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APZonerunner

Features Editor at VG247.com
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Oct 28, 2017
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I'm talking about the actual moment of regeneration, not the initial process. Twelve probably has the most subtle one yet. A single shot in the back and it begins.

This is mad though, as really for all intents and purposes the fake-out scene is the real 'regeneration' and then he has a quiet, contemplative scene afterwards - but this is really just the inverse. Tennant has that sort of scene earlier in The End of Time before he gives himself over to fate, basically, raging and then giving in and all that. Smith just had that scene at the end, but let's not act like his regeneration was remotely subdued. Eccleston's was, though - a kiss, a contemplative speech, gone.
 

Mario's Nipples

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I was skimming through the Doctor Who soundtrack on YouTube and I discovered that the awesome music from the montage bit of Heaven Sent isn't actually new music. It was used originally in Day Of The Doctor. Is this known?
 

APZonerunner

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I think both showrunners have milked the regenerations, especially if you observe the long post-regeneration phase in The Christmas Invasion. There's nothing wrong with that at all, the audiences love regeneration, it's like opening presents.

I dunno that I'd really qualify that as milking the regeneration itself, because surely what people were talking about (or at least, the way I interpreted it) was how the moment of change is presented - be it explosive or more subdued. Ultimately, RTD had an opportunity Moffat didn't, which was that when he wrote a post-regeneration introduction Rose was arguably the most popular part of the show and certainly critically Billie was regarded as the reason why the series even 'worked' at all, so he was able to give over an episode which really isn't actually about our new Doctor until the last fifteen minutes - the first three quarters of it are all about Rose. I don't really think it's milking, but it's a strong narrative technique - you, like her, spend the episode longing for the Doctor to arrive, and so when he does you don't question him. Whereas I think the scripts of both Deep Breath and The Eleventh Hour are building blocks where practically every scene exists to convince you a little more that it is the Doctor until, at the end, you accept. By the logic of milking these are both different ways of milking the regeneration anyway, from "I'm still cooking" and seeing the outfit gradually come together to the who-am-I struggle - every regeneration has its version of this, but I think the goodbye is more interesting to consider than the hello, tbh.

But RTD's situation going into Series 2 was hugely unique and Billie really was once-in-a-generation in a Liz Sladen style, so I don't expect to see that sort of take on regeneration for a while, certainly not this one. By his own admission Moffat probably could've managed it had Karen stuck around, but Clara didn't have the klout necessary really - she hadn't been around for very long at that point, which was why he stuck in the Pasternoster gang and stuff.

Breaking the Wall?
Nah, that's definitely new for Heaven Sent. Can't recall right now, but other tracks might've been reused in the ep, this one, nope.
https://youtu.be/ax-RieQ5SrE

I swear it's the exact same music. Or I'm just extremely tired. Specifically from 2:30.

It's the same melody that then basically expanded to become that piece, yeah. It's not the same music/arrangement/etc though. A bit like how, say, the piece that plays when Smith is regenerating (the big regeneration & speech, not the aftermath in the TARDIS) is a passage lifted form the piece that plays in Series 4 when River dies/lives (which I always thought was a nice thematic touch).
 

JonathanEx

Member
Oct 25, 2017
718
Fucks sake I really should have walked past for that I can literally see it from my window now

That said, excellent accent news.
 

M.Bluth

Member
Oct 25, 2017
4,261
https://youtu.be/ax-RieQ5SrE

I swear it's the exact same music. Or I'm just extremely tired. Specifically from 2:30.
Oh you're totally right! It was subtle enough in Day that it really didn't register at all during the scene, so I'm glad Gold changed it up a bit and made it a huge part of breaking the wall music

How has there not been a photo yet or some awkwardly recorded video for us to try and desperately decipher.
It depends on whether you've seen them yet cuz they've been posted for a few days now, but there are a few:




My worries have come true. Whittaker looks great in Capaldi's costume and now I kinda wish it doesn't have to go
 

LL_Decitrig

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Nowadays you'd use something like that for an eighties analogue synth sound. You'd do your composing on a workstation. If he's using this he's probably just a KORG enthusiast. Maybe it was his first synth.

Okay, I researched this. Bear in mind that we're just speculating that this musician _could_ be involved in Doctor Who because Murray Gold is leaving and he, Ólafur Arnalds, has worked with Chris Chibnall in the past.

Here he shows his "crib". At about 21 minutes in, or so, he shows his PS-3100. It has a MIDI conversion so it'll work with his entire DAW (he uses Pro-Tools). He uses this venerable synth, he says, in nearly everything.

http://equipboard.com/pros/olafur-arnalds/korg-ps-3100
 

Slowdive

Member
Oct 25, 2017
525


Synopsis:

The magical final chapter of the Twelfth Doctor's (Peter Capaldi) journey sees the Time Lord team up with his former self, the first ever Doctor (David Bradley – Harry Potter, Game of Thrones) and a returning Bill Potts (Pearl Mackie), for one last adventure.

Two Doctors stranded in an Arctic snowscape, refusing to face regeneration. Enchanted glass people, stealing their victims from frozen time. And a World War One captain destined to die on the battlefield, but taken from the trenches to play his part in the Doctor's story.

