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Post by paulmorris7777 on Sept 11, 2016 15:24:09 GMT
I'd also look at writers who haven't done Sci-Fi. Doctor Who is all about drama. Moffat only picks Sci-Fi writers, or buddies who have written for tv. That doesn't leave many options, someone who hasn't written for the Genre or whose not considered hot in TV drama, the Cold Feet writing team perhaps?
Regards
mark687
Thats leaves plenty of options. You had the people who adapted Poirot, Marple, the New Tricks writers, all the soaps - Eastenders, Emmerdale, Hollyoaks etc. Its all drama. Surely, I could find TWO writers from all those shows who could write an episode in a Sci-Fi arena. Remember, the Script Editor would be there to help. Theres also the whole Theatre profession. |
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Post by mark687 on Sept 11, 2016 15:29:53 GMT
That doesn't leave many options, someone who hasn't written for the Genre or whose not considered hot in TV drama, the Cold Feet writing team perhaps?
Regards
mark687
Thats leaves plenty of options. You had the people who adapted Poirot, Marple, the New Tricks writers, all the soaps - Eastenders, Emmerdale, Hollyoaks etc. Its all drama. Surely, I could find TWO writers from all those shows who could write an episode in a Sci-Fi arena. Remember, the Script Editor would be there to help. Theres also the whole Theatre profession. OK then but supposing they made the companion the focus and you got more human drama which is what their known for?
EDIT
Just seen your comment on Script Editor, how many and would you as Showrunner have the final say or majority rule?
Regards
mark687
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Post by paulmorris7777 on Sept 11, 2016 15:43:45 GMT
Thats leaves plenty of options. You had the people who adapted Poirot, Marple, the New Tricks writers, all the soaps - Eastenders, Emmerdale, Hollyoaks etc. Its all drama. Surely, I could find TWO writers from all those shows who could write an episode in a Sci-Fi arena. Remember, the Script Editor would be there to help. Theres also the whole Theatre profession. OK then but supposing they made the companion the focus and you got more human drama which is what their known for?
Regards
mark687
They would be working under me and a Script Editor. They would be told the guidelines before putting pen to paper. Peter Ling created Crossroads. Don Houghton went on to create Take The High Road. Robert Holmes wrote for Doctor Finlay, Dixon of Dock Green, and The Saint etc. David Whitaker didn't just write Doctor Who. (its only DW on wikipedia) Malcolm Hulke wrote for Crossroads, and Dangerman. |
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Post by paulmorris7777 on Sept 11, 2016 15:46:51 GMT
Thats leaves plenty of options. You had the people who adapted Poirot, Marple, the New Tricks writers, all the soaps - Eastenders, Emmerdale, Hollyoaks etc. Its all drama. Surely, I could find TWO writers from all those shows who could write an episode in a Sci-Fi arena. Remember, the Script Editor would be there to help. Theres also the whole Theatre profession. OK then but supposing they made the companion the focus and you got more human drama which is what their known for?
EDIT
Just seen your comment on Script Editor, how many and would you as Showrunner have the final say or majority rule?
Regards
mark687
How many what? |
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Post by mark687 on Sept 11, 2016 15:59:57 GMT
OK then but supposing they made the companion the focus and you got more human drama which is what their known for?
Regards
mark687
They would be working under me and a Script Editor. They would be told the guidelines before putting pen to paper. Peter Ling created Crossroads. Don Houghton went on to create Take The High Road. Robert Holmes wrote for Doctor Finlay, Dixon of Dock Green, and The Saint etc. David Whitaker didn't just write Doctor Who. (its only DW on wikipedia) Malcolm Hulke wrote for Crossroads, and Dangerman. OK then so your starting guideline is:
The closer to real life as possible but everyone in a work like environment , littlie or no home life emotional involvement, companion needing saving, and the Doctor more reliant on his intelligence then technology even the TARDIS, and a different threat every week. ?
