Posts Tagged With: tenth doctor

Have I Got Whos For You (Halloween special)

Sorry about the radio silence this last week, folks: I’ve been in Cheshire, where there is not much to report.

Over in Whoville, of course, things have been getting busy with the news of an upcoming Doctor Who themed musical from the writers of Les Miserables.

Well, everyone wanted Eddie Redmayne as the Doctor, didn’t they?

Elsewhere, unreleased concept art for ‘The Doctor’s Wife’ drifts to the surface, confirming many of our suspicions about Amy and Rory.

We sure picked a creepy night to land in a pocket universe, Scooby Doo.

And on a quiet street somewhere in Basingstoke, the Doctor frankly didn’t see it coming.

Enjoy your Halloween, and don’t let the bed bugs bite.

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Have I Got Whos For You (part P45)

This week, we take you to war-torn Skaro. I think I watched ‘The Magician’s Apprentice’ before I got round to seeing ‘Trial Of A Time Lord’ – but when I did, the connections seemed obvious.

Does anyone know who pioneered the hand-shooting-up thing, anyway? It’s been used to brilliant effect in Carrie (included in this montage I found), Gremlins turns it into a recurring gag, and presumably if League of Extraordinary Gentlemen hadn’t cut away from that grave scene when it did, the shot would have concluded with Connery’s rejuvenated arm punching through. Myself, I always think about that scene from Labyrinth. You remember. “We’re helping hands!” They should remake Labyrinth. That always ends well.

Elsewhere on the same battlefield:

My instincts tell me that Capaldi is saying “Don’t worry Matt, I’m sure we’ll find your keys over there somewhere”, but if you can think of a better caption I’m open to suggestions.

Anyway, it’s funny the sorts of people you meet while you’re out and about, isn’t it?

“BY THE POWER OF GALLIFREY!”

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Have I Got Whos For You (part 8.5 or 9, depending on how you count)

In the news this last fortnight, National Photograph Your Child In Front Of A Door Day reaches as far as the TARDIS.

Elsewhere, in the wake of the Bradley Walsh rumour, a BBC source leaks an exclusive set of unreleased screen tests for the next Doctor Who companion.

And the Doctors celebrate International Cosplay Weekend.

 

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Have I Got Whos For You (part 2001 and a bit)

I’ve got more posts with ACTUAL CONTENT coming soon, folks, promise. But I’ve been away for two weeks and thick with Metro stuff, so they’re going to have to wait.

In the meantime, here’s a bumper collection of movie-themed memes. First, E.T.

Then this one, which (as I’ve had to tediously explain to a bunch of fans on the internet this week) is NOT A BLOODY RED DWARF REFERENCE.

Meanwhile, something looms disturbing over that collection of cardboard cutouts.

Back on Earth, we’re still in ‘Day of the Doctor’ territory, as Windy Miller recreates the famous bike-riding opening.

And finally, the Doctor does H.P. Lovecraft. Or rather, doesn’t.

Enjoy your bank holiday.

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Doctor Who meets Beauty and the Beast

Let me tell you a story, children. Once upon a time there was a concept called regeneration and it involved the transition of one actor to another. In the 60s, 70s and 80s this was achieved using filters and white-outs and whatever trickery the BBC could afford at the time. At its best, it was highly successful. At its worst, it was Sylvester McCoy in a blonde wig. In 1996, they experimented with facial morphing, presumably because of Terminator 2 and the ‘Black or White’ video. It was a little strange to behold – Doctor Who, in actual special effects shocker – but it sort of worked.

Then came the Golden Sparkly Energy thing. It’s been used ever since, in every disappointingly familiar regeneration (Smith’s aside; at least that one’s quick) and if it looks familiar, that’s because they nicked it from Disney. Specifically, that bit at the end of the otherwise splendid Beauty and the Beast where Belle succumbs to her Stockholm syndrome and her grizzly captor turns into an Aryan Chippendale. It’s a wretched scene, which – whilst nonetheless remaining true to the spirit of the original story – says an awful lot about Disney and its obsession with appearances, often at the expense of what was actually best for the customer. (You will know this if you visited Disneyland Paris, as I did, back in the early days: the place was immaculate, but the shuttle buses were an unruly scrum. They’d hired people to pick up litter, but no one who could facilitate a queue.)

