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Post by Deleted on Jun 11, 2018 11:28:42 GMT
Well, it defiently hasn't been forgotten because Nick Briggs has talked about it  The release was been placed as TBA initially (and when given a date, was acknoweldged by Nick as a website error) and I imagine it was just a slip up. A LOT has happened in those two years, the launch of the revival releases for one and Nick talked about how despite the actors their williginess, there had been difficulty with booking the actors involved in the original production. The H.G. Wells adaptions and the Shakespeare adapations were released under the Big Finish Classics banner were released (mostly) month after month last year, so it's not as if doing classic adapations wasn't pirtorised. Add the complications for other ranges, especially Doctor Who and booking revival actors, Aliens Among Us, etc, the delays aren't that suprising. With any other company, I'd defiently take more of an issue, but this release seems to have affected by a lot more external issues then Big Finish could reasonably deal with. For the sheer quality (especially given their extensive releases) of Big Finish, honestly, I could forgive anything. I don't think it should have been put up for pre-order, but I believe that Big Finish honestly believed that this production wasn't going to be as difficult as it was. Where actor availability is an issue, announcements are usually saved for when recording is done. That way the article can be plumped up with cast names and photos from the recording. It also cuts the variables down to post-production. It also provides Nick an opportunity to grab interviews he can run in the podcast.
As I said before: I honestly don't think Big Finish thought this production was going to be as difficult as it's been. I imagine when it's released, we're going to learn a lot more about the behind the scenes difficulties. I imagine the intended process would have been similar to the Sherlock Holmes releases, a relativily quick production relying on the experience of the stage cast
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lidar2
Castellan
You know, now that you mention it, I actually do rather like Attack of the Cybermen ...
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Post by lidar2 on Jun 11, 2018 11:31:07 GMT
This was promised two years ago, with nothing new to show for it. I'd forgive Big Finish for shelving the project until a solid deadline can be met, and taking down the product page until a release is more tangible. For whatever reason, at this point we don't know if there's been any development (Nick jokingly commenting about next year, year after that implies it's not a priority), and a solid release date that is expected to be met would be hugely welcome before I put in any pre-order. It's very rare Big Finish drop the ball like this, and I wouldn't be surprised if it's forgotten at Big Finish towers.
Well, it defiently hasn't been forgotten because Nick Briggs has talked about it The release was been placed as TBA initially (and when given a date, was acknoweldged by Nick as a website error) and I imagine it was just a slip up. A LOT has happened in those two years, the launch of the revival releases for one and Nick talked about how despite the actors their williginess, there had been difficulty with booking the actors involved in the original production. The H.G. Wells adaptions and the Shakespeare adapations were released under the Big Finish Classics banner were released (mostly) month after month last year, so it's not as if doing classic adapations wasn't pirtorised. Add the complications for other ranges, especially Doctor Who and booking revival actors, Aliens Among Us, etc, the delays aren't that suprising. With any other company, I'd defiently take more of an issue, but this release seems to have affected by a lot more external issues then Big Finish could reasonably deal with. For the sheer quality (especially given their extensive releases) of Big Finish, honestly, I could forgive anything. I don't think it should have been put up for pre-order, but I believe that Big Finish honestly believed that this production wasn't going to be as difficult as it was. Everything you say is fair enough ... in relation to something like the comic strip adaptation, which has been talked about for a couple of years now but seems to keep getting put off and put off and is not available for pre-order. The difference with J&H is that BF have in this case actually taken money off people and, once they have done that, then BF have to step up. Ideally that means prioritising workload to get the thing out, but at the very least they need to be communicating/explaining/apologising. Once you take money off customers, your obligation to deliver increases greatly.
What criteria do BF use for prioritising? To my mind, once you take money off people you need to deliver. If it turns out the project is not as lucrative for BF as expected, or other projects come along that are more fun to work on, then that's too bad. That's what happens in business. Were the things you mention even announced when J&H first went up for pre-order? Good customer service means prioritising and delivering the things people have already paid for first, that should be the priority.
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Post by omega on Jun 11, 2018 11:36:52 GMT
Where actor availability is an issue, announcements are usually saved for when recording is done. That way the article can be plumped up with cast names and photos from the recording. It also cuts the variables down to post-production. It also provides Nick an opportunity to grab interviews he can run in the podcast.
