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DWM Special 55 - Production Design
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How to Build a Crystal Set
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9 MIN LESEZEIT
How to Build a Crystal Set
Interview by MARK WRIGHT
“Jodie’s a very physical actor, so we added more spin handles and switches to the console.”
An unusual view of the latest TARDIS control room, looking up at the ceiling.
An hourglass is incorporated into the console operated by the Thirteenth Doctor (Jodie Whittaker).
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Dieser Artikel stammt aus...
Doctor Who Magazine
DWM Special 55 - Production Design
ANSICHT IM LAGER
Andere Artikel in dieser Ausgabe
Doctor Who Magazine
Production Design
I first had the chance to visit the set of a Doctor
The 1960s
The pioneering production designers of Doctor Who’s first decade had to realise some of the most ambitious settings television had ever attempted, despite limited resources. They overcame this challenge to create worlds and even alien creatures that remain instantly recognisable today.
Design on Location
For designers, location trips could be a welcome break
ALTARED IMAGES
The Doctor’s third trip into Earth history saw the TARDIS land in Mexico, at the time of the human-sacri cing Aztecs. Their templed city was realised by proli c designer Barry Newbery.
TECHNICOLOR TARDIS
In 1965, cinemagoers could see Peter Cushing’s Dr Who battle the Daleks in colour on the big screen, with their far-out world realised in huge and lavish sets designed by Bill Constable.
DOMESTIC SCIENCE
“Iremember Bill Constable as a very pleasant person,”
EVIL PLANS
Chris Thompson, designer of the 1967 classic The Evil of the Daleks, helps DWM reconstruct the sets for its long-lost opening instalment.
RESIDENT EVIL
The settings for Episodes 2 to 7 are more familiar
The 1970s
At the start of its second decade, Doctor Who became a television trailblazer that broke new ground in the electronic studio. But off -screen problems dogged the programme as the 1970s wore on…
Inside the 70s Spaceship
The fact that the “secret of time travel” had been
FUTURE PROOF
Jeremy Bear took inspiration from NASA’s contemporary space exploration when designing the futuristic settings of 1972 serial The Mutants. A key element of his work would reappear in numerous other programmes…
BEAR WALLS
Jeremy’s Skybase wall design - of interlinked triangles
UNDER the Loch
More than one kind of monster lurks beneath the surface of Loch Ness. Some of them live in a strange spaceship designed by Nigel Curzon. This previously unpublished interview was conducted in 1995.
BILLS EYE
The Myth Makers (1965), on which Nigel worked as a
VIEWVIEW FROM A BRIDGE
Jon Pusey designed the memorable Fourth Doctor serial The Pirate Planet. The production pushed the boundaries of what was possible in 1978, as Jon remembered in this previously unpublished interview conducted 17 years later.
A LONG TIME AGO IN A GALAXY FAR, FAR AWAY…
T he Captain’s guards, and later the Doctor and Romana
The 1980s
The final decade of Doctor Who’s original run saw an evolution in the construction and application of sets. Along the way, some of the rules of television production design were rewritten…
The Jigsaw of Traken
Arguably the most signi. cant innovation of the 1980-81
HIVE MIND
Tom Yardley-Jones designed The Leisure Hive, the rst new Doctor Who story of the 1980s. The experience proved far from leisurely, as he explained in this previously unpublished interview conducted in 1995. “You’re never 100 per cent happy,” he said, “but always striving for better…”
MAKING AN EXHIBITION
Late in 1972, Tom was asked by BBC Design Department
SPHERE OF INTEREST
For 1983’s Mawdryn Undead, Stephen Scott had to conjure up a luxurious-looking starliner and a practical transmat capsule for next to nothing. He recalled the challenges in this previously unpublished interview, conducted 12 years later.
The 1990s
The US co-produced Doctor Who TV movie broadcast in 1996 boasted production values that previous generations of BBC designers could only have dreamed of.
The 2000s
When Doctor Who returned in 2005, television production had transformed - but some of the problems the designers faced were still the same…
The TARDIS Inside Out
Anew series of Doctor Who needed a new TARDIS control
GOING ORGANIC
Edward Thomas was 21st-century Doctor Who’s rst production designer. Among other innovations, he gave the TARDIS control room new life, with a coral-like interior…
ON THE BUSES
“This is funny now, but it wasn’t at the time,” says
THE LOST TARDIS
During Edward’s time on Doctor Who, he created what
The 2010s
Doctor Who began the 2010s looking like the pages of a magical storybook. The decade ended with the show embracing its most cinematic aesthetic yet.
Variations on a Desktop Theme
As the series’ most prominent standing set, the TARDIS
ENTIRELY PRACTICAL
In November 2015, production designer Michael Pickwoad, who died in 2018, discussed his contribution to the Eleventh and Twelfth Doctors’ episodes as a guest of the Whoovers fan group in Derby. Highlights of the interview are published here for the rst time.
LIKE FATHER, LIKE DAUGHTER
AMY PICKWOAD worked in the Doctor Who art department on numerous Matt Smith and Peter Capaldi episodes - alongside her father.
ENGINEERING SOLUTIONS
Director RACHEL TALALAY worked with Michael Pickwoad on seven Peter Capaldi episodes, from Dark Water to Twice Upon a Time.
SARAH JANE and SONTARANS
“We were essentially attempting to do Doctor Who on
2020 VISION
Dafydd Shurmer has worked in Doctor Who’s art department since 2006 and took over as the programme’s production designer for Series 12. “It’s like a childhood dream,” he says. “I’m designing spaceships!”
OFF THE CUFFS
“Daf is incredible,” says director Emma Sullivan, who
SOMETHING OLD, SOMETHING BORROWED
Doctor Who has often featured devices and designs that originated in strange other places - from the sci- worlds of Gerry Anderson to the Grace Brothers department store.
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