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Post by dalekbuster523finish on Jan 23, 2016 17:57:17 GMT
I'm seeing the same folks who moaned about ratings last year now moaning about Series 10 beig delayed for 6 months. You can't win with some people. Who can't be on in the summer - ignore talk of Olympics, it would be too soon to make to air even without that. The earliest a series could come out would be late Autumn again. Which would be post-Strictly once more and the ratings would suffer for the late slot again. Spring 2017 is really the only logical answer. You've got to believe that's the plan for Chibnall's first series too, Spring '18. Gives him a full year of planning (he's still making Broadchurch 3 so will be busy tiill the Autumn of this year at least. I think they could have at least decided to make some specials though akin to David Tennant's.
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Post by Deleted on Jan 23, 2016 18:25:13 GMT
I'm seeing the same folks who moaned about ratings last year now moaning about Series 10 beig delayed for 6 months. You can't win with some people. Who can't be on in the summer - ignore talk of Olympics, it would be too soon to make to air even without that. The earliest a series could come out would be late Autumn again. Which would be post-Strictly once more and the ratings would suffer for the late slot again. Spring 2017 is really the only logical answer. You've got to believe that's the plan for Chibnall's first series too, Spring '18. Gives him a full year of planning (he's still making Broadchurch 3 so will be busy tiill the Autumn of this year at least. I think they could have at least decided to make some specials though akin to David Tennant's. Moffat's got Sherlock and Class before series 10 enters production in May. When do you think he could find time to do specials with a schedule like that?
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Post by dalekbuster523finish on Jan 23, 2016 18:26:49 GMT
I think they could have at least decided to make some specials though akin to David Tennant's. Moffat's got Sherlock and Class before series 10 enters production in May. When do you think he could find time to do specials with a schedule like that? He's not actually the showrunner of Class. Also: the writer doesn't need to be on-set all the time, only the production crew and actors.
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Post by Deleted on Jan 23, 2016 18:36:10 GMT
Moffat's got Sherlock and Class before series 10 enters production in May. When do you think he could find time to do specials with a schedule like that? He's not actually the showrunner of Class. Also: the writer doesn't need to be on-set all the time, only the production crew and actors. He's the executive producer of Class and will be hands-on given Ness has no experience show-running (or tv writing). He's specifically mentioned in his last column how hectic 2016 is going to be for him with all 3 shows to manage. And you clearly don't understand Moffat's role anyway if you think he could just turn in a script and then leave the cast and crew to it. He's involved every day including before and after the shoots regardless of whether he's on location. He literally runs the show. The clues in the tltle showrunner. No-one works on Doctor Who harder than Steven Moffat or RTD before him. They have to.
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Post by dalekbuster523finish on Jan 23, 2016 19:24:44 GMT
He's not actually the showrunner of Class. Also: the writer doesn't need to be on-set all the time, only the production crew and actors. He's the executive producer of Class and will be hands-on given Ness has no experience show-running (or tv writing). He's specifically mentioned in his last column how hectic 2016 is going to be for him with all 3 shows to manage. And you clearly don't understand Moffat's role anyway if you think he could just turn in a script and then leave the cast and crew to it. He's involved every day including before and after the shoots regardless of whether he's on location. He literally runs the show. The clues in the tltle showrunner. No-one works on Doctor Who harder than Steven Moffat or RTD before him. They have to. I study Film & Television Production at uni and therefore I know the writer doesn't need to be there at least all the time. He's not the director; it's the directors' job to be present at every piece of filming. Steven Moffat could easily spend, say, 2 hours on Class, then 3 hours on Sherlock and Doctor Who respectively each day. Showrunner or not the only thing the writers' absolutely have to be there for are the pitch/tone meetings and any other meetings in the pre-production phase they are needed for such as acting auditions. So long as they deliver the scripts they're paid for and any necessary rewrites on others scripts its fine. This is what I would do if I were a professional writer showrunning three shows because at least then there'd be four episodes to air in 2016.
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Post by acousticwolf on Jan 23, 2016 20:20:08 GMT
Jeez, I leave the Internet for ONE day and look what's happened! I'm never leaving again... Ever!!
Cheers
Tony
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Post by dalekbuster523finish on Jan 23, 2016 20:44:13 GMT
Jeez, I leave the Internet for ONE day and look what's happened! I'm never leaving again... Ever!! Cheers Tony Next, you'll leave the internet and then it'll turn out Chris Chibnall's left!