As I said before: I honestly don't think Big Finish thought this production was going to be as difficult as it's been. I imagine when it's released, we're going to learn a lot more about the behind the scenes difficulties. I imagine the intended process would have been similar to the Sherlock Holmes releases, a relativily quick production relying on the experience of the stage cast
In which case, taking down the product page until product can be guaranteed seems the best call. At the moment it represents an empty promise, an "I'll be there soon" or "it's coming!". It hasn't changed for over a year. |
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Post by omega on Jun 11, 2018 11:38:51 GMT
Well, it defiently hasn't been forgotten because Nick Briggs has talked about it The release was been placed as TBA initially (and when given a date, was acknoweldged by Nick as a website error) and I imagine it was just a slip up. A LOT has happened in those two years, the launch of the revival releases for one and Nick talked about how despite the actors their williginess, there had been difficulty with booking the actors involved in the original production. The H.G. Wells adaptions and the Shakespeare adapations were released under the Big Finish Classics banner were released (mostly) month after month last year, so it's not as if doing classic adapations wasn't pirtorised. Add the complications for other ranges, especially Doctor Who and booking revival actors, Aliens Among Us, etc, the delays aren't that suprising. With any other company, I'd defiently take more of an issue, but this release seems to have affected by a lot more external issues then Big Finish could reasonably deal with. For the sheer quality (especially given their extensive releases) of Big Finish, honestly, I could forgive anything. I don't think it should have been put up for pre-order, but I believe that Big Finish honestly believed that this production wasn't going to be as difficult as it was. Everything you say is fair enough ... in relation to something like the comic strip adaptation, which has been talked about for a couple of years now but seems to keep getting put off and put off and is not available for pre-order. The difference with J&H is that BF have in this case actually taken money off people and, once they have done that, then BF have to step up. Ideally that means prioritising workload to get the thing out, but at the very least they need to be communicating/explaining/apologising. Once you take money off customers, your obligation to deliver increases greatly.
What criteria do BF use for prioritising? To my mind, once you take money off people you need to deliver. If it turns out the project is not as lucrative for BF as expected, or other projects come along that are more fun to work on, then that's too bad. That's what happens in business. Were the things you mention even announced when J&H first went up for pre-order? Good customer service means prioritising and delivering the things people have already paid for first, that should be the priority.
Bloodline is another project we know is happening but with an undetermined release date. Like the fabled comic strip adaptations it's not up for pre-order yet, so Big Finish have more time to produce it. |
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Post by Deleted on Jun 11, 2018 12:11:52 GMT
Well, it defiently hasn't been forgotten because Nick Briggs has talked about it The release was been placed as TBA initially (and when given a date, was acknoweldged by Nick as a website error) and I imagine it was just a slip up. A LOT has happened in those two years, the launch of the revival releases for one and Nick talked about how despite the actors their williginess, there had been difficulty with booking the actors involved in the original production. The H.G. Wells adaptions and the Shakespeare adapations were released under the Big Finish Classics banner were released (mostly) month after month last year, so it's not as if doing classic adapations wasn't pirtorised. Add the complications for other ranges, especially Doctor Who and booking revival actors, Aliens Among Us, etc, the delays aren't that suprising. With any other company, I'd defiently take more of an issue, but this release seems to have affected by a lot more external issues then Big Finish could reasonably deal with. For the sheer quality (especially given their extensive releases) of Big Finish, honestly, I could forgive anything. I don't think it should have been put up for pre-order, but I believe that Big Finish honestly believed that this production wasn't going to be as difficult as it was. Everything you say is fair enough ... in relation to something like the comic strip adaptation, which has been talked about for a couple of years now but seems to keep getting put off and put off and is not available for pre-order. The difference with J&H is that BF have in this case actually taken money off people and, once they have done that, then BF have to step up. Ideally that means prioritising workload to get the thing out, but at the very least they need to be communicating/explaining/apologising. Once you take money off customers, your obligation to deliver increases greatly.
What criteria do BF use for prioritising? To my mind, once you take money off people you need to deliver. If it turns out the project is not as lucrative for BF as expected, or other projects come along that are more fun to work on, then that's too bad. That's what happens in business. Were the things you mention even announced when J&H first went up for pre-order? Good customer service means prioritising and delivering the things people have already paid for first, that should be the priority.
