Doctor Who 10x19

Directed by David Maloney

Bernard Horsfall as Taron • Prentis Hancock as Vaber • Tim Preece as Codal • Jane How as Rebec • Roy Skelton as Wester / Dalek Voices

The Doctor and his friends ambush two Daleks as part of their plan to get back into the city, but the Daleks are on the verge of unleashing their virus.

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1. "The Doctor and his friends penetrate deep into Dalek HQ in an attempt to carry out their desperate attack plan.

2. "Suddenly they are recognised." (Radio Times)

3. This episode was first shown on 5 May, 1973 and was seen by 9.7 million viewers.

4. Terry Nation entitled this episode:

5. THE DAY BEFORE ETERNITY

6. The "creatures" are a single black cyclorama cut-out with back-lit holes to represent the eyes.

7. The lights were all individually switched, to facilitate this sequence.

8. The prop cost £35 to make. (That's around £320 at early 21 st-century prices.)

9. Pre-production included a long series of costume fittings for the actors cast as Thals.

10. The first fitting - for Prentis Hancock (Vaber) - was on 9 December, 1972.

11. They continued on an almost daily basis until after Christmas. The final sessions were on 6 January, halfway through pre-filming.

12. The number of fittings per Thal varied: Alan Tucker (Latep) needed just one,

13. whereas Hilary Minster, who as Marat has the smallest role, was subjected to five such sessions.

14. The three large rocks in the background were individually sculpted in polystyrene.

15. One of the pieces stood 1.4 metres high, the others went up to 2 metres at their highest point.

16. The two series regulars wear new outfits in this serial, so they too were required for pre-production fittings.

17. Jon Pertwee's was on 15 December and Katy Manning's on 28 December.

18. Not all the cast were needed, however. With the Dalek actors, there was no costume to fit.

19. Roy Skelton as Wester also had no fitting: All he had to do was throw the furs over himself and keep his feet out of sight.

20. There's a flash of the extra's face under the fur as he lunges forward.

21. Can you spot the camera lurking in the foliage?

22. As well as their spacesuits, the Thal actors also had to be fitted with blond wigs.

23. Jane How found her costume unflattering and her wig unwieldy.

24. She christened herself "Miss Michelin",

25. after the contemporary "Michelin Man" marketing character who was made entirely of tyres.

26. After the end of production, Barry Letts wrote to his head of department, Ronald Marsh:

27. "David Maloney did wonders in encompassing a large number of exterior scenes in the studio."

28. "Wester's furs should be markedly different from the other Spiridons'," advises the script.

29. "We shall need to identify him visually by them later."

30. All the Spiridon furs were supplied by the freelance monster maker Allister Bowtell (1940-2006).

31. His main vocation was as a sculptor, with work including the 2003 bronze, 'Two Pupils', in London's Sloane Square.

32. His other contributions to Doctor Who included the redesigned Cybermen for 'Revenge of the Cybermen' (1975)

33. And the prosthetic head worn by actor Simon Jones in the role of a giant telepathic Grand Master

34. in Terrance Dicks's 1974 Doctor Who stage play, Seven eys to Doomsday.

35. The sky is a plain cyclorama, with variable lighting to suggest different times of day (or night).

36. Like many other elements of this serial, the invisible Spiridons have roots in Terry Nation's Dalek writings of the 1960s.

37. The Dalek World (1965) features a strip story in which the Daleks are attacked by a race of birdmen.

38. They are 'The Invisible Invaders' of the strip's title, who vanish when sprayed with "infralux rays".

39. The Daleks wipe them out and only then realise that they have made a strategic error:

40. "The secret of invisibility died with them,"says the Dalek Emperor."A pity. It would have been a strong weapon against Earth."

41. Invisible creatures also featured in the Daleks' television adventures: The Visians in 'The Daleks' Master Plan'.

42. It doesn't come across well on screen, but the Daleks shoot the pursuing Spiridon as well as the escaping Vaber.

43. Daleks draw their motive power from the feet of the human operators inside the props.

44. They wore black plimsolls, in order to keep their feet inconspicuous under the rubber "skirt" at the bottom.

45. Part of the underside was solid: The actors had to work through a square aperture about half the width of the prop.

46. This limited the Daleks' speed, because the operators could only propel them with little fairy steps.

47. The production period for 'Planet of the Daleks' ran for exactly 50 days, from 2 January to 20 February, 1973.

48. In accordance with the BBC's usual practice, the material to be shot on film was done first, with minimal rehearsal.

49. Rehearsals and studio recording followed, taking up the lion's share of the production time.

50. Barry Letts tried to structure Doctor Who's production year so that the serial to be made in mid-winter

51. would be mainly studio-bound, requiring little or no outside location filming.