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Post by Deleted on Jan 23, 2016 21:21:46 GMT
He's the executive producer of Class and will be hands-on given Ness has no experience show-running (or tv writing). He's specifically mentioned in his last column how hectic 2016 is going to be for him with all 3 shows to manage. And you clearly don't understand Moffat's role anyway if you think he could just turn in a script and then leave the cast and crew to it. He's involved every day including before and after the shoots regardless of whether he's on location. He literally runs the show. The clues in the tltle showrunner. No-one works on Doctor Who harder than Steven Moffat or RTD before him. They have to. I study Film & Television Production at uni and therefore I know the writer doesn't need to be there at least all the time. He's not the director; it's the directors' job to be present at every piece of filming. Steven Moffat could easily spend, say, 2 hours on Class, then 3 hours on Sherlock and Doctor Who respectively each day. Showrunner or not the only thing the writers' absolutely have to be there for are the pitch/tone meetings and any other meetings in the pre-production phase they are needed for such as acting auditions. So long as they deliver the scripts they're paid for and any necessary rewrites on others scripts its fine. This is what I would do if I were a professional writer showrunning three shows because at least then there'd be four episodes to air in 2016. Well dalekbuster, I hope you take a leaf out of Chibnall's book. Finish your studies. Get a job in media. Work your way up. Prove it can be done the way you say, and make us an eightieth anniversary episode we can all ne proud of. Don't read that as a put-down, I'm serious. A whole generation of kids who grew up with Baker and Davison and got gradually disillusioned until the show was finally cancelled produced a small core who declared that they could do better than that. They went to work in all branches of the media and built up their CVs, determined that one day they would bring back Doctor Who, and they would make it much better than it was at it's nadir. I'm sure you've heard of them, Russell Davies, Stephen Moffat, Chris Chibnall, Paul Cornell, Nick Briggs, Mark Gatiss. Meanwhile I just cryed in my beer and went to work in a bank. Don't be a banker mate. You be the next generation of TV makers.
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Post by Deleted on Jan 23, 2016 22:05:46 GMT
He's the executive producer of Class and will be hands-on given Ness has no experience show-running (or tv writing). He's specifically mentioned in his last column how hectic 2016 is going to be for him with all 3 shows to manage. And you clearly don't understand Moffat's role anyway if you think he could just turn in a script and then leave the cast and crew to it. He's involved every day including before and after the shoots regardless of whether he's on location. He literally runs the show. The clues in the tltle showrunner. No-one works on Doctor Who harder than Steven Moffat or RTD before him. They have to. I study Film & Television Production at uni and therefore I know the writer doesn't need to be there at least all the time. He's not the director; it's the directors' job to be present at every piece of filming. Steven Moffat could easily spend, say, 2 hours on Class, then 3 hours on Sherlock and Doctor Who respectively each day. Showrunner or not the only thing the writers' absolutely have to be there for are the pitch/tone meetings and any other meetings in the pre-production phase they are needed for such as acting auditions. So long as they deliver the scripts they're paid for and any necessary rewrites on others scripts its fine. This is what I would do if I were a professional writer showrunning three shows because at least then there'd be four episodes to air in 2016. We seem to get this every time you know better than the people actually making the show. There is no time for Steven Moffat to make specials before the Christmas one. He's busy with production on two other shows and prepping Series 10. He's said so in print. You can play fantasy-showrunner if you like but pretending you'd have a better way than Moffat that would let you produce 3 Doctor Who specials while also running 2 other shows? Let's not be silly. When I predicted the show would have no new series in 2016 on this site, you refused to believe it, It happened. When I posted that the show was having a one-hander, you refused to believe that too. At some point you've got to admit that the professionals at the very top of the industry - as Moffat is -probably know how to make television better than you or I do. If you've got a way Steven Moffat can show run Doctor Who in 3 hours a day, I'm sure he'd love to hear it. And in time, I'm certain Chris Chibnall would too. RTD's Writer's Tale talks about 18 hour days, 7 days a week being not uncommon. I'm sure he'd have killed to do it in 3 hours too.
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Post by dalekbuster523finish on Jan 23, 2016 22:25:33 GMT
I study Film & Television Production at uni and therefore I know the writer doesn't need to be there at least all the time. He's not the director; it's the directors' job to be present at every piece of filming. Steven Moffat could easily spend, say, 2 hours on Class, then 3 hours on Sherlock and Doctor Who respectively each day. Showrunner or not the only thing the writers' absolutely have to be there for are the pitch/tone meetings and any other meetings in the pre-production phase they are needed for such as acting auditions. So long as they deliver the scripts they're paid for and any necessary rewrites on others scripts its fine. This is what I would do if I were a professional writer showrunning three shows because at least then there'd be four episodes to air in 2016. Well dalekbuster, I hope you take a leaf out of Chibnall's book. Finish your studies. Get a job in media. Work your way up. Prove it can be done the way you say, and make us an eightieth anniversary episode we can all ne proud of. Don't read that as a put-down, I'm serious. A whole generation of kids who grew up with Baker and Davison and got gradually disillusioned until the show was finally cancelled produced a small core who declared that they could do better than that. They went to work in all branches of the media and built up their CVs, determined that one day they would bring back Doctor Who, and they would make it much better than it was at it's nadir. I'm sure you've heard of them, Russell Davies, Stephen Moffat, Chris Chibnall, Paul Cornell, Nick Briggs, Mark Gatiss. Meanwhile I just cryed in my beer and went to work in a bank. Don't be a banker mate. You be the next generation of TV makers. If Doctor Who is ever axed after I've finished uni, I certainly would not give up until I work my way up the Media Industry and become credible enough to be considered a candidate for bringing the show back.
