“Tell her she’ll go to see and fight pirates. She’ll fall in love with a man who’ll wait two thousand years to keep her safe. Tell her she’ll give hope to the greatest painter who ever lived. And save a whale in outer space. Tell her, this is the story of Amelia Pond.” (Happy (very) late birthday @fjrewhisky )
I just realized something… Rupert Graves plays Greg Lestrade in Sherlock. Mark Sheppard plays Crowley in Supernatural. They have both played in an episode(or two) of Doctor Who with Matt Smith as the Eleventh Doctor.
I think this is the closest we’ve gotten to SuperWhoLock.
it’s all good and fun that tumblr culture is aware of how embarassing fanbases can be now, but I sort of miss the 2013-2014 era of a bunch of nerds thinking they were cool for liking doctor who. it’s like now I can’t even enjoy anything anymore without some rando saying, “yeah, that’s a cool thing, but have you seen the cancer fanbase?”
The navy jacket (it’s not black!) with red lining is my favorite thing, and you make it even better by pairing it with the hoodie. I adore his more relaxed, “cozy”, wanna-be punk rocker style,with the holey sweater and t-shirts, though I give props to the gone-too-soon cardigan. When 12 is comfy, it’s a win.
Was watching the DW BFI panel from this year and now I’ve become super conscious of the amount of work that went into series 10.
Peter looked quite knackered. Pearl too, but it was her first press preview so she was bit perky. They spent 10 months shooting everything. Then they had this panel. Who knows how many times they had to go back to the studio to re-record dialogue in the past 3 months. Peter shot additional scenes within the space of 2-3 weeks of the finale being aired.
Not to forget, Brian Minchin running between production departments, making sure everything is on time and within budget. He’s taking care of executive decisions for the costume, art, set design, and press releases. Decisions being made quickly.
Steven working with the writers. Looking at scripts. Making sure everything is perfect for read-through and final shoot script. Then taking care of things Brian isn’t involved with. Sitting in an office for crazy amount of time. And honestly, I don’t know what else this man has time for but he certainly isn’t playing with dolls in his office.
Coming back to Peter, he’s sitting there, seemingly half-listening. If this weren’t his first press rodeo, everyone would’ve judged him to be too callous. Except he’s not, he’s saying little and simply listening. He talks about being unable to internalize the bigger story arcs because he’s too focused on playing some ‘x’ scene in 'y’ different ways. He cannot tell you what specific thing he loved doing in those 10 months because he can’t let his mind linger too long on one thing since he needs to move on to perfecting something else.
He, Pearl, and need to do the read-through where they assess each other’s tone and dictation. They have to learn 6-8 pages of dialogue for 1-2 scenes for every 1-2 days. A total 'x’ number of days will makes up 'y’ number of shooting block weeks for episode.
They need to do 'a’ number of rehearsals before doing 'b’ number of takes, all of which are utterly unique and different from each other. Some of these incorporate storyboarded ideas from the director’s pov or perhaps the actors’ prerogative. This allows director to work with 'c’ number of rushes, of which ’d’ number is used to make the first edit. Or an edit closest to the script version. This is sent back-and-forth between audio and visual.
Audio people are adding sound effects and dubbed dialogue. Murray Gold and orchestra are furiously recording and/or making music off the fly. I can’t even wrap my brain around it because how does Murray know how some final cut 'x’ scene fits perfectly with what the Actor/Director have done.
The visuals involve directors talking to set designers and costume. The actors contribute ideas. The writers have ideas. Everyone is talking about the look and feel and sensibilities of a scene. Not to mention, costume and set design are busily working on the other details we don’t give credit for it might include a giant bridge on the Thames or an actor’s body measurements for costume fitting.
Consider the scouting, procurement, filming difficulties of shooting on location. Half-finished buildings or imaginary buildings being CGI-ed into the final cut. Monsters which are imagined and running up a hill. Who else is involved: The people doing lighting. The people doing the audio. The people doing the running between people with handwritten notes. The people feeding everyone. The people providing security. The people doing the driving, the lifting, the cleaning, the packing, the fixing, double roles, triple, quadruple roles. God knows what ordered chaos this all must be.
They started in June 2016. They completed shooting some 290 days later. They aired the first episode Apr 15 2017. Today is July 3 2017, two days after the finale aired. They have already incorporated significant scenes for Christmas which was put into the two-parter finale. They have already done publicity shots. The Christmas special is majorly underway.
And let’s not forget the significant press involved over the past 3 months. The preview shows. Peter doing comic-cons in two major cities abroad. Steven doing interviews everywhere. Radio Times want to do a feature. Doctor Who Magazine going to print.
I don’t know how these guys do it, but the making of every series of Doctor Who is nothing short of a labour of love. And they aren’t giving you pixelated, shaking sets, and rubber monsters. This is high quality Blu-ray DVD transmission stuff. Every single person on that production is working to time and overtime to give us this content.
I feel nothing but gratitude towards Team DW. Every person in that crew is someone without whom we could not have this show. Thank you, Team DW!