There are other versions of this. It’s an obvious joke: cellular regrowth instigated by magical sparkliness. But this one attempts to match the dialogue. This involved an awful lot of chopping and changing and shifting things around, which is not in itself a bad thing because otherwise you have Disney on your back for copyright infringement. At the beginning Eccleston has a long monologue, which I opted to present as a voiceover while we established the castle: this is actually the opening pan out from the beginning of the film, reversed. Am I saying that the Ninth Doctor was the Beast and his impossibly sexy successor is the human (and incredibly vain) prince? You decide.

I sent the completed version to Gareth.

“It might have worked better,” he said, “if I knew anything about Beauty and the Beast!”
“You got the idea, surely?”
“She kisses him, and we learn that looks are more important than personality?”
“And that’s why I love Shrek.”

But I’d like to close by returning briefly to Colin Baker, who we were discussing over dinner just yesterday.

“So he didn’t film his regeneration?” Emily said.
“He didn’t,” I said.
“So what actually killed the Sixth Doctor?”
“We don’t know for sure. But the first thing that happens in that episode is that the TARDIS is attacked, and when the Rani steps on board, the Sixth Doctor is lying on the floor, face down. And then they turn him over, and – ”
“It’s Sylvester McCoy.”
“Yeah, in a wig.”
“And that’s all you get?”
“Well,” I said, “Big Finish eventually filled in the gaps. They gave him a proper send-off, and there was a whole story with the Valeyard and loads of other people. But on TV, just the wig.”
“So McCoy’s lying there,” she said, “and you can see it’s him, but in a wig?”
“The moment they turn him over, they stick a filter on the screen. One of those photo negative effects. So it’s obscured and you’re supposed to not be able to tell. Except of course you can. What can I say? They did the best they could under difficult circumstances.”
“Right, right,” she said. “But there’s no reason why the McCoy in a wig thing couldn’t have been an entirely new Doctor. You know, a secret regeneration.”
“What, another one? Who just happened to like the same clothes?”
“Yep. So you have the Sixth, and then he regenerates into the Seventh, but that’s not McCoy. Which would make – ”
“Which would make McCoy the Eighth,” I said. “Oh, I’m going to have sooo much fun trolling the fandom with this one.”

And I will, but in the meantime –

God bless you, Deviant Art. God bless you.

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Have I Got Whos For You (part 9 3/4)

Scooby Ood.

 

Scooby Ood

Actually, while we’re on the subject –

You were all thinking it, weren’t you?

And while we’re combining cartoons with that series finale, have a few Peanuts.

See you next time, my Sweet Babboo.

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Have I Got Whos For You (part 404)

I’ll be living it up in London when you read this. I do not plan on taking my figures for a photoshoot. No indeed. At least not this time.

In the news this week, David Tennant reacts.

Jodie Whittaker’s catchphrase is unveiled.

And there is much excitement over this leaked image from ‘Twice Upon A Time’.

(As an aside: I posted this in a variety of groups. In one of them I was met with Angry and Sad responses and the moderator had to comment with ‘This is not a scene from the Christmas special’ and then lock the thread. I know I should have seen it coming, but the rampant stupidity of the fanbase never ceases to amaze me.)

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Have I Got Whos for You (part 13)

In this week’s Doctor Who news, an oft-quoted fan mantra is given a new slant.

A much-anticipated deleted scene from ‘World Enough And Time’ is leaked into the internet.

And finally, David Tennant reacts to the upcoming 13th Doctor reveal.

 

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Have I Got Whos For You (part 76)

There is no God Is In The Detail post this week, folks. I’m sorry. I really can’t spare the time.

