Behind the Scenes of Army of Ghosts/Doomsday (Part 9)
Excerpts from Doctor Who: The Inside Story:
“We specifically designed the Dalek in the first series in relation to Billie’s height,” explains production designer Edward Thomas. “When Billie looks at the Dalek they are eye-to-eye, which is why the Dalek ended up being slightly taller than it had been in the classic series. In Doomsday, we have the same thing except, this time, Rose is in charge, and against a black Dalek.
“The parallel worlds story was domestic, and therefore a much more real story,” Russell [T Davies] suggests. “Although it involved a sci-fi parallel world, it’s actually about a mum and dad and their daughter; about a family brought together by the Doctor across time and space, and across parallel worlds. And so that was how we wrote out Rose: there’s no other way you could do it. She was so fundamental to the series that I was never going to kill her. I had to seal the walls between different universes and say they can never be transgressed. And I had to leave her happy, that’s the only ending that I could possibly have been satisfied with. So I took the whole history, going all the way back to Father’s Day, as a big set-up for the only thing that could separate her from the Doctor. We knew Billie was leaving at the end of Series Two, right from the end of production on Series One; so we could really plan it all in advance.”
David on Army of Ghosts/Doomsday from DWM #375
They were the scripts that were most affecting when I read them, for obvious reasons, but also for kind of televisual history reasons - with the whole Dalek/Cybermen thing. We filmed those episodes in the middle of the run, rather than at the end, so it was all out of sequence, which is just as well, because it was upsetting enough, really, to film those final scenes. If we’d have done them actually at the end of Billie’s time on the show, I think we might have lost the plot.