But, what do you do? Alex Kingston can only come in on these set dates for River for example - which you kept the bookings open for her - and the other studios are currently being used for other franchise-based stories rather then the actors involved in your stageplay adapation. You have to pirortise. It may or may not be this, because as Nick said there have been a lot of unforseen difficulties in getting the actors involved in. Not long after the initial news announcement, Nick announced that a new release date was forthcoming and that the release had been significantly delayed and the release date went to TBA shortly afterwards. As I said, I don't think it was EVER meant to be as troubled of a production as it was. It was 'TBA' for quite some time and when it set for December 2017 and brought to Big Finish's attention, it was rectified, only for it recently to return to December 2018. Also - and at the risk of sounding crass - last year, John Hurt died and I'd imagine there were some planned recording dates.
It's possible before the decision was made to adapt and appropiate elements from early draft War Doctor scripts for the Eighth Doctor Time War sets, it's possible Big Finish wanted to know if his family and friends (Jacequeline Pearce for instance and other actors who may have known as John) wanted them to do something with the planned stories, given how significant the role of the War Doctor was in The Day of The Doctor and how much John Hurt had enjoyed working with Big Finish. Big Finish pushing aside Jekyll is kind of understandable in that respect and pirtorising everything else.
I'd imagine all franchise-releated releases are the pirority above all else, with advanced planning and set dates for the Originals releases. Doesn't mean it wasn't viewed of importance, though (especially if you can get David Warner in as Lear or Alexander Vhaos for Hamlet) . As I said before, we had a clear run of Classics releases pretty much month to month last year, clearly the range IS a pirority.
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Post by Audio Watchdog on Jun 11, 2018 12:55:42 GMT
It does not appear that the classics range are big sellers. We know the Shakespeare audios were not. None of that really matters. All of this boils down to communication with the customer base. Period. Everyone who preordered entered into a business arrangement with Big Finish by preordering, and helped to fund, this audio production. A couple of years later and they have nothing to show for it. These funds were used in good faith, the very least BF could do is directly address those customers. This isn’t about one person being too busy. This isn’t about shifting priorities. This is about addressing a problem.
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Post by Deleted on Jun 11, 2018 13:00:57 GMT
It does not appear that the classics range are big sellers. We know the Shakespeare audios were not. None of that really matters. All of this boils down to communication with the customer base. Period. Everyone who preordered entered into a business arrangement with Big Finish by preordering, and helped to fund, this audio production. A couple of years later and they have nothing to show for it. These funds were used in good faith, the very least BF could do is directly address those customers. This isn’t about one person being too busy. This isn’t about shifting priorities. This is about addressing a problem.
I do think it's important for Big Finish to address the issue, but given the sheer output and quality and nutured creativity of Big Finish and that Big Finish is a small company, I can forgive and find this understandable. Given Big Finish's track record and what Nick has said, there's been a clear conscientious effort to get Doctor Jekyll and Mr Hyde out. I've said this before: we're never going to see anything like Big Finish again in the audio medium or elsewhere.
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Post by Deleted on Jun 11, 2018 14:31:10 GMT
Everything you say is fair enough ... in relation to something like the comic strip adaptation, which has been talked about for a couple of years now but seems to keep getting put off and put off and is not available for pre-order. The difference with J&H is that BF have in this case actually taken money off people and, once they have done that, then BF have to step up. Ideally that means prioritising workload to get the thing out, but at the very least they need to be communicating/explaining/apologising. Once you take money off customers, your obligation to deliver increases greatly.
What criteria do BF use for prioritising? To my mind, once you take money off people you need to deliver. If it turns out the project is not as lucrative for BF as expected, or other projects come along that are more fun to work on, then that's too bad. That's what happens in business. Were the things you mention even announced when J&H first went up for pre-order? Good customer service means prioritising and delivering the things people have already paid for first, that should be the priority.