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Post by dalekbuster523finish on Jan 23, 2016 22:27:34 GMT
I study Film & Television Production at uni and therefore I know the writer doesn't need to be there at least all the time. He's not the director; it's the directors' job to be present at every piece of filming. Steven Moffat could easily spend, say, 2 hours on Class, then 3 hours on Sherlock and Doctor Who respectively each day. Showrunner or not the only thing the writers' absolutely have to be there for are the pitch/tone meetings and any other meetings in the pre-production phase they are needed for such as acting auditions. So long as they deliver the scripts they're paid for and any necessary rewrites on others scripts its fine. This is what I would do if I were a professional writer showrunning three shows because at least then there'd be four episodes to air in 2016. We seem to get this every time you know better than the people actually making the show. There is no time for Steven Moffat to make specials before the Christmas one. He's busy with production on two other shows and prepping Series 10. He's said so in print. You can play fantasy-showrunner if you like but pretending you'd have a better way than Moffat that would let you produce 3 Doctor Who specials while also running 2 other shows? Let's not be silly. When I predicted the show would have no new series in 2016 on this site, you refused to believe it, It happened. When I posted that the show was having a one-hander, you refused to believe that too. At some point you've got to admit that the professionals at the very top of the industry - as Moffat is -probably know how to make television better than you or I do. If you've got a way Steven Moffat can show run Doctor Who in 3 hours a day, I'm sure he'd love to hear it. And in time, I'm certain Chris Chibnall would too. RTD's Writer's Tale talks about 18 hour days, 7 days a week being not uncommon. I'm sure he'd have killed to do it in 3 hours too. I know I don't know better than them but my point is more that I've learnt through my studies the idea that the writer would have to be there all the time is not true. It's the director's job to direct the actors and crew and to lead the overall vision; the writer just dialogue and actions to that (technically the tone too considering the dialogue can often create that but it's more the director who provides the vision and aesthetic style). Of course, sometimes the writer is the director too.
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Post by Deleted on Jan 23, 2016 22:36:05 GMT
Yeah, but dude - Steven Mofaat isn't "a writer". He's the showrunner too. He is the one who knocks, to paraphrase Breaking Bad) He's got a much bigger job than a writer for hire. We're going round in circles though. I hope - sincerely - your studies go well. You're a unique person and the world needs them. Honestly, we'll live. Class might just turn out to be fantastic (I've got high hopes) and if all else fails there's more BF than ever this year.
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Post by Audio Watchdog on Jan 23, 2016 23:01:04 GMT
Yeah, but dude - Steven Mofaat isn't "a writer". He's the showrunner too. He is the one who knocks, to paraphrase Breaking Bad) He's got a much bigger job than a writer for hire. We're going round in circles though. I hope - sincerely - your studies go well. You're a unique person and the world needs them. Honestly, we'll live. Class might just turn out to be fantastic (I've got high hopes) and if all else fails there's more BF than ever this year. Exactly. Moffat is deeply involved in every single step of production. With every script. His fingers are all over budgets, pre production, logistics, production, the edit, post production, scoring, marketing. You name it. Dalek, this is not putting you down but sometimes a little knowledge is a dangerous thing and those things you learn in uni really don't prepare you for life & functioning in the real work. If Moffat were only a writer, you might have a point but as show runner & exec producer, his plate is full to bursting. You may think it is that simple but RTD & Moffat stand in contrast to that assumption. Still, follow your dreams.
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Post by Deleted on Jan 24, 2016 0:31:46 GMT
Yeah, but dude - Steven Mofaat isn't "a writer". He's the showrunner too. He is the one who knocks, to paraphrase Breaking Bad) He's got a much bigger job than a writer for hire. We're going round in circles though. I hope - sincerely - your studies go well. You're a unique person and the world needs them. Honestly, we'll live. Class might just turn out to be fantastic (I've got high hopes) and if all else fails there's more BF than ever this year. Exactly. Moffat is deeply involved in every single step of production. With every script. His fingers are all over budgets, pre production, logistics, production, the edit, post production, scoring, marketing. You name it. Dalek, this is not putting you down but sometimes a little knowledge is a dangerous thing and those things you learn in uni really don't prepare you for life & functioning in the real work. If Moffat were only a writer, you might have a point but as show runner & exec producer, his plate is full to bursting. You may think it is that simple but RTD & Moffat stand in contrast to that assumption. Still, follow your dreams. It's honestly why I think there should be a split between the showrunner and the script editor. That way while the former can focus exclusively upon managing the rest of the show's aspects, there's only the burden of trying to ease out better episodes for the latter. Producers can pitch in ideas all they like, if they feel out of the loop in that regard (like the infamous Planet of Fire checklist of "companion in, companion out, companion dead, villain dead").
