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Post by paulmorris7777 on Sept 16, 2016 11:08:13 GMT
So much can be achieved with green screen. Some was used in Human Nature. Did anyone notice? And, when it comes to budget, how little is too little and how much is too much. NuWho does use a lot of cgi. Maybe more than is obvious. Thats no excuse for more adventures on Earth.
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Post by barnabaslives on Sept 16, 2016 11:58:48 GMT
I think I woke up on the wrong side of bed... Duck and cover, the forecast calls for ranting with a strong chance of fuming. :-)
I'd have the quality control team of a small mix of old & new series fans. I don't see where the legalities need to be worse than hiring extras, and it might be harder to leak the story details when the whole point is that the details are still being nailed down anyway, but if we can't get pre-emptive strikes then at least fresh critiques to prevent intellectual atrocities from recurring as they do. Quite possibly at least a casual science consultant - not that it takes one to patch plotholes, but I hear that employing such a curious procedure got us the Cybermen once upon a time. Someone to tell the producer what the moon can and cannot actually do according to most physicists, basically.
Maybe even an actual family or two could be included among the Royal Tasters, maybe it will result in stories families can agree on. (I should hope DW works as a family show rather than getting families into arguments about whether New or Classic is more better).
Less earth, more alien planets, more time travel, some historicals - yoo hoo, it's about a Time Lord with a Time Machine that can go anywhere - and no, the fate of the whole universe does not always need to be at stake. KTT + K2T = plenty of that. There may be story arcs, but they will strive to be more creative than the whole universe (yawn) being in peril. What awaits us this time should hold the surprises for the viewer, not convoluting the plot to Kingdom Come just so nobody saw the timey-wimey ending coming.
Less special effects - if a TARDIS can haul a planet, it and other overly stupendous spectacles can be mentioned and do not need to be actually seen. More trips to Gallifrey and less CGI fly-overs of Gallifrey. Consider that the OS had the merits to survive another 15 years after quarries, boiler rooms, and cheesy model space ships had all become location tropes - it really must have had something going for it besides expensive special effects. (Yes kids, that was an alien planet in our day - a quarry and a tinted lens, bada-bing! and you don't even want to know what we got for planet Mondas - but wait, Big Finish for most intents and purposes is Doctor Who anymore, without even that much to look at).
Stories will not be soaps about companions - The Amelia Pond Show intro notwithstanding, it's a show about The Doctor, not a show about The Companions and their chauffeur. When did Companions become more durable than Doctors? Billie Piper's been back, what, 20 times since she left and McGann can't even get on the show proper? I beg yer pardon. I think the latest just broke a record too. We may only think we're sick of Clara (how can we miss her when she won't go away?) but the actual numbers try to hint that maybe we should be. Just make up your mind, is the Companion coming or going? I don't really think the OS tried to have them doing both at once, and maybe there was a reason. Maybe if the show is even getting near the question of whether it's time to move on, then it might be time?
When a companion leaves, now matter how much everyone loves them, they will for the most part stay gone instead of trying to keep them interesting past their shelf date by doing all sorts of weird stuff to them and then killing them twenty times just to get rid of them. PS: it's perfectly okay if Companions want to leave the TARDIS because they're homesick, they miss their parents, they've had enough of near-death experiences, or they just want to finish college - I know even Big Finish might still be just learning this one, but they don't need to all be Adric (or Bad Wolf).
If I have understood paulmorris7777 then I agree very much that just because the Christmas special comes out at Christmas, doesn't mean it has to have Santa, snowmen, snow, and choirs o' bleedin' angels in it. Once you get a great one (I think The Snowmen is brilliant enough) the rest just struggle to measure up. I'd be as happy if Doctor Who dared to be different and offered a respite from everyone else trying to Christmas us to death.
Definitely Big Finish writers should be considered, they've got proven track records of turning out all kinds of stories without generating complaint lists like this one, no matter how picky a mood I might find myself in.