But, what do you do? Alex Kingston can only come in on these set dates for River for example - which you kept the bookings open for her - and the other studios are currently being used for other franchise-based stories rather then the actors involved in your stageplay adapation. You have to pirortise. It may or may not be this, because as Nick said there have been a lot of unforseen difficulties in getting the actors involved in. Not long after the initial news announcement, Nick announced that a new release date was forthcoming and that the release had been significantly delayed and the release date went to TBA shortly afterwards. As I said, I don't think it was EVER meant to be as troubled of a production as it was. It was 'TBA' for quite some time and when it set for December 2017 and brought to Big Finish's attention, it was rectified, only for it recently to return to December 2018. Also - and at the risk of sounding crass - last year, John Hurt died and I'd imagine there were some planned recording dates.
It's possible before the decision was made to adapt and appropiate elements from early draft War Doctor scripts for the Eighth Doctor Time War sets, it's possible Big Finish wanted to know if his family and friends (Jacequeline Pearce for instance and other actors who may have known as John) wanted them to do something with the planned stories, given how significant the role of the War Doctor was in The Day of The Doctor and how much John Hurt had enjoyed working with Big Finish. Big Finish pushing aside Jekyll is kind of understandable in that respect and pirtorising everything else.
I'd imagine all franchise-releated releases are the pirority above all else, with advanced planning and set dates for the Originals releases. Doesn't mean it wasn't viewed of importance, though (especially if you can get David Warner in as Lear or Alexander Vhaos for Hamlet) . As I said before, we had a clear run of Classics releases pretty much month to month last year, clearly the range IS a pirority.
What has John Hurt's death got to do with Jekyll and Hyde? This project has been available to pre-order for two years now, and I very much doubt that everyone at Big Finish Towers would close up shop for days because a cast member on one of their productions had died, no matter how notable they may have been. Even when Paul Spragg died in 2014, they were back in studio the following week recording Dark Eyes 3, and I imagine that would have been quite a sizable hit to both morale and production in general, so no, I don't think that reworking some scripts for a different Doctor to be released up to three years in the future (Time War 4 is 2020) would cause this release to suffer so badly in particular in comparison to everything else being produced. |
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Post by Deleted on Jun 11, 2018 14:41:11 GMT
But, what do you do? Alex Kingston can only come in on these set dates for River for example - which you kept the bookings open for her - and the other studios are currently being used for other franchise-based stories rather then the actors involved in your stageplay adapation. You have to pirortise. It may or may not be this, because as Nick said there have been a lot of unforseen difficulties in getting the actors involved in. Not long after the initial news announcement, Nick announced that a new release date was forthcoming and that the release had been significantly delayed and the release date went to TBA shortly afterwards. As I said, I don't think it was EVER meant to be as troubled of a production as it was. It was 'TBA' for quite some time and when it set for December 2017 and brought to Big Finish's attention, it was rectified, only for it recently to return to December 2018. Also - and at the risk of sounding crass - last year, John Hurt died and I'd imagine there were some planned recording dates.
It's possible before the decision was made to adapt and appropiate elements from early draft War Doctor scripts for the Eighth Doctor Time War sets, it's possible Big Finish wanted to know if his family and friends (Jacequeline Pearce for instance and other actors who may have known as John) wanted them to do something with the planned stories, given how significant the role of the War Doctor was in The Day of The Doctor and how much John Hurt had enjoyed working with Big Finish. Big Finish pushing aside Jekyll is kind of understandable in that respect and pirtorising everything else.
I'd imagine all franchise-releated releases are the pirority above all else, with advanced planning and set dates for the Originals releases. Doesn't mean it wasn't viewed of importance, though (especially if you can get David Warner in as Lear or Alexander Vhaos for Hamlet) . As I said before, we had a clear run of Classics releases pretty much month to month last year, clearly the range IS a pirority.
What has John Hurt's death got to do with Jekyll and Hyde? This project has been available to pre-order for two years now, and I very much doubt that everyone at Big Finish Towers would close up shop for days because a cast member on one of their productions had died, no matter how notable they may have been. Even when Paul Spragg died in 2014, they were back in studio the following week recording Dark Eyes 3, and I imagine that would have been quite a sizable hit to both morale and production in general, so no, I don't think that reworking some scripts for a different Doctor to be released up to three years in the future (Time War 4 is 2020) would cause this release to suffer so badly in particular in comparison to everything else being produced.