52. At a very early stage, before there was a script, the plan was to shoot all the exteriors for the serial in a film studio.

53. On 10 April, 1972, a stage was booked at Ealing for the full six-day film 1-5 and 8 January, 1973.

54. In the event, there were only three days at Ealing (5 and 8-9 January),

55. and the film allocation was cut back from six days to five.

56. (The rule of thumb was that each production had one day's filming per episode, but with some flexibility between serials.

57. So scrimping on 'Planet of the Daleks' made it possible to have a seven-day shoot for the next adventure, 'The Green Death'.)

58. Avoiding winter location work was partly for reasons of efficiency:

59. The late dawn and early dusk of a typical British winter's day gave relatively few hours of usable light

60. and shooting was always at risk of disruption by inclement weather.

61. Comfort, too, was a factor: Working outdoors in the depths of winter is no fun!

62. That's why the Thal spacesuits are so baggy: There's plenty of room for thermal underwear.

63. The 'Planet of the Daleks' team wound up spending two days on location, for the ice pool scenes coming up.

64. They were the first things shot for this serial, on 2 and 3 January, and it was perishingly cold.

65. Some members of the unit coped with the conditions by smoking cigarettes with a somewhat more fragrant aroma than usual.

66. The location is Beachfields Quarry, Redhill, property of the chemical film Laporte Industries.

67. Generous deposits of fuller's earth make the water naturally green.

68. The ice slurry is a thick solution of the wallpaper paste Polycell.

69. To make the water bubble, the effects team supplied 30 blocks of dry ice.

70. It wasn't enough: They ran out of dry ice on the first day and had to send for 20 more blocks.

71. In case you're wondering, no dry ice was squandered to make the mist in these close-ups.

72. It's the output of four "Dyna Fog" smoke guns (plus a little carbon dioxide from the actors' own breath).

73. After the first day's work on location, the film unit trooped off to the Sky Lane Motor Hotel at Horley.

74. Eighteen rooms were booked: Eight for the actors, nine for the crew,

75. and one to be the dressing and make-up area the following morning.

76. The cast, already made up and in costume, arrived back in the quarry at 9.15 the next morning, just over an hour after sunrise.

77. Filming wrapped that day at 3.20, with little more than half an hour to go before sunset.

78. So the total day's work on location amounted to roughly six hours, including three breaks.

79. In contrast, the filming days at Ealing ran from 8 a.m. To 5.30 p.m., nearly half as long again.

80. And that's why winter location work just wasn't efficient!

81. Latep is played by former child actor Alan Tucker.

82. In his mid-teens, he had spent a year with the Royal Shakespeare Company (1964-5),

83. notably playing the young King Edward V in Peter Hall's Wars of the Roses trilogy.

84. His television credits include various technical bit-parts in UFO (1970), a henchman in Ace of Wands (1970) And a slave in I Claudius (1970).

85. Prepare to see the second Dalek hit the rock as it enters.

86. Rather lightweight for a rock, isn't it?

87. Katy Manning wasn't quite expecting a close encounter with Jon Pertwee's right hand as he moves off!

88. A shot of the Doctor standing beside the ice pool was later used on the cover of the 1975 Doctor Who Annual.

89. The two Daleks used on location were not BBC property.

90. They were supplied by Westbury Design and Optical, Clifford Culley's effects firm.

91. If you look carefully, you'll notice that they are painted in a lighter shade of grey than the studio Daleks.

92. Here's another, darker Dalek for purposes of comparison.

93. After filming, the Westbury props were repainted to match the BBC's own versions.

94. The use of the fur was unscripted business worked out in rehearsal.

95. It was only partly for reasons of uniformity that the location Daleks had to be repainted.

96. They also sustained some damage in the making of this sequence. What's more, their batteries disintegrated.

97. This was shot with a handheld camera.

98. Jo's hair seems to have lost its perm.

99. To be precise, she hasn't had it permed This was filmed nearly three weeks before the studio scenes.

100. Without knowing it, Katy Manning is about to give a masterclass in Doctor Who reaction shot acting.

101. Jane How privately contrasted her own subtle performance in this sequence

102. with what she thought was a piece of prime overacting from Katy.

103. She later conceded that Katy had pitched her performance at the right level, while she herself had undersold the moment.

104. The Daleks were originally designed as studio-bound props, moving on a flat surface.

105. As usual, they were difficult to work with on location.

106. As usual, they could only move across duckboard tracks that had been specially laid down for them.

107. As usual, this restricted the director's choice of camera angles: He had to shoot them low to hide the boards.

108. Rather than put up with such problems every time the Daleks came back, Clifford Culley gave it some thought.

109. His ideas would bear fruit later in 1973, when the Daleks returned with an entirely new mode of location locomotion.

