Doctor Who - Documentary s05e02 Episode Script
Late Night Line-Up
(JAZZY MUSIC: INTRO TO ''LATE NIGHT LINE-UP'') The problem we've got I should explain at this point that we have a group of people - a knitted team - known as the Visual Effects Group, of which I'm in charge.
When a particular type of job comes up in, for example, Schools, we will choose one of the crew whose abilities in realistic model making suit this particular role, so therefore he gets that job to do, probably with assistants.
But the team is strong enough that if things get behind - we must remember zeros and time and, in fact, money, are a very vital part of our job - then the rest of the crew will pitch in and help.
The most imaginative area of your work is in science fiction - children's science fiction, like Doctor Who.
Doctor Who is, by its nature, a bit of a romp.
(MUSIC HALL PIANO PLAYS) We mustn't scare the pants off the kids, although we can take a certain degree in this direction.
90% of the time in Doctor Who, it is a ''fait accompli'' anyway.
We have a storyline, and we've got to produce the effect somehow on a very narrow budget in a very narrow time factor.
With adult science fiction, can you go as far as you like? I think one can go all the way in certain instances, and leave the producer's discretion as to how far he goes.
We tend to go for realism, if we can get it.
And horror really isn't too difficult.
Providing there's lots of blood, most people throw up.
We're fairly well home.
Severed heads lie around in my workshop.
We don't take any notice! (INTERVIEWER) You'd be in trouble if the children were throwing up.
- So you do have to control it.
- To a certain extent, yes.
- Jack Hann, thank you.
- Thank you, my dear.
When a particular type of job comes up in, for example, Schools, we will choose one of the crew whose abilities in realistic model making suit this particular role, so therefore he gets that job to do, probably with assistants.
But the team is strong enough that if things get behind - we must remember zeros and time and, in fact, money, are a very vital part of our job - then the rest of the crew will pitch in and help.
The most imaginative area of your work is in science fiction - children's science fiction, like Doctor Who.
Doctor Who is, by its nature, a bit of a romp.
(MUSIC HALL PIANO PLAYS) We mustn't scare the pants off the kids, although we can take a certain degree in this direction.
90% of the time in Doctor Who, it is a ''fait accompli'' anyway.
We have a storyline, and we've got to produce the effect somehow on a very narrow budget in a very narrow time factor.
With adult science fiction, can you go as far as you like? I think one can go all the way in certain instances, and leave the producer's discretion as to how far he goes.
We tend to go for realism, if we can get it.
And horror really isn't too difficult.
Providing there's lots of blood, most people throw up.
We're fairly well home.
Severed heads lie around in my workshop.
We don't take any notice! (INTERVIEWER) You'd be in trouble if the children were throwing up.
- So you do have to control it.
- To a certain extent, yes.
- Jack Hann, thank you.
- Thank you, my dear.