Big Finish have an extensive output and there were a lot of releases in 2017. Considering and potentially allocating potential recording time could have been a factor.
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Post by Ela on Jun 11, 2018 14:50:51 GMT
I think Big Finish needs to respond to pre-order customers about this. It's really disrespectful that they haven't. Especially since they took people's money and the release date is still TBA two years later.
Kind of glad that I wasn't interested enough to pre-order.
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Post by davygallagher on Jun 11, 2018 16:09:05 GMT
What has John Hurt's death got to do with Jekyll and Hyde? This project has been available to pre-order for two years now, and I very much doubt that everyone at Big Finish Towers would close up shop for days because a cast member on one of their productions had died, no matter how notable they may have been. Even when Paul Spragg died in 2014, they were back in studio the following week recording Dark Eyes 3, and I imagine that would have been quite a sizable hit to both morale and production in general, so no, I don't think that reworking some scripts for a different Doctor to be released up to three years in the future (Time War 4 is 2020) would cause this release to suffer so badly in particular in comparison to everything else being produced.
Big Finish have an extensive output and there were a lot of releases in 2017. Considering and potentially allocating potential recording time could have been a factor.
If that was the case they would never have listed it. They've taken money for a service they've not delivered. Take off the rose coloured specs - you're allowed to say "Yeah..they've dropped the ball here..." just once. Nick won't send the boys round! |
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Post by coffeeaddict on Jun 11, 2018 18:16:06 GMT
Everything you say is fair enough ... in relation to something like the comic strip adaptation, which has been talked about for a couple of years now but seems to keep getting put off and put off and is not available for pre-order. The difference with J&H is that BF have in this case actually taken money off people and, once they have done that, then BF have to step up. Ideally that means prioritising workload to get the thing out, but at the very least they need to be communicating/explaining/apologising. Once you take money off customers, your obligation to deliver increases greatly.
What criteria do BF use for prioritising? To my mind, once you take money off people you need to deliver. If it turns out the project is not as lucrative for BF as expected, or other projects come along that are more fun to work on, then that's too bad. That's what happens in business. Were the things you mention even announced when J&H first went up for pre-order? Good customer service means prioritising and delivering the things people have already paid for first, that should be the priority.
But, what do you do? Alex Kingston can only come in on these set dates for River for example - which you kept the bookings open for her - and the other studios are currently being used for other franchise-based stories rather then the actors involved in your stageplay adapation. You have to pirortise. It may or may not be this, because as Nick said there have been a lot of unforseen difficulties in getting the actors involved in. Not long after the initial news announcement, Nick announced that a new release date was forthcoming and that the release had been significantly delayed and the release date went to TBA shortly afterwards. As I said, I don't think it was EVER meant to be as troubled of a production as it was. It was 'TBA' for quite some time and when it set for December 2017 and brought to Big Finish's attention, it was rectified, only for it recently to return to December 2018. Also - and at the risk of sounding crass - last year, John Hurt died and I'd imagine there were some planned recording dates.
It's possible before the decision was made to adapt and appropiate elements from early draft War Doctor scripts for the Eighth Doctor Time War sets, it's possible Big Finish wanted to know if his family and friends (Jacequeline Pearce for instance and other actors who may have known as John) wanted them to do something with the planned stories, given how significant the role of the War Doctor was in The Day of The Doctor and how much John Hurt had enjoyed working with Big Finish. Big Finish pushing aside Jekyll is kind of understandable in that respect and pirtorising everything else.
I'd imagine all franchise-releated releases are the pirority above all else, with advanced planning and set dates for the Originals releases. Doesn't mean it wasn't viewed of importance, though (especially if you can get David Warner in as Lear or Alexander Vhaos for Hamlet) . As I said before, we had a clear run of Classics releases pretty much month to month last year, clearly the range IS a pirority.
I seem to recall it being said (possibly in extras or even by one of the writers on here) that no pre-existing material was adapted from the War Doctor for use in other projects - also I fail to see the relevance of Doctor Who products to Jekyll and Hyde.
That said, BF uses a number of different studios for recording and they find ways to work around the availability of cast members, so I think that if the script is ready that at some point during the past two years recording could have been done even if it meant multiple sessions.
The bottom line is that BF has let customers down by not communicating the status of this project and that is not a sign of a company acting in good faith.