An uplifting new tale about the power of hope in humanity's darkest hours, Twice Upon A Time marks the end of an era. But as the Doctor must face his past to decide his future, his journey is only just beginning…
 
OP
OP
Dwebble

Dwebble

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Oct 25, 2017
9,627
That seems like it'll be big for us. Maybe the show will be able to use some of those enormous overseas profits for its actual budget now?
 

8bit

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Oct 27, 2017
5,390


DP0kRBiXcAEppmA.jpg
 

LL_Decitrig

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I like to think that the pictures they used for McCoy, Smith, Davidson, Hurt, Baker, Baker, Tennant, Troughton and McGann all have the facial expressions they'd have if they were to see this poster.

Also, if Eccleson's taken from a completely unrelated film premier?

I think we should be thankful the Jon Pertwee photo isn't from Worzel Gummidge.
 

EvilRedEye

Member
Oct 29, 2017
747
Ecclestone's photo seems to be taken from the Thor: The Dark World premiere from what I can tell. It might have appeared in news articles about him speaking candidly about his time on Doctor Who, which he did in later years on radio-y kind of things with no accompanying photograph.

EDIT: It seems to be a variation of this photo from the premiere, you can see the way his jacket is open on the poster.

 
Last edited:

CommodoreKong

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Oct 25, 2017
7,713

LL_Decitrig

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The caption to that picture references Hartnell's famous fourth wall break in one of the episodes of The Daleks' Master Plan, subtitled The Feast of Steven, broadcast on December 25, 1965.
 
Oct 25, 2017
1,685
http://www.digitalspy.com/tv/doctor...ill-look-cinematic-visuals-anamorphic-lenses/

Series 11 will also be shot using Cooke and Angenieux anamorphic lenses for the first time.

The anamorphic lenses will be introduced by Doctor Who equipment suppliers Films at 59 'to bring an increased cinematic look to the show' (via Broadcast Now).

Indeed, the lenses allow a wider range of aspect ratios to fit within a standard film frame, meaning they offer a more cinematic look in comparison to other filming apparatus.

These are the kind of lenses that are often used to film big budget Hollywood movies, so bringing that quality the TV screens when they're used to film Doctor Who is just a little bit exciting.

Could be good, depending on how it comes across on TV.
 

CommodoreKong

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Oct 25, 2017
7,713
I actually really like the aspect ratio they use for Star Trek Discovery (I think it's 2:1 but I'm not sure) so I'm hoping they go with that on Doctor Who season 11.
 

Spectromixer

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Oct 25, 2017
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That's exciting. I hope Jodie's first episode is screened in theaters too. Like how Deep Breath was and most of the Christmas specials.
 

LL_Decitrig

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James Whitbrook of io9 is very angry at the part of that Radio Times interview where Steven Moffat justifies his decision not to consider a female regeneration by saying:

This isn't a show exclusively for progressive liberals; this is also for people who voted Brexit. That's not me politically at all – but we have to keep everyone on board.

Whitbrook correctly points out that Doctor Who is a progressive hero and always has been. However I think he misses the point. She's a popular hero bringing progressive values to a broad audience, many of whom might be puzzled and upset if you tipped them off about what a blatant lefty she is.

Moffat also describes how he has fun in the show contrasting Twelve with One's comparatively old fashioned sexism, hinting that this provides the spur to bring about the first on-screen female Doctor Who in the show's 54 years.

It's a really lovely interview, all the more poignant for the fact that it may be his last interview with the Radio Times as the showrunner of Doctor Who. Apparently there's even more of it in the print edition.
 

Blader

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Oct 27, 2017
26,623
My Hartnell mini-marathon was one-half of a larger countdown to Twice Upon a Time. This month is the other half: 24 Nights of Capaldi, wherein I revisit a lot of my favorite Capaldi episodes (and some I didn't really like but were overall important, or had some nice bits to them) before seeing him sign off. Appreciate the responses from people who said they liked my Hartnell write-ups, but for my sake, I'm gonna try to keep these much shorter!

1. Deep Breath
The worst Doctor intro episode of the modern show - not to say it's a *bad* episode, though it does tread that line pretty often. Things pick up a lot once we get to the restaurant and on to the end, but the 30-40 minutes preceding it is just not good. Too much sermonizing from Vastra about how Clara/the audience needs to get over their Eleventh Doctor crush (which, frankly, I think is a pretty overdone reaction), padding all over the place (a dinosaur on the Thames or the Doctor digging through trash has nothing to do with anything), some really odd direction with wacky sound effects that play like the WWIII/Aliens of London two-parter from way back -- and, up until the restaurant scene, Capaldi is acting too BIG. I get post-regeneration mania, but this is too much. I guess that's my main issue with the first half of this episode: it's just too annoying, and it's a generally bad first impression for both Capaldi himself and Capaldi and Clara as a duo. The restaurant scene is where things turn around because Capaldi's performance is more restrained and we star to see the beginnings of his and Clara's rapport, which would define their two seasons together.