However, here’s some alternative artwork for episode 11, ‘World Enough And Time’ – and yes, the BBC acknowledged that it was a deliberate homage to ‘Day of the Doctor’, but I wondered what would happen if you combined them:

Elsewhere, this recently discovered deleted scene from ‘Forest of the Dead’ goes a long way towards closing up some narrative loopholes.

Talking of Nardole, the inspiration for that costume, when you look at it, is obvious.

Anyway: while I was doing all this, my eight-year-old removed the front from his Yoda torch, and inadvertently turned it into Alpha Centauri.

Normal business resumes next week.

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Back to the Future

If you were watching TV in the 1980s, there are certain things you will remember. The Vietnam veterans who were brilliant at taking down loan sharks despite their inability to actually shoot straight. David Hasselhoff running into the ocean in slow motion – and then, regrettably, running back out again. Richard Dean Anderson building a small explosive out of three rolls of parcel tape and a paperclip. Scott Bakula in a wig and heels. David Hasselhoff again, upstaged by a Trans Am. David Duchovny, in a wig and heels. And Tom Selleck somehow managing to make Hawaiian shirts look almost cool.

There was a technique to producing a memorable intro, and that was to talk over it. I say “In 1972”, you say “a crack commando unit”. I say “A shadowy flight into the dangerous world”, you say “of a man WHO DOES NOT EXIST”. I say “…hoping each time that his next leap”, you say “will be the leap home”, the unavoidable lump in your throat stemming from the knowledge that he never quite managed it. We knew those voiceovers as well as we knew the opening themes that followed, whether they were by Mike Post, or – actually, they were all by Mike Post, so let’s leave it there. In any event those voiceovers have entered fan lore and it is impossible to imagine the show without them. We still do them at parties. Perhaps that’s just me.

But Doctor Who has always had that opening theme, and it’s always been…well, very of its time, somehow, whatever time that happened to be. The titles have always been played over stars, or a swirling vortex, or weird camera effects – something abstract and general. You can’t really imagine it any other way. It’s difficult to envisage a Doctor Who that emulates that cheesy montage-style opening, replete with freeze frame stills of the leads, and shots of at least one explosion, or Dwight Schultz with a glove puppet.

Hence this.

Technical stuff first. It had to be Tennant. The ‘Voyage of the Damned’ speech that makes up the bulk of his narration practically lends itself to an 80s style intro (the BBC used it for at least one trailer back in 2007) and even if it hadn’t, there was no one else who could have pulled off that debonair, slightly irritating leading man pastiche. Smith is just too…English. As much as I love the Eleventh Doctor, his predecessor’s monumental impact with fans is easy to analyse: he’s the sort of person they grew up watching in the 1990s. He’s Fox Mulder, right down to the suit. Barrowman’s presence was a given. Casting a companion was trickier – I almost plumped for a selection until the moment I realised the shot of Tennant closing the TARDIS door with his fingers was ripe for inclusion – and he’s with Donna, so the decision was more or less made.

“Why Max?” asked Gareth, and various other people, so I explained. “It is scientific fact that any American sci-fi / private detective drama from the 1980s had an eccentric older character played by an established veteran, and he was usually called Max.”
“Is it? I can’t think of any at the moment. What examples are there? (So that I can say “oh, really?” or “ah, I haven’t seen that”.)
Hart To Hart. And. Um. Max from Ben Ten? OK, that may be it.”

Details aside, the casting of the comic relief veteran was standard practice, as evidenced by Macgyver and Magnum P.I., among others. Actually, when I think about it this whole thing was really just a reaction to this trailer, which I did years back and which I was unable to post on Facebook.

Right down to that shot of Barrowman hefting the gun. Which may be iconic one day. But not today. Tomorrow doesn’t look good either.

Music was provided by Philip Chance – I wandered around YouTube looking for appropriate rights-free synth-and-drum-machine combos for a good long while before I found what I was looking for. The post-production work was done in Adobe After Effects – which I downloaded specially – although I couldn’t have managed the grainy VHS look without the help of this tutorial. Basically it’s a question of whacking up the contrast and pasting over some noise effects. If you look at the bottom of the screen you’ll see a jagged line running throughout, which is supposed to be that poor tracking you always had when the heads needed cleaning.