110. You'll have to wait for 'Death to the Daleks' to find out what it was!

111. After finishing work on location, the unit moved to Stage 3B at Ealing to film interiors.

112. They shot the cooling tower escape first, on the Thursday and Friday, 4 and 5 January.

113. The earlier scenes in the corridors and ice tunnels followed at the start of the next week, 8 and 9 January.

114. Originally, Terry Nation had planned them to use both of the captured Daleks, with Codal as well as Rebec inside.

115. He developed this part of the plot by combining two sequences from the first Dalek serial,

116. in which the time travellers and Thals split into two groups and penetrate the Dalek city by two different routes:

117. The Doctor goes in through the front door and sends his senior companions round the back.

118. Earlier on, when trying to escape, they immobilised a Dalek and scooped out the occupant,

119. allowing the Doctor's friend lan to hide inside and take them out through the city, as "prisoners and escort".

120. Nation's innovation this time round was to make the Dalek impersonator one of the more vulnerable members of the party.

121. Rebec has never driven a Dalek before, of course.

122. Perhaps that's why she hits the camera here!

123. The total estimated design budget amounted to £12,624, and 3,036 man hours.

124. While the director and cast were busy at Ealing, others were hard at work in the Television Rehearsal Rooms in Acton.

125. On 8 and 9 January, the rehearsal room floor was systematically marked up with coloured tape.

126. The tape represented the exact floor dimensions of the sets, enabling the actors to plot their moves accurately.

127. The first day of rehearsals was 10 January, immediately after filming.

128. This customarily entailed a complete read-through of the entire script.

129. On this occasion, however, one key cast member was missing.

130. Jon Pertwee was in Birmingham, for a promotional appearance on the lunchtime magazine show Pebble Mill at One.

131. Rehearsals continued until 19 February, and included Saturday work the weekends before studio recording.

132. Terry Nation originally imagined the bacteria in a set of jars rather than a single large container.

133. The script calls for Wester to smash the jars to smithereens.

134. Nation had used such an image before in 'The Keys of Marinus' (1964), with pulsating brain creatures inside the jars.

135. To get a good enough turn of Dalek speed,

136. they gave an empty "goon" casing a hefty shove!

137. The "roll back and mix" technique - a form of electronic double exposure - makes Wester's face appear.

138. It's a hard life being a Dalek.

139. Once inside the props, the operators were trapped: They needed assistance to get out.

140. The actors would take newspapers and food in with them, to pass the time between takes.

141. The effects crew were assigned the task of opening up the Daleks when the operators needed to be let out,

142. but sometimes they would wander off to attend to other duties.

143. With cries for help muffled by the Dalek casings, there was only one way to communicate with the outside world.

144. So when a Dalek's lights flash wildly - nature's calling!

145. This week's fabulous furry Spiridons

146. Gary Dean, Kelly Varney

147. The film crew were:

148. Elmer Cossey (Cameraman)

149. Lan Sansam (Sound)

150. Stan Swetman (Grips)

151. Frank Brown (Sound Assistant)

152. John Harper (Assistant) with you, Doctor? - No, I'm sorry, Jo.

153. It must be a two-pronged attack, it'll double our chances of success.

154. Have you got the bomb?

155. Whichever group gets there first

156. must detonate that bomb in one of the tunnels near the cooling unit,

157. block off the Daleks completely.

158. Now, whatever you do, don't damage the refrigeration unit.

159. It's absolutely vital that that continues to function.

160. We understand.

161. - Here you are, Doctor. - More gentle persuasion?

162. - You could put it like that. - Right. Put it on.

163. - Well, Jo, do I pass? - You'll do, in a pinch.

164. - Good luck, Doctor. - And to you.

165. Good luck. - All right, Rebec?

166. All right. - Okay?

167. Right, off we go.

168. All units were ordered to return to base.

169. You are late.

170. Report to central control immediately.

171. - (WHISPERING) They're in! - We'd better get going.

172. - Right. - Come on.

173. What are they doing?

174. Presumably, they're preparing the bacteria.

175. But...

176. There's a Spiridon in there.

177. That's Wester!

178. Fault rectified.

179. Equipment now fully operational.

180. We are both already immune.

181. We will start to administer

182. protective treatment to all units at once.

183. You must not open container!

184. Bacteria is released. Do not open door!

185. Repeat. Do not open door!

186. If they open that hermetically sealed door even a fraction of an inch,

187. the bacteria will escape and destroy everything, including themselves.

188. We cannot leave here. No one can enter.

189. We can never leave here. Never, never, never!

190. (WHISPERING) Let's try and get to the lower levels.

191. All right, Rebec.

192. Wait!

193. Spiridon slave workers are to report to level four immediately.

194. Move!

195. Wait, you are not Spiridons!

196. Emergency! Emergency! Emergency!