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ljwilson
Chancellery Guard
It's tangerine....not orange
Likes: 5,060
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Post by ljwilson on Jun 11, 2018 18:28:28 GMT
And the answer to all this is...just ask for your money back.
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lidar2
Castellan
You know, now that you mention it, I actually do rather like Attack of the Cybermen ...
Likes: 5,690
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Post by lidar2 on Jun 11, 2018 19:36:26 GMT
But, what do you do? Alex Kingston can only come in on these set dates for River for example - which you kept the bookings open for her - and the other studios are currently being used for other franchise-based stories rather then the actors involved in your stageplay adapation. You have to pirortise. It may or may not be this, because as Nick said there have been a lot of unforseen difficulties in getting the actors involved in. Not long after the initial news announcement, Nick announced that a new release date was forthcoming and that the release had been significantly delayed and the release date went to TBA shortly afterwards. As I said, I don't think it was EVER meant to be as troubled of a production as it was. It was 'TBA' for quite some time and when it set for December 2017 and brought to Big Finish's attention, it was rectified, only for it recently to return to December 2018. Also - and at the risk of sounding crass - last year, John Hurt died and I'd imagine there were some planned recording dates.
It's possible before the decision was made to adapt and appropiate elements from early draft War Doctor scripts for the Eighth Doctor Time War sets, it's possible Big Finish wanted to know if his family and friends (Jacequeline Pearce for instance and other actors who may have known as John) wanted them to do something with the planned stories, given how significant the role of the War Doctor was in The Day of The Doctor and how much John Hurt had enjoyed working with Big Finish. Big Finish pushing aside Jekyll is kind of understandable in that respect and pirtorising everything else.
I'd imagine all franchise-releated releases are the pirority above all else, with advanced planning and set dates for the Originals releases. Doesn't mean it wasn't viewed of importance, though (especially if you can get David Warner in as Lear or Alexander Vhaos for Hamlet) . As I said before, we had a clear run of Classics releases pretty much month to month last year, clearly the range IS a pirority.
I seem to recall it being said (possibly in extras or even by one of the writers on here) that no pre-existing material was adapted from the War Doctor for use in other projects - also I fail to see the relevance of Doctor Who products to Jekyll and Hyde.
That said, BF uses a number of different studios for recording and they find ways to work around the availability of cast members, so I think that if the script is ready that at some point during the past two years recording could have been done even if it meant multiple sessions.
The bottom line is that BF has let customers down by not communicating the status of this project and that is not a sign of a company acting in good faith.
I think its more a case of disorganisation and lack of self discipline than bad faith |
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Post by Deleted on Jun 11, 2018 19:51:15 GMT
I think it'll be particularly bad if The Human Frontier somehow makes it out before this does.
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Post by omega on Jun 11, 2018 20:49:58 GMT
But, what do you do? Alex Kingston can only come in on these set dates for River for example - which you kept the bookings open for her - and the other studios are currently being used for other franchise-based stories rather then the actors involved in your stageplay adapation. You have to pirortise. It may or may not be this, because as Nick said there have been a lot of unforseen difficulties in getting the actors involved in. Not long after the initial news announcement, Nick announced that a new release date was forthcoming and that the release had been significantly delayed and the release date went to TBA shortly afterwards. As I said, I don't think it was EVER meant to be as troubled of a production as it was. It was 'TBA' for quite some time and when it set for December 2017 and brought to Big Finish's attention, it was rectified, only for it recently to return to December 2018. Also - and at the risk of sounding crass - last year, John Hurt died and I'd imagine there were some planned recording dates.
It's possible before the decision was made to adapt and appropiate elements from early draft War Doctor scripts for the Eighth Doctor Time War sets, it's possible Big Finish wanted to know if his family and friends (Jacequeline Pearce for instance and other actors who may have known as John) wanted them to do something with the planned stories, given how significant the role of the War Doctor was in The Day of The Doctor and how much John Hurt had enjoyed working with Big Finish. Big Finish pushing aside Jekyll is kind of understandable in that respect and pirtorising everything else.