Regards
mark687
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Post by mark687 on Sept 11, 2016 16:01:15 GMT
OK then but supposing they made the companion the focus and you got more human drama which is what their known for?
EDIT
Just seen your comment on Script Editor, how many and would you as Showrunner have the final say or majority rule?
Regards
mark687
How many what? Script Editors
Regards
mark687
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Post by paulmorris7777 on Sept 11, 2016 16:03:35 GMT
Script Editors
Regards
mark687
ONE! You only need one Script Editor. NuWho has between 3 and 4 a series. No wonder its all over the place. |
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Post by mark687 on Sept 11, 2016 16:08:37 GMT
Script Editors
Regards
mark687
ONE! You only need one Script Editor. NuWho has between 3 and 4 a series. No wonder its all over the place. So you as showrunner have a final say on the Script? Who takes responsibility if the Episode not well received by the audience?
Regards
mark687
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Post by paulmorris7777 on Sept 11, 2016 16:14:42 GMT
ONE! You only need one Script Editor. NuWho has between 3 and 4 a series. No wonder its all over the place. So you as showrunner have a final say on the Script? Who takes responsibility if the Episode not well received by the audience?
Regards
mark687
Well, its a co-production between Showrunner and Script Editor. But, of course, I'd take the responsibility! Shouldn't that be the same for every show. If series 10 is a flop, wouldn't you blame Moffat? |
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Post by constonks on Sept 13, 2016 3:42:42 GMT
I'd be doing BF-style season arcs - the kind that only take up about 10% of a story other than the opener and closer (which still stand on their own). I'd probably stick to one-parters but I'd see if the Beeb were willing to trade an episode in for a longer running time across the board. I'd rather have ten or eleven 60-70 minute episodes.
I'd also probably bring in some interesting EU obscurities, mostly in off-hand mentions. Things like Frobisher, Badger from Lungbarrow... Although I'd rather like to see Shayde in an episode for real.
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Post by dalekbuster523finish on Sept 13, 2016 12:09:43 GMT
Honestly, I'd recruit three groups for "quality control": Hardcore Fans, Casual Viewers, and Experienced Writers. 10-ish people per team, regular meetings with each group and the occasional all-in one meeting. Get opiions on stuff like arcs, specials, returning monsters... get a well-rounded perspective basically. Problem then is, what if you get a situation like the John Nathan Turner era where you're so obsessed with what us fans think that it becomes too fan-orientated? Listening too much to hardcore Whovians can potentially be a downfall. |
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Post by nucleusofswarm on Sept 13, 2016 13:41:04 GMT
Honestly, I'd recruit three groups for "quality control": Hardcore Fans, Casual Viewers, and Experienced Writers. 10-ish people per team, regular meetings with each group and the occasional all-in one meeting. Get opiions on stuff like arcs, specials, returning monsters... get a well-rounded perspective basically. Cute idea, but completely impractical in a professional TV environment. Plus, the agents and writers unions would go nuts. |
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Post by relativetime on Sept 13, 2016 14:43:44 GMT
If I were showrunner, I'd definitely use that opportunity to push for more historically based stories that aren't set in Victorian London. I'd wager I wouldn't be able to get away with a pure historical story, even though I'd really like to see one, so I'd probably have at least one two parter that deals with a major change in the past that the Doctor and his/her companion have to fix. That, OR it'd be based around something we the audience accept as traditional history, but that the Doctor and his companion think is off (taking My Own Private Wolfgang as inspiration).
Writers I'd like to have write for my season definitely include a lot of Big Finish writers, but if that proves problematic due to outside interference, then I'd ask Neil Gaiman back. I'd keep my options as open as possible for as long as is reasonable. I think it'd be best to focus on hiring a few new writers to the series as well. While that can obviously have drawbacks, new writers can also bring a fresh perspective and new ideas that long-time writers for the show might not have considered.