2. Into the Dalek
I always remembered liking this one but forgot how much I liked it until now. This is a much better debut for Capaldi's Doctor, where we get to see that darker and brusque edge to his character without it feeling obnoxious as in Deep Breath. I had forgotten about that last exchange with the Dalek, and it was a gut punch all over again: "I am not a good Dalek. You are a good Dalek."

3. Listen
My first impression of this episode is that it's something of a modern classic, like Blink. And it holds up! It's a clever and somewhat subversive take on Moffat's own Moffatisms, and the last scene with Clara in the barn, where she realizes where she is and who's in the room with her, still works damn well. I'm sure this bit of revisionist history pissed off quite a few people, but it worked for me.

4. The Caretaker
Probably the most underrated episode of Capaldi's whole run. This episode is hilarious, and Capaldi's best performance up to this point (which, granted, is still in its early days); every one of his interactions with any character here is gold. There were moments where I thought Danny acquit himself nicely, and (many) others when he was coming off as just too much: a mix of suspicion and hostility toward Clara's time-traveling life which, on paper, is kind of understandable but does not make for an endearing character when in action. The scene where the Doctor sees Clara hanging out with a teacher who really does resemble Matt Smith, followed by the scene on the TARDIS where he and Clara are unknowingly talking about two different boyfriends, is just perfect.
 

LL_Decitrig

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My Hartnell mini-marathon was one-half of a larger countdown to Twice Upon a Time.

Thanks for doing that. I haven't seen any Hartnell episodes since their original broadcast in the sixties. Some of them made a great impression that lasts to this day, and it wasrefreshing to see them through your eyes.

3. Listen
My first impression of this episode is that it's something of a modern classic, like Blink. And it holds up! It's a clever and somewhat subversive take on Moffat's own Moffatisms, and the last scene with Clara in the barn, where she realizes where she is and who's in the room with her, still works damn well. I'm sure this bit of revisionist history pissed off quite a few people, but it worked for me.

I recently rewatched every single episode of the revival. Listen is the episode that had the strongest effect on me in Series 8. It starts with an ambiguous speech. Is it a soliloquy, or is it a lecture? This was singularly appropriate to the subject matter. It was so successful in that episode that chalk and talk became one of Capaldi's signatures.

I detect a little bleed-through in the late Moffat era between Sherlock and Doctor Who. In the cold open of Listen, Doctor Who is in contemplative mood, and it isn't even evident that he's actually in his TARDIS. Maybe there's something of the Mind Palace about this setting. In Heaven Sent this is made explicit, as Doctor Who finds himself sans TARDIS, sans Clara, but uses the mental image of the TARDIS and its blackboard with its mysteriously unseen companion heard writing in chalk: "How are you going to WIN?" Moffat had previously played with the Sherlock Holmes imagery, most blatantly in The Snowmen where both Madam Vastra and the Eleventh Doctor are explicitly associated with the great detective.
 

Paradox

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Oct 28, 2017
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I think in a few years time the Capaldi-Moffat introspective trifecta of Listen / Heaven Sent / Extremis will be high watermarks for the show. Each essentially breaks the core concepts of Doctor Who in a different way and are clever-Moffat rather than clever-but-smug-Moffat.

I adore all of them and I desperately hope Chibnall has someone lined up willing to take the show apart in equally interesting ways.
 

LL_Decitrig

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I think in a few years time the Capaldi-Moffat introspective trifecta of Listen / Heaven Sent / Extremis will be high watermarks for the show. Each essentially breaks the core concepts of Doctor Who in a different way and are clever-Moffat rather than clever-but-smug-Moffat.

I adore all of them and I desperately hope Chibnall has someone lined up willing to take the show apart in equally interesting ways.

Just winging it, but this just occurred to me: in the first episode of Series 11 she'll wake up in England somewhere (Sheffield, based on reports of people sighting the production) with a Yorkshire accent (obviously).

Like Rose and The Eleventh Hour and The Pilot, this will be a reboot point. Will she know who she is? Will she find the TARDIS? Will she even know about the TARDIS?
 

Blader

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Oct 27, 2017
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I'm curious about revisiting Extremis because I liked it when I saw it but didn't really think much of it either. Tbh I think I preferred the third part of that trilogy the most.

Just winging it, but this just occurred to me: in the first episode of Series 11 she'll wake up in England somewhere (Sheffield, based on reports of people sighting the production) with a Yorkshire accent (obviously).

Like Rose and The Eleventh Hour and The Pilot, this will be a reboot point. Will she know who she is? Will she find the TARDIS? Will she even know about the TARDIS?
It might be too disorienting of a starting point if we have a new Doctor, with new companions, who also has no idea what or where the TARDIS is. I feel like any starting point in this show either needs to have a Doctor who knows who they are or a Doctor who doesn't know but a familiar face companion who does.
 

LL_Decitrig

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I sort of hope Clara hangs around for a bit to help her get her bearings then they fist bump and go their own ways.

Clara is the Dawn of Doctor Who. As in Buffy, she's just there and nobody even notices she was parachuted in. The impossible girl. I don't expect Chris Chibnall to pander to Moffat, though. The job of a new showrunner is to erase all prior dependencies, to clear the stage for a new world.