Archive for the ‘Philip Madoc’ Category

Philip Madoc (1990’s)

October 21, 2009

Philip Madoc was in a number of classic original series stories, as well as the second Peter Cushing film. Here, to talks to DWM about how he’d have liked to have reprised his character from ‘The War Games’, and about Tom Baker’s magnificent head.

On ‘Daleks – Invasion Earth 2150 AD’

It was a reasonable part. I mean, it wasn’t two lines, and it stood out, in its way. It was clear, you see, that he was a villain. He ended up in a shed being blow up, but that was his fault for not realising that the Daleks don’t have a conscience. They’re not going to help someone just for that particularly, and it was enjoyable seeing how the Daleks worked. That in itself was fascinating.

On ‘The War Games’

I remember the story appealing to me very much with the idea my character had of what was the solution to all the problems that were going on. I don’t remember how well it was done, but I thought it was quite original. Towards the end, there was a lot of thought going into what they were going to do with me. The idea was that they didn’t kill me, but disintegrated me to all the corners of the universe. I wasn’t there, I was everywhere so they could bring me back – like the Master. I would have liked to have played that role again. You see, once you’re doing a part that appears on a regular basis things get adapted to you, and things that you want to do go in. I remember once in the BBC club, after ‘The War Games’, some other director said to me ‘Without a shadow of a doubt, that was the most sinister character I’ve ever seen’.

On ‘The Brain of Morbius’

Solon was a sinister character – let’s face it, anyone who’s making a body has got to be sinister – but at the same time there were light points in it. Or at any rate, you could interpret them in that way; for example, one of the funniest lines was after the scene where we learn that he’s looking for a head to make up his body, and thrown away the insect one. The Doctors comes in through those doors, with the storm outside, and I just look at him and he says ‘What are you looking at?’ and I say ‘What a magnificent head’. I mean, you know they’re funny lines and if you can have that humour in it, the other things actually become more sinister. If you can have that combination of things then, in whatever level of drama we’re talking about, it helps enormously.

On ‘The Power of Kroll’

Whoever sent me the script said ‘For the part of so-and-so’, which is what I read, but when I turned up on location I wasn’t playing that. We sorted it out and I ended up playing the other part, whatever it was. I didn’t find it a particularly interesting story.