The season structure I'd aim for would probably scrap a season long story arc to focus instead on character arcs or a season long theme. Maybe the companion is suffering from confidence issues and the finale places him/her in a position where he/she has to do something brave and dangerous to save the Doctor. Something like that. Of course, the finale would definitely have a big-bad, but I'd aim to rely less on past threats in favor of original villains - I'm thinking an escaped Gallifreyan criminal or a villain that makes the audience question whether he truly is acting out of villainy or a sense of good. I think I could work with the current 12 episodes per series but I'd write two-parters depending on whether the idea really calls for it or not.
Casting decisions - if the Doctor and companion are staying after the previous showrunner, I'd maybe add a companion if space allows. I'd like to permanently kill off a companion - not for sadistic pleasure, mind, but for the storytelling aspects of it and how it could conclude their arc. If I get to decide on who plays the Doctor, an actor I'd really like to see in the role would be Tilda Swinton. She strikes me as someone who could really capture the alien aspect of the Doctor, while balancing both the light and dark sides of the character. I think she'd be a pretty distinctive Doctor. And, if possible, I'd REALLY like to have Charles Dance play the Master.
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Post by constonks on Sept 13, 2016 15:20:04 GMT
Honestly, I'd recruit three groups for "quality control": Hardcore Fans, Casual Viewers, and Experienced Writers. 10-ish people per team, regular meetings with each group and the occasional all-in one meeting. Get opiions on stuff like arcs, specials, returning monsters... get a well-rounded perspective basically. Cute idea, but completely impractical in a professional TV environment. Plus, the agents and writers unions would go nuts. Hm. I think that could work if you just make it a writer's room. A good mix of Major Who Fans, Folks Who Watched Once or Twice and Total Strangers. All of them good writers, all submitting scripts. |
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Post by dalekbuster523finish on Sept 13, 2016 20:00:26 GMT
Problem then is, what if you get a situation like the John Nathan Turner era where you're so obsessed with what us fans think that it becomes too fan-orientated? Listening too much to hardcore Whovians can potentially be a downfall. That's the precise reason I wanted a group of relative non-fans. I'd probably take their advie with less grains if salt than the fans; worst case scenario, we tick off a few fans. Lord knows that's nothing new... Then the best bet would be not to have a group of hardcore fans at all. Just use the casual viewers. |
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Post by mrperson on Sept 13, 2016 21:24:46 GMT
There wouldn't be any plot arcs under my reign, unless I had the time to specifically plot out all portions of it and check them against past episodes and future intentions, and stick to it.
That'd be the main thing.
We'd also go back to not paying so much attention to companion lives, and focusing on the travels. Impact of travels on character development of course would be looked at, but I wouldn't spend a season on bloody Boyfriend Problems.
I'd also happily argue with disagreeing fans about things because I've found (1) argument really does sometimes change my mind, (2) I really don't care if people have nasty things to say about me - I'm a defense attorney after all. Everyone hates me (and they're wrong).
