Exclusive to all newspapers
With the unveiling of Matt Smith's new costume an overworked junior reporter takes a look back at what other Doctors were wearing during the decades that fashion forgot!
David Tennant, he made wearing a crumpled brown suit look good.
Here he is again. In a dinner jacket!
And another picture of David Tennant looking full on gorgeous in blue!
Christopher Eccleston looked a bit hard and not as nice as David Tennant.
Paul McGann. Fans call him the forgotten Doctor. I'll never forget David Tennant.
Sylvester McCoy wore a lot of question marks and was Scotch. Like the lovely David Tennant.
Colin Baker wore bright colours! Eventually he was put on trial by his own people; for crimes against fashion!
Peter Davison. I remember him, he played a vet [sub please insert joke about the Doctor's worst enemy being Thatcher].
Tom Baker had a long scarf. It was the seventies when people like Twiggy and Slade wore mad clothes.
The other three. They wore clothes and some of them were black and white, imagine that!
Monday, July 27, 2009
Monday, July 20, 2009
Torchwood: Children of Earth - From Script to Screen
Exclusive to Shouting into a Well, a page from Russell T. Davies' first draft of Children of Earth plus his comments.
Notes
1. We're building up to the big reveal of the 456 here. This is all about stringing out the tension as much as possible.
2. And remind the audience that this is an event which will have an impact outside the closed world of Floor 13.
3. Clem's history with the 456 was established in the first episode but this is his first sight of a nightmare which has haunted him almost all his life . Gwen's lack of reaction here is lovely. She's such a caring person normally but showing her so wrapped up in her own shock really gets the audience wondering what she can see. A very human moment.
4. I loved this moment of revelation. The idea that the 456 were fake took Captain Jack back to his roots in The Empty Child (never try to con a conman!) and was a twist the audience would never predict. Everyone was keen (except John Barrowman, he didn't get it, but but not growing up in Britain -he's Canadian or something- means he missed shows like Emu's Broadcasting Company and Emu's World and he doesn't have the same nostalgia for Rod Hull) but we hit problems pretty quickly.
Rod, of course, sadly died in 1999 and his presence here would have to be created using stand-ins, CGI, processed archive footage and a voice double. We would have been wasting money that could be better spent elsewhere. I still miss Rod Hull's presence though.
So in the next draft we ended up changing the 456 to real aliens. This had the advantage of strengthening other moments in the script such as Ianto's death. It becomes more meaningful both as a demonstration of the power of the 456 and emotionally for the characters and audience; rather than an awkward slapstick sequence with Ianto and Jack being chased around Floor 13 by a shrieking children's television presenter who attacks them with a fake alien on his arm, pretending to peck at them, until the pair fall out of a window. The aliens' motives are also clearer in the next draft, originally there were some problems with what Rod Hull wanted to do with 10% of the Earth's children; he planned to take them away to his Pink Windmill for reasons that never really become clear.
5. And we're off! A good way to avoid viewers dwelling on difficult moments in the plot is to show characters reacting as you imagine the audience might be at home.
Different: how the reveal of the true nature of the 456 might have looked.
Notes
1. We're building up to the big reveal of the 456 here. This is all about stringing out the tension as much as possible.
2. And remind the audience that this is an event which will have an impact outside the closed world of Floor 13.
3. Clem's history with the 456 was established in the first episode but this is his first sight of a nightmare which has haunted him almost all his life . Gwen's lack of reaction here is lovely. She's such a caring person normally but showing her so wrapped up in her own shock really gets the audience wondering what she can see. A very human moment.
4. I loved this moment of revelation. The idea that the 456 were fake took Captain Jack back to his roots in The Empty Child (never try to con a conman!) and was a twist the audience would never predict. Everyone was keen (except John Barrowman, he didn't get it, but but not growing up in Britain -he's Canadian or something- means he missed shows like Emu's Broadcasting Company and Emu's World and he doesn't have the same nostalgia for Rod Hull) but we hit problems pretty quickly.
Rod, of course, sadly died in 1999 and his presence here would have to be created using stand-ins, CGI, processed archive footage and a voice double. We would have been wasting money that could be better spent elsewhere. I still miss Rod Hull's presence though.
So in the next draft we ended up changing the 456 to real aliens. This had the advantage of strengthening other moments in the script such as Ianto's death. It becomes more meaningful both as a demonstration of the power of the 456 and emotionally for the characters and audience; rather than an awkward slapstick sequence with Ianto and Jack being chased around Floor 13 by a shrieking children's television presenter who attacks them with a fake alien on his arm, pretending to peck at them, until the pair fall out of a window. The aliens' motives are also clearer in the next draft, originally there were some problems with what Rod Hull wanted to do with 10% of the Earth's children; he planned to take them away to his Pink Windmill for reasons that never really become clear.
5. And we're off! A good way to avoid viewers dwelling on difficult moments in the plot is to show characters reacting as you imagine the audience might be at home.
Different: how the reveal of the true nature of the 456 might have looked.
Labels:
Children of Earth,
Russell T. Davies,
script,
Torchwood
Monday, July 13, 2009
Monday, July 6, 2009
Dress Matt Smith
Bored with that one publicity picture of Matt Smith?
Finding the wait for the unveiling of the new costume unbearable?
Can't wait until filming starts again?
Then Shouting into a Well's Dress Matt Smith Kit is for you!
Design a Doctor Who costume! Pretend to be Steven Moffat! Choose a new look for the new Doctor! Fill time!
Here's how it works:
Below is a collection of exciting costumes, some old and some new, plus some props that Matt Smith's Doctor might find handy. All you need to do is click on the picture to expand it to full size, print it and carefully cut out the shapes (you may want to get a Torchwood fan, or an adult to help you with this).
Once you are done, click on and print out the picture of Matt Smith, also provided, and place the clothes on to get the look you want.
The possibilities are infinite*
It's that easy!
Just look at these results.
* infinite used in the sense of great or large. The interactive Dress Matt Smith kit is in no sense boundless; it does not have a value greater than any arbitrarily large value; it is not unlimited in spacial extent; it is not a set capable of being put into one-to-one correspondence with a proper subset of itself; it is not without beginning or end; it does not extend beyond measure or comprehension.
Finding the wait for the unveiling of the new costume unbearable?
Can't wait until filming starts again?
Then Shouting into a Well's Dress Matt Smith Kit is for you!
Design a Doctor Who costume! Pretend to be Steven Moffat! Choose a new look for the new Doctor! Fill time!
Here's how it works:
Below is a collection of exciting costumes, some old and some new, plus some props that Matt Smith's Doctor might find handy. All you need to do is click on the picture to expand it to full size, print it and carefully cut out the shapes (you may want to get a Torchwood fan, or an adult to help you with this).
Once you are done, click on and print out the picture of Matt Smith, also provided, and place the clothes on to get the look you want.
The possibilities are infinite*
It's that easy!
Just look at these results.
* infinite used in the sense of great or large. The interactive Dress Matt Smith kit is in no sense boundless; it does not have a value greater than any arbitrarily large value; it is not unlimited in spacial extent; it is not a set capable of being put into one-to-one correspondence with a proper subset of itself; it is not without beginning or end; it does not extend beyond measure or comprehension.
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