I hate to get all Old School like this because I really do love the New Series, but there probably wouldn't be a New Series if the OS hadn't fairly consistently been doing a number of important things right. The show still works for me for the same reasons as ever - great casting, likable characters, witty dialog and refreshing destinations. Those are the real strength of the show and always were, and without those you can spend all you want on effects or re-invent the Doctor-Companion relationship until the cows come home and it probably won't matter anyway.
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Post by nucleusofswarm on Oct 20, 2016 17:08:23 GMT
Oh, and I'd replace Murray Gold. I'd actually like to shake it up a bit by having a group of different composers come on board as well. Keep Gold for the stories that suit him, but hire other composers and artists for the types of stories that require it. Not a bad idea, but like when someone suggested a hybrid super fan-writers room, might be difficult to pull off within what Who can afford.
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Post by paulmorris7777 on Oct 20, 2016 18:51:49 GMT
I'd actually like to shake it up a bit by having a group of different composers come on board as well. Keep Gold for the stories that suit him, but hire other composers and artists for the types of stories that require it. Not a bad idea, but like when someone suggested a hybrid super fan-writers room, might be difficult to pull off within what Who can afford. Its not asking much to have one other composer!
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Post by nucleusofswarm on Oct 20, 2016 19:29:57 GMT
Not a bad idea, but like when someone suggested a hybrid super fan-writers room, might be difficult to pull off within what Who can afford. Its not asking much to have one other composer! Oh no one's saying they can't. It just wouldn't be the easiest or cheapest thing in the world to put together.
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Post by Deleted on Oct 20, 2016 19:32:42 GMT
Its not asking much to have one other composer! Oh no one's saying they can't. It just wouldn't be the easiest or cheapest thing in the world to put together. No, but nor is casting another person as the Doctor.
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Post by paulmorris7777 on Oct 20, 2016 20:19:16 GMT
Its not asking much to have one other composer! Oh no one's saying they can't. It just wouldn't be the easiest or cheapest thing in the world to put together. Why wouldn't it be easy? Doctor Who series 9 had THREE Producers, for example! Surely, it would cost the same!
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Post by nucleusofswarm on Oct 20, 2016 20:49:40 GMT
Oh no one's saying they can't. It just wouldn't be the easiest or cheapest thing in the world to put together. No, but nor is casting another person as the Doctor. Not sure how you made the leap from replacement to hiring extra. Wolf´s point was getting more people with Gold, not replacing him.
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Post by nucleusofswarm on Oct 20, 2016 20:51:20 GMT
Oh no one's saying they can't. It just wouldn't be the easiest or cheapest thing in the world to put together. Why wouldn't it be easy? Doctor Who series 9 had THREE Producers, for example! Surely, it would cost the same! Type into your search engine 'role of producer' and then 'role of composer'. The rest will answer itself.
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Post by Deleted on Oct 20, 2016 20:57:35 GMT
No, but nor is casting another person as the Doctor. Not sure how you made the leap from replacement to hiring extra. Wolf´s point was getting more people with Gold, not replacing him. And you were telling Paul Morris that it would be hard to get another composer on the show.
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Post by nucleusofswarm on Oct 20, 2016 21:06:13 GMT
Not sure how you made the leap from replacement to hiring extra. Wolf´s point was getting more people with Gold, not replacing him. And you were telling Paul Morris that it would be hard to get another composer on the show. Yes, getting another one along with Gold would not be impossible, but still difficult. Never mind the extra financial cost or the inherent risk of clashing visions, just working with one composer is a truckload of work for the production. Imagine that, on the tightness of a TV schedule and with the musical demands of a genre-meshing show like Who, but doubled. This is why most shows usually have one.
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Post by Deleted on Oct 20, 2016 21:13:30 GMT
And you were telling Paul Morris that it would be hard to get another composer on the show. Yes, getting another one along with Gold would not be impossible, but still difficult. Never mind the extra financial cost or the inherent risk of clashing visions, just working with one composer is a truckload of work for the production. Imagine that, on the tightness of a TV schedule and with the musical demands of a genre-meshing show like Who, but doubled. This is why most shows usually have one. Well, they managed it in the classic show. They can defo do it in the new show.