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Post by whiskeybrewer on Sept 14, 2016 12:34:26 GMT
Cute idea, but completely impractical in a professional TV environment. Plus, the agents and writers unions would go nuts. Hm. I think that could work if you just make it a writer's room. A good mix of Major Who Fans, Folks Who Watched Once or Twice and Total Strangers. All of them good writers, all submitting scripts. I heard Chibnall may be bringing in a writers room anyway, so this could be the future anyway |
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Post by whiskeybrewer on Sept 14, 2016 12:36:18 GMT
If I were showrunner, I'd definitely use that opportunity to push for more historically based stories that aren't set in Victorian London. I'd wager I wouldn't be able to get away with a pure historical story, even though I'd really like to see one, so I'd probably have at least one two parter that deals with a major change in the past that the Doctor and his/her companion have to fix. That, OR it'd be based around something we the audience accept as traditional history, but that the Doctor and his companion think is off (taking My Own Private Wolfgang as inspiration). Writers I'd like to have write for my season definitely include a lot of Big Finish writers, but if that proves problematic due to outside interference, then I'd ask Neil Gaiman back. I'd keep my options as open as possible for as long as is reasonable. I think it'd be best to focus on hiring a few new writers to the series as well. While that can obviously have drawbacks, new writers can also bring a fresh perspective and new ideas that long-time writers for the show might not have considered. The season structure I'd aim for would probably scrap a season long story arc to focus instead on character arcs or a season long theme. Maybe the companion is suffering from confidence issues and the finale places him/her in a position where he/she has to do something brave and dangerous to save the Doctor. Something like that. Of course, the finale would definitely have a big-bad, but I'd aim to rely less on past threats in favor of original villains - I'm thinking an escaped Gallifreyan criminal or a villain that makes the audience question whether he truly is acting out of villainy or a sense of good. I think I could work with the current 12 episodes per series but I'd write two-parters depending on whether the idea really calls for it or not. Casting decisions - if the Doctor and companion are staying after the previous showrunner, I'd maybe add a companion if space allows. I'd like to permanently kill off a companion - not for sadistic pleasure, mind, but for the storytelling aspects of it and how it could conclude their arc. If I get to decide on who plays the Doctor, an actor I'd really like to see in the role would be Tilda Swinton. She strikes me as someone who could really capture the alien aspect of the Doctor, while balancing both the light and dark sides of the character. I think she'd be a pretty distinctive Doctor. And, if possible, I'd REALLY like to have Charles Dance play the Master. I'd also like Patrick Stewart as The Monk |
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Post by nucleusofswarm on Sept 14, 2016 12:41:51 GMT
If I were showrunner, I'd definitely use that opportunity to push for more historically based stories that aren't set in Victorian London. I'd wager I wouldn't be able to get away with a pure historical story, even though I'd really like to see one, so I'd probably have at least one two parter that deals with a major change in the past that the Doctor and his/her companion have to fix. That, OR it'd be based around something we the audience accept as traditional history, but that the Doctor and his companion think is off (taking My Own Private Wolfgang as inspiration). Writers I'd like to have write for my season definitely include a lot of Big Finish writers, but if that proves problematic due to outside interference, then I'd ask Neil Gaiman back. I'd keep my options as open as possible for as long as is reasonable. I think it'd be best to focus on hiring a few new writers to the series as well. While that can obviously have drawbacks, new writers can also bring a fresh perspective and new ideas that long-time writers for the show might not have considered. The season structure I'd aim for would probably scrap a season long story arc to focus instead on character arcs or a season long theme. Maybe the companion is suffering from confidence issues and the finale places him/her in a position where he/she has to do something brave and dangerous to save the Doctor. Something like that. Of course, the finale would definitely have a big-bad, but I'd aim to rely less on past threats in favor of original villains - I'm thinking an escaped Gallifreyan criminal or a villain that makes the audience question whether he truly is acting out of villainy or a sense of good. I think I could work with the current 12 episodes per series but I'd write two-parters depending on whether the idea really calls for it or not. Casting decisions - if the Doctor and companion are staying after the previous showrunner, I'd maybe add a companion if space allows. I'd like to permanently kill off a companion - not for sadistic pleasure, mind, but for the storytelling aspects of it and how it could conclude their arc. If I get to decide on who plays the Doctor, an actor I'd really like to see in the role would be Tilda Swinton. She strikes me as someone who could really capture the alien aspect of the Doctor, while balancing both the light and dark sides of the character. I think she'd be a pretty distinctive Doctor. And, if possible, I'd REALLY like to have Charles Dance play the Master. I'd also like Patrick Stewart as The Monk That brings back memories. Remember when even Wikipedia reported that as being a feature in Tenant´s fourth series? |
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Post by whiskeybrewer on Sept 14, 2016 12:52:14 GMT
I'd also like Patrick Stewart as The Monk That brings back memories. Remember when even Wikipedia reported that as being a feature in Tenant´s fourth series? Yeah I remember lol  I always wanted it to be him, even before it was "Reported" lol |
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