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Post-production

An arrow flies towards its target.
Nottingham Castle, home to the Sheriff.

A total of 33 new orchestral music cues composed by Murray Gold were recorded, with Ben Foster conducting the BBC National Orchestra of Wales at Hoddinott Hall in Cardiff on Wednesday 16 July 2014; this score ran to around 31 minutes.

Part of the CGI work undertaken by visual eff ects company Milk was to mend some of the broken walls of Caerphilly Castle, as well as assembling the crowd replication shots for the archery tournament.

Establishing shots of Nottingham Castle were based on footage of Bodiam Castle, a 14th-century structure in East Sussex which had previously been used by Doctor Who for location fi lming on The King’s Demons (1983). Paul Murphy was disappointed that the CGI budget did not allow for a more complex shot of the golden arrow fi ring into the departing spaceship.

The voice of the robot knights was provided by Richard Elfyn, a Welsh actor whose previous television credits included Grampian’s children’s fantasy Moonacre, S4C’s comedy Hafod Haidd and Sky One’s Stella.

During recording of the data bank sequence, photographs of actors playing Robin Hood had been used; these were replaced in the fi nal edit with mostly artistic images. Depictions of Robin were drawn from sources including the educational comic Look and Learn published by Fleetway from 1962 to 1982, an edition of Thriller Picture Library from December 1958, the front of an edition of John B Marsh’s The Life and Adventures of Robin Hood published around 1900, and a sketch of Robin Hood made by Richard Dadd in 1852. The only photograph used in the fi nished show was selected appropriately; this depicted Patrick Troughton – who had played the Doctor between 1966 and 1969 – in the title role of Robin Hood, the fi rst television series featuring the character, airing as part of BBC TV’s Children’s Television in 1953.

Trims were made to the show to bring it down to broadcast length. In the opening TARDIS scene, after the Doctor told Clara to choose their destination, she asked, “You’ve no plans?” “Nope,” confi rmed the Doctor.

After Clara worried that the Doctor would tell her that the choice of person to meet was made up, the Doctor replied: “I hope you’re not implying that there’s no Father Christmas!… because I take a very dim view of people who say that… a very dim view! Miserablist, life-hating pin-headed…” “It’s not Santa!” shouted Clara. When she said that she had always loved the Robin Hood story, Clara added: “It’s all so glamorous and exciting and…” When the Doctor told Clara that old-fashioned heroes only existed in books, he added: “Real life is a far… greyer area.”

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About Doctor Who Magazine

Doctor Who Magazine continues its in-depth chronicle of the show’s production with a volume dedicated to the first four episodes of Series 8: Deep Breath, Into the Dalek, Robot of Sherwood and Listen. Andrew Pixley’s unparalleled behind-the-scenes coverage – reproduced in magazine format for the first time – examines every aspect of the stories’ development, from scripting through to transmission and beyond. Richly illustrated with rare and previously unseen images, this is the essential guide to the series that took Doctor Who in a remarkable new direction…