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Post by nucleusofswarm on Oct 20, 2016 21:23:43 GMT
Yes, getting another one along with Gold would not be impossible, but still difficult. Never mind the extra financial cost or the inherent risk of clashing visions, just working with one composer is a truckload of work for the production. Imagine that, on the tightness of a TV schedule and with the musical demands of a genre-meshing show like Who, but doubled. This is why most shows usually have one. Well, they managed it in the classic show. They can defo do it in the new show. Only really in the late 60s when Carey and Simpson would alternate (and I doubt I need to be the millionth person to point the notorious nightmare that Who's production was in that era, making said alternation less an artistic move, and more the byproduct of behind the scenes chaos). 70s and 80s Who pretty much had a single composer for stretches at a time because, again, cost and efficiency.
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Post by paulmorris7777 on Oct 20, 2016 22:42:10 GMT
And you were telling Paul Morris that it would be hard to get another composer on the show. Yes, getting another one along with Gold would not be impossible, but still difficult. Never mind the extra financial cost or the inherent risk of clashing visions, just working with one composer is a truckload of work for the production. Imagine that, on the tightness of a TV schedule and with the musical demands of a genre-meshing show like Who, but doubled. This is why most shows usually have one. "the tightness of a tv schedule" Doctor Who series 10 isn't on until next year!
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Post by nucleusofswarm on Feb 5, 2017 1:02:06 GMT
Okay, with news about Chibnall and Capaldi, seemed like a good idea to bump this back up.
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Post by Deleted on Feb 5, 2017 2:32:03 GMT
I went back to my original post on this and...
Yeah, a lot of it is still accurate to how I feel now. Exciting adventures in the wider cosmos with more of an emphasis on science fiction and that opens up a wide variety of doors. Each week could be a different subgenre -- cyberpunk, biopunk, alternate history, post-apocalyptic, space Western, steampunk, horror, spy-fi, mystery, etc. A bit of Zelazny today (Doctor Who does Damnation Alley anyone?), a bit of Tezuka tomorrow (How could a writer resist doing a pastiche of Astro Boy?).
It may seem hard on the budget at first, but as long as the writing is up to scratch, I don't think you really need those sweeping CGI shots. After all, Shakespeare managed to conjure up far more just by having his characters talk, why not do the same? I'd actually like to do something similar to the Peladon stories as well, an alien world which we return to maybe once a season to check on its progress (allowing us a sneaky opportunity to reuse sets and costumes).
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Post by dalekbuster523finish on Feb 5, 2017 10:15:35 GMT
I think the Sherlock format could work well for Doctor Who, although I'd cut it down to three 90 minute episodes and a 120 minute Christmas Special.
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Post by Deleted on Feb 6, 2017 0:40:53 GMT
For me, at the momment, I think the series is too focused on The Doctor and I'd prefer it if they peeled back the curtain a bit. There are plenty of ways to engage with him as a character, while still maintaining the veil of mystery. I'd love a return to the RTD-model, which seemed best to preserve the mystery around the character.
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Post by nucleusofswarm on Apr 28, 2017 23:06:10 GMT
Interesting conjecture, but the whole 'movie' format is something that would only make sense under Moffat, given Sherlock. I can't imagine Chibnall, especially given he's talked about adopting more American practices towards the writing. would do this. Plus. it makes it more of a pain for international commerical broadcast over a more workable 45 mins format.
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Post by Deleted on Apr 29, 2017 1:26:21 GMT
Interesting conjecture, but the whole 'movie' format is something that would only make sense under Moffat, given Sherlock. I can't imagine Chibnall, especially given he's talked about adopting more American practices towards the writing. would do this. Plus. it makes it more of a pain for international commerical broadcast over a more workable 45 mins format. Normally that'd be very cut and dried, but I think the forty-five-minute format is starting to show wear and tear on television nowadays. Poirot (from British ITV) already had episodes that ran from eighty to one-hundred-minutes, but a standard episode of something like Westworld (from American HBO) can range from fifty-seven to ninety-minutes a piece and still be remarkably successful. Those cable productions and instant streaming services like Netflix might give an entirely different meaning to what they intend.
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