Hello! Right, just a quick update to the Tom Baker interviews. Well, it’s not really an interview as such, but I only just found out that Mr. B answers questions on his website from time to time in a special ‘Question Room’. So it’s like an interview, I suppose. You can read it here.
Posts Tagged ‘Tom Baker’
Tom Baker (all the time)
February 23, 2011Tom Baker (post-1996)
October 9, 2010Here’s a brief quote from Tom Baker, talking about Jon Pertwee. Short, I know, but worth it because there aren’t too many examples of him talking about other Doctors:
“I only met Jon Pertwee for the first time at the changeover shot in his last episode. So up till then I had no knowledge of him.
“Later I met him in various sound studios where we doing voice overs or commentaries and so on. Also I met him on several occasions at Sci-fi conventions. He was always very glamorous and charismatic and he obviously felt I was a bit peculiar.
“I used to tease him by pretending I was earning huge fees. This made him pink up a bit. But he was the generation ahead of me so there was a gap too wide for us to become friends.
“But I respected him and greatly admired his Worzel Gummidge series. I was sorry to hear of his death although envious of the manner (he died in his sleep). He did not know the fear of dying”.
Tom Baker (1974)
August 30, 2010I think this is Tom Baker’s first interview after getting the role of the Doctor, and to be honest it’s less an interview and more a series of press quotes. Perhaps the most interesting thing is that while he’s now turned the interview into something of an art form, this is Baker way before he became such a seasoned interview ‘pro’…
“Perhaps what clinched it for me was my appearance in the special effects film ‘The Golden Voyage of Sinbad’.
“We are not playing Dr. Who for laughs. I am trying to stress his strangeness, that he is out of this world, not human, therefore his reactions would be different from ours. I may only be a middle-aged ten-year-old, but I take Dr. Who very seriously. He has to be genuinely loveable, not pleased by violence, and he must be honest. Humourous, but never comical.
“I seem to have played so many psychotics, it will be a pleasant change. The Doctor’s a fantastic character and I’m not sure yet how I’m going to play him. It’s very difficult. Fortunately, kids have such elasticity of imagination that it is easy for them to accept that he has to be killed, but because he is a Time Lord he doesn’t really die. He regenerates into another form.
“I have a nine-week break in the summer. I’m under contract with Sam Speigel to do a film then. I don’t know what. But if I wasn’t acting I would take some job. I don’t like saying ‘I’m resting’ when I’m out of work. It’s a fallacy that actors get paid astronomical sums of money. I get paid very well sometimes, of course, and it’s a temptation to blow it on a flash car. But I live very simply. I have hardly any possessions and I live in a bedsit in Pimlico. I read in a national newspaper that I was getting paid £1,000 a week for ‘Dr. Who’. That’s absolutely preposterous. The BBC must have had a good laugh.
“(The Daleks) are terrible creatures that just want to kill everybody. They’re terrible. No humour, no jokes. And without jokes, there’s no optimism!”
Peter Davison (1981)
January 11, 2010Here’s Peter Davison talking to Radio Times back in 1981 about his approach to playing the Fifth Doctor. Davison had big shoes (Tom Baker’s) to fill, and this interview – published shortly before he made his debut – reveals he met Baker for a drink to discuss the role, but couldn’t hear what his predecessor was saying. Nice story, hope it’s true!
The producer rang me up one day and said ‘How would you like to be the new Dr. Who?’. I was speechless. I was staggered to see it announced on the news. I really had no idea ‘Doctor Who’ was so important. I bet some of my friends thought I’d died when they saw my picture.
Tom Baker and I did meet in the bar one evening to discuss the part, and he was all set to give me some advice. But it was ‘Top of the Pops’ that night, and the