing to have
• 33:06
  in these episodes and in everything and they did do some
• 33:09
  spray really a bastard of death title, 2007 stuff, every title
• 33:14
  sequence is different in some way or other but they kind of I
• 33:16
  worked at the best Innovation, he brought in the best and it
• 33:21
  goes all throughout the city water throughout the rest of
• 33:24
  Doctor. Who's classic run, I think is
• 33:25
  bringing in that scream at the end of the episode.
• 33:28
  So, yes, yes, I always thought that what he did with
• 33:33
  ambassadors of death, which is bit of title, sequence recap
• 33:38
  second bit of title sequence with the ambassador's of death.
• 33:42
  I would love them to have done that forever.
• 33:44
  I think that's a really clever way of doing the reconstruction
• 33:47
  But what they do here, just it's jarring because you assume that
• 33:51
  it's a mistake when it happens at the types of to you stole.
• 33:54
  That's clearly a mistake when happens again in the episode, 30
• 33:57
  know this is deliberate, they've chosen to do this and then it
• 34:00
  doesn't happen episode for you kind of like I think they
• 34:03
  probably locked it in and then they've got man, that mistakes
• 34:06
  there. But that episodes done now is
• 34:08
  ready to go. Robbie, is it?
• 34:10
  Do it, do it again. So, for to get round it, they
• 34:12
  have a very, very hot. You don't get for the first time
• 34:15
  in a, poetry story. Re since spearhead, you don't
• 34:19
  get the actual proper recap. From from the previous episode,
• 34:23
  the episode 3 ends with the fountain and Hartnell on the
• 34:27
  screen, and the does going blah blah blah.
• 34:28
  You'll be exterminated, episode 4 doesn't have it, it has the
• 34:31
  beginning of it and then the controller comes in and you miss
• 34:34
  what? You actually did the squeal out
• 34:37
  of at the end of episode three and I wonder if that was a case
• 34:40
  if they did to it and Barry, let's find his rent.
• 34:42
  No, not doing this. Cut it in it because you know is
• 34:45
  quite hard to cut stuff on. you're typing those days once it
• 34:48
  was finished but it just feels that they cut that out because
• 34:52
  it would have just been awful called Bernard is obviously new
• 34:55
  to this and I do want to talk about Paul Bernardo a little
• 34:58
  more We should probably cut this here and Skip into episode 2 if
• 35:03
  you're ready to go. I'm halfway through episode
• 35:06
  tuna. Oh dear.
• 35:09
  I'm so sorry. You forgot how we do forgotten.
• 35:12
  I'll fuck you stupid machine, right.
• 35:17
  Hang on. I'm just going back to episode
• 35:18
  selection and I started to again.
• 35:21
  Yeah. No, I just left it running and
• 35:23
  just rambled.