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Post by Deleted on Jan 24, 2016 1:02:56 GMT
I agree with that. It's occured to me that Steven Moffat's job might ideally be handled by two people (although I notice Brian Minchin now shares the executive producer's credit). Moffat's workload seems immense, as was RTD's before him. To split that workload between two people, so 'the buck doesn't stop' with just one person, would make a sgreat deal of sense to me.
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Post by coffeeaddict on Jan 24, 2016 1:54:55 GMT
Just want to remind every to remain civil with each other. It is bad enough that poor Chibnall is getting the short end, let's at least be nice to everyone here, even if we don't agree with with them.
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Post by Deleted on Jan 24, 2016 2:45:20 GMT
I agree with that. It's occured to me that Steven Moffat's job might ideally be handled by two people (although I notice Brian Minchin now shares the executive producer's credit). Moffat's workload seems immense, as was RTD's before him. To split that workload between two people, so 'the buck doesn't stop' with just one person, would make a sgreat deal of sense to me. There's always an executive producer along with the show runner and has been since Nu-Who came back. Piers Wenger, Beth Willis, Caroline Skinner and a few more have all had the position under Moffat That's was Julie Gardner's title was with RTD too as well as Phil Collinson later in the RTD era. That the showruer works 24/7 even with an exec shows how relentless the job is. I can see people's point about a separate head writer and showrunner but I can't imagine many major writing names in UK TV (which RTD and Moffat certainly are) taking on a grueling project like Doctor Who unless their hands are left untied and they have relatively free creative control. Moffat would surely have said no to Who and moved to Hollywood when Spielberg offered him the Tin-Tin gig for one if he wasn't "the guy". I guess there's an argument for a "writer's room" type affair like a lot of American shows where almost all the scripts are from hired hands but that's not the pattern Who, or many, UK shows follow. One thing that intrigues me is Moffat's Radio Times interview from a couple of months ago. He spoke about having searched for a successor for a long while, especially when he thought he'd leave after Season 8, and. no-one stood out enough to be sure they were "the one". If that's the case, I wonder if Chibnall had to be convinced to take it on as his CV now is the same as it was a matter of two months ago.
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Post by Deleted on Jan 24, 2016 6:10:01 GMT
I can see people's point about a separate head writer and showrunner but I can't imagine many major writing names in UK TV (which RTD and Moffat certainly are) taking on a grueling project like Doctor Who unless their hands are left untied and they have relatively free creative control. Moffat would surely have said no to Who and moved to Hollywood when Spielberg offered him the Tin-Tin gig for one if he wasn't "the guy". I guess there's an argument for a "writer's room" type affair like a lot of American shows where almost all the scripts are from hired hands but that's not the pattern Who, or many, UK shows follow. Funnily enough, I always got the impression watching the behind the scenes for latter day JNT era Who that Andrew Cartmel was in the process of rounding up a decent writer's room for the programme shortly before it got cancelled. It would have been interesting to see how the series would have progressed if there was a reliable stable of writers interacting with one another on a story-by-story basis.
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Post by Deleted on Jan 24, 2016 7:33:27 GMT
I agree with that. It's occured to me that Steven Moffat's job might ideally be handled by two people (although I notice Brian Minchin now shares the executive producer's credit). Moffat's workload seems immense, as was RTD's before him. To split that workload between two people, so 'the buck doesn't stop' with just one person, would make a sgreat deal of sense to me. I think you're right. Dalekbuster523finish point is probably perfectly valid for a programme like Eastenders (who never seem to needs gap weeks, let alone years, so maybe Doctor Who needs a different structure. I suspect the limiting factor is budget.
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Post by paulmorris7777 on Jan 24, 2016 16:33:58 GMT
Its a strange choice as Chibnall hasn't written an episode for Capaldi. The Husbands of River Song completed filming by the end of September 2015, filming restarts in May 2016. Six months is a long break! There are no huge sporting events on the BBC between September 2016 and November 2016, so I can't see a reason for not screening series 10, then. And, there is also the possibility of advance screenings on the iplayer/BBC3, something the BBC are really pushing forward. I suspect that Capaldi will leave during series 10, regenerating into a woman, and back to a male for Chibnall.
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