![]() ![]() I think they made a good attempt in difficult circumstances – the most visible error was that the studio was on the fourth floor, which they might have ignored because it was easier to stage some of the scenes as on the ground floor. ![]() I mainly agree with Bill – series one episode 2 was my third day in studios, so it must be my 50 th Anniversary too! It must be a nightmare dramatising events ‘in living memory’ if you have a load of ‘experts’ hanging round your neck at every turn, especially when they start advising on the production itself as in ‘I think if we were in a real operating theatre we would have zoomed into a close-up by now’. I have some sympathy with the production. I joined in January 1963 – Lime Grove Studios D, E and G all had CPS Emitron cameras and H had the three tube IO colour cameras. If this is a true reflection of their views, then I don’t think much of it! Alec Bray He also told me that he had contacted the production team making this epic and offered his input in the interests of accuracy, but was informed that they were making a drama and not a documentary, so they were not concerned about getting the technical details correct. He told me that the interior design for the Tardis was completed well in advance of the required time. He was equally annoyed, especially at the depiction of the design department. This lunchtime I had a drink with Spencer Chapman who was a designer on “Dr Who”. With so many of us still around, you would think the makers could have tried harder to get it right! I never knew of such a party being held on a studio floor – surely they all were in hospitality rooms (eg B209), or at the various BBC Clubs, or R3. ![]() The studio looked like a broom cupboard, and everything seemed to take place in it, including the farewell party for Verity L. The mistakes were many – the dolly seen in use was a film dolly, floor managers communicated with the gallery via a boom or else a mic on a stand with a button, shot cards on the right instead of the left, never known a red light and bell system used in all my years at the BBC, director calling shot numbers instead of the PS, gallery bearing no resemblance to any BBC galleries (TC, Riverside, Lime Grove, and TV Theatre) in position relative to studio floor and layout, etc.etc. I joined in October 1963 and as far as I recall, Lime Grove had one studio still using CPS Emitrons with focus on the left and the wrist wrenching lens change in the centre of the camera body at the back: not Marconi MkIIIs as seen in the drama. I watched this epic, and was appalled at the representation of the Lime Grove studio and gallery, and also at the mistakes in working methods at that time. The programme was originally intended to appeal to a family audience, as an educational programme using time travel as a means to explore scientific ideas and famous moments in history. Writer Anthony Coburn, David Whitaker, a story editor, and initial producer Verity Lambert also heavily contributed to the development of the series. The head of drama, Canadian Sydney Newman, was mainly responsible for developing the programme, with the first format document for the series being written by Newman along with the head of the script department (later head of serials) Donald Wilson and staff writer C. Discussions and plans for the programme had been in progress for a year. It was to be a regular weekly programme, each episode 25 minutes of transmission length. “Doctor Who” first appeared on BBC1 television at 17:16:20 GMT, eighty seconds after the scheduled programme time, 5:15 pm, on Saturday, 23 November 1963. Details of the film were announced by the BBC on 9 August 2012, with the programme airing on BBC Two in the United Kingdom on 21 November 2013. It is written by the “Doctor Who” and “Sherlock” writer Mark Gatiss. “An Adventure in Space and Time” was a British television docudrama commissioned to celebrate the 50th anniversary of the science fiction series “Doctor Who”, and which tells the story of its creation. ![]()
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