I found myself listening to the DVD commentary track on Partners in Crime. It features Execs Russell T Davies and Julie Gardner plus director James Strong and they make for jolly company. Davies is in ebullient form, gushing over various aspects of the production, explaining his creative choices with confidence and generally laughing at the sheer unlikeliness of it all. Gardner is equally fulsome, quick to address the episode’s technical faults but still clearly loving it none the less. Strong is a more reserved, but wry and happy to be the butt of good-hearted barbs about any directorial shortcomings.
Funnily enough, I’d also listened to the commentary track on the recently randomed Journey’s End. That one’s even more uproarious and features Davies, David Tennant and Catherine Tate. They keep it together well enough, until Tate abandons talking about Doctor Who and reveals news about her new kitten. (The name? I wouldn’t spoil it for you, but it brings the house down). Laughs galore. Hooray. Marvellous.
I mention all this because of the aura it gives off – of a program created by people who love what they do, who get along famously, and who have a heartily good time making it. These DVD commentaries are texts of their own, they suggest a working environment for late RTD era Who of grand behind-the-scene bonhomie. It all sounds like immense fun.
A book I return to time and time again is The Writer’s Tale, by Davies and DWM feature writer Benjamin Cook. It’s a magnificent blow by blow account of Davies making Doctor Who from 2007-2010. The book’s two authors correspond via email and Davies is incredibly candid about the pressures involved in making the show. And although his humour and mischievousness still shine through, a lot of the book shows the melancholy and loneliness of creating a TV show, the size, scope and expectations of which are bewildering. It contrasts strongly with the green room party feel of those commentary tracks.
(Oh, that book. It’s addictive. On occasion, I’ll decide to just dip into quickly to check something or other. Two hours later I’m still reading it. Anything else scheduled gets abandoned. Honestly, it should come with a warning.)
The book starts with the production of series 4, and so Partners in Crime is featured heavily. We get to trace it from conception through the broadcast, and it’s one of those stories that went through many changes. It always featured a new companion, until Catherine Tate was wooed back. It was going to feature furry beasts called the Vorlax, before the squishy Adipose were conceived. It also featured Donna’s Dad played by Howard Attfield, right through to filming, until ill health forced him out and he was replaced by Bernard Cribbins as Wilf.
All this is recounted in The Writers’ Tale, including a number of production snafus which irritated Davies. When Penny (Verona Joseph) is found hiding in a toilet cubicle, she’s right next to the one in which Donna’s hiding, despite Davies’ specific instructions. When two of Miss Foster’s (Sarah Lancashire) guards are electrocuted, it’s through an archway, not a doorway as Davies conceived.
In the book, these niggles really get under Davies’ skin. But on the commentary track, they’re playfully brought up to needle at Strong. Clearly, time had soothed RTD’s crankiness by the time he’d got to record the commentary. But still we’re left with two contrasting views of the making of the series; one dominated by Davies’ jolly, gregarious public persona and one in The Writers’ Tale, which shows a private persona which is highly stressed, constantly working and constantly self-doubting. And not just on Partners in Crime, but on all those stories up until The End of Time. The Writer’s Tale pulls back the curtain and shows how ridiculously hard it is to make Doctor Who, behind the cheerful facade of its makers.
I wonder if the Moff will put out a similar book when he leaves. What about one which was the collected emails between him and RTD? I bet that would be eye-opening. I’d have to write off a full month.
The Writers’ Tale also reveals RTD to be a cartoonist of considerable skill. The book is peppered with sketches illustrating scenes from scripts in development and used by Davies as a way of demonstrating his vision for the final product. This shows Davies as a writer who conceives his stories in images, a truly visual storyteller. This month, a new book Now We Are Six Hundred, is released, jam-packed with Davies’ cartoons.
And Partners in Crime has a cartoony style to it. The charmingly cute fat babies, the Adipose, are creations straight out of Pixar. The screwball style of the Warner Brothers cartoons is evident too; not just Miss Foster’s temporary levitation (complete with eyes bulging in surprise) before falling to her death, which as Davies says on the commentary is pure Wile E Coyote. But also the scene of the Doctor and Donna popping up from behind cubicles like meerkats, but always just missing each other. And Penny escaping tied to a chair.
Not to mention that when the Doctor and Donna give us the conversation behind two windows routine, it ends with Catherine Tate paused mid face pulling, like a frame taken from a Looney Toons classic.
There could have been more of it. Why not make these cartoon moments even more prominent? Have more cartoony set pieces? When the Doctor runs, his legs could rotate like crazed windmills. When knocked unconscious, stars and birds could circle around his head. Sounds too out there? I think as a madcap one off, it could be fun. Planet of the cartoons, Donna might say.
And if there was a ever a Doctor to pull it off, it’s surely Tennant, with his gangly limbs, big eyes and spiky hair, he comes ready to draw. I can already see anvils dropping on his head and pointy lumps growing from his skull. Or him temporarily suspended in mid-air, arms and legs outstretched in moments of surprise or anger. Eyeballs leaping out from his face. What’s up Doc, indeed.
T-t-t-that’s all, folks.
LINK TO The War Games: companions who will eventually have their memories of their time with the Doctor wiped.
NEXT TIME… is there any intelligent life here? We find out on The Mysterious Planet.