I'd imagine all franchise-releated releases are the pirority above all else, with advanced planning and set dates for the Originals releases. Doesn't mean it wasn't viewed of importance, though (especially if you can get David Warner in as Lear or Alexander Vhaos for Hamlet) . As I said before, we had a clear run of Classics releases pretty much month to month last year, clearly the range IS a pirority.
I seem to recall it being said (possibly in extras or even by one of the writers on here) that no pre-existing material was adapted from the War Doctor for use in other projects - also I fail to see the relevance of Doctor Who products to Jekyll and Hyde.
That said, BF uses a number of different studios for recording and they find ways to work around the availability of cast members, so I think that if the script is ready that at some point during the past two years recording could have been done even if it meant multiple sessions.
The bottom line is that BF has let customers down by not communicating the status of this project and that is not a sign of a company acting in good faith.
Big Finish can be very clever at working around geography and availability. Tom Baker and Lalla Ward stories being recorded in separate studios, stories where two actors aren't even on the same continent, recordings done over Skype etc. In the extras for Star Cops either Helen Goldwyn or Linda Newton says how Linda recorded in Australia while being directed over the phone by Helen. The recording sessions for Dark Shadows Bloodlust were done over many sessions with different groups of actors due to the sheer size of the cast and length of the release (two actors playing love interests didn't meet in person until a while after Bloodlust was released), and no doubt the same thing will be/is true for Bloodline. |
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Post by omega on Jun 11, 2018 20:55:50 GMT
I seem to recall it being said (possibly in extras or even by one of the writers on here) that no pre-existing material was adapted from the War Doctor for use in other projects - also I fail to see the relevance of Doctor Who products to Jekyll and Hyde.
That said, BF uses a number of different studios for recording and they find ways to work around the availability of cast members, so I think that if the script is ready that at some point during the past two years recording could have been done even if it meant multiple sessions.
The bottom line is that BF has let customers down by not communicating the status of this project and that is not a sign of a company acting in good faith.
I think its more a case of disorganisation and lack of self discipline than bad faith Nick does juggle a lot of commitments and responsibilities, in his many roles in Big Finish as well as in his role as a husband and father. Clearly this has fallen through the cracks. Someone at Big Finish towers needs to say that until there's solid progress, the project may need to be shelved.
Yes, there may be external factors but Big Finish's business model is about people pre-ordering in order to help pay for the production costs for a product they can expect at some point in the future. By not providing a date this can be expected, with no updates on progress or a release date, it's an empty promise where the cheque is in the mail.
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Post by Deleted on Jun 11, 2018 22:19:44 GMT
I do distinctly remember that it was stated that some of the stories for the Time War box sets were adapting early drafts of the next War Doctor scripts (on the podcast, maybe?). As Nick has said, actually booking the actors for Jekyll has been a problem - it's understandable they would sideline for a short window of time any Jekyll bookings to see if Hurt's family might want them to honor John in some way before deciding to move on to the Time War box set given the fast paced nature of Big Finish.
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Post by Deleted on Jun 11, 2018 22:23:11 GMT
I'm not saying it's ideal that Big Finish has left it up - it isn't - but I do think Big Finish have tried their hardest to put Jekyll and Hyde out. This isn't typical. I'm also wondering if it's possible parts of it have also been recorded and there might be contractual issues involved?
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lidar2
Castellan
You know, now that you mention it, I actually do rather like Attack of the Cybermen ...
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Post by lidar2 on Jun 11, 2018 22:28:17 GMT
I'm not saying it's ideal that Big Finish has left it up - it isn't - but I do think Big Finish have tried their hardest to put Jekyll and Hyde out. This isn't typical. I'm also wondering if it's possible parts of it have also been recorded and there might be contractual issues involved? Why do you believe they have tried their hardest? |
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The release was been placed as TBA initially (and when given a date, was acknoweldged by Nick as a website error) and I imagine it was just a slip up. A LOT has happened in those two years, the launch of the revival releases for one and Nick talked about how despite the actors their williginess, there had been difficulty with booking the actors involved in the original production. The H.G. Wells adaptions and the Shakespeare adapations were released under the Big Finish Classics banner were released (mostly) month after month last year, so it's not as if doing classic adapations wasn't pirtorised. Add the complications for other ranges, especially Doctor Who and booking revival actors, Aliens Among Us, etc, the delays aren't that suprising.