“Do you see what I mean about the old-style 3D-ness, though?” said Gareth.

“I do,” I said, “because the process is basically the same. Basically you split the picture into three separate signals and then isolate the colour in each – one red, one blue, one green – and overlay them. Then you shift each one a few pixels to the left and right so that the different colours are very slightly out of sync. It’s not enough to make it look any worse than a less-than-brilliant VHS transfer – real 3D signals are completely separate and are headache inducing when watched with the naked eye – but it’s a similar principle.”

“These days, I’m all about wearable technology.”

It’s not perfect, but I got bored. Some projects have a clear beginning, a middle and an end. When you’re doing a montage you’re looking for clips that work. Intro parodies (as with the Magnum one above) are trickier but narrow down your scope considerably, so that it’s easy to tell when it’s done. When mashing up dialogue it’s usually a question of finding enough material that works and then chipping away at the bits that you don’t need until you’re telling the best story you can.

With something like this it’s harder. Should I move that frame a little more to the right? Up the blur to 60 rather than 50 per cent? How authentic does this need to look? What’s it going to look like after encoding? In the end I settled for “Well, you get the idea”, which is sometimes about the best you can do when you’re not actually getting paid for doing this stuff. At least you don’t have to worry about copyright.

Reaction was…variable. Lots of people liked it, but more than a few missed the point.

“Umm, shouldn’t it be ‘If NuWho was produced in the 80s’? Because there were new episodes of Doctor Who coming out in the 80s.” (Reaction: Yeah, I was being vague. It helps with the hit count.)

I will never understand the fetishization of VHS. (Reaction: That’s TOTALLY NOT WHAT I’M DOING, it’s just about authenticity.)

“One thing – Tennant would have been a pimply teenager in the 80s (or possibly a little kid, I’m not sure how old he is), and Capaldi looked more like Colin Baker.” (Reaction: Yeah, he does look like Colin Baker.)

“Have people actually forgotten that doctor who was in fact around during the eighties and still looked better than this?” (Reaction: No one’s forgotten. Why have you reminded us?)

“Doctor Who was around in the 80s and before and shot on video so what’s the point of this?” (Reaction: Ah yes. The old ‘What’s the point?’ maxim. It’s people like you who get arts funding cut.)

“But… there already were episodes made in the 80s…” (Reaction: You’re really not getting this, are you?)

Gaah. Look, it’s a parallel universe, right? A parallel universe where we never moved beyond VHS and cassette tapes and gigantic brick-sized mobile phones (glances at Samsung S7 on desk, shifts uncomfortably in office chair) and contemporary Doctor Who, when they eventually made it, looked like this. And you had to tape it off the TV and find you’d missed the last five minutes because the Videoplus got the timing wrong, so you’ll never see Peter Capaldi bust through that wall. And it looks rotten because when you see 1980s TV recordings uploaded to YouTube, they look rotten as well. Savvy? I’M TIRED OF HAVING TO EXPLAIN THIS SHIT TO YOU PEOPLE.

Missing the point is something that happens quite a lot in fandom. It’s appropriate that we’ve just had Mothering Sunday, because last year I published the meme you can see below, which was picked up by a fan page (as opposed to Peter Capaldi himself – a man who is not on social media, although it’s sorely tempting to pretend he is and is reading my stuff). Comments varied from ‘LOLOLOL’ (which doesn’t even make sense) to the acidic ‘That’s horrible, and so are you’ – but it was one particular remark that caught my eye and then twisted a sharp stick into the socket over the course of the head-against-the-brick-wall conversation that followed. It is reprinted below as is: I have no qualms about embarrassing the girl / boy, because that’s not a real photo and that’s almost definitely not her / his real name.

I despair.

Then along comes John, who gets it instantly. “We found the Americanized Who!” he said.

“Yeah,” I replied. “That’s what I should have called it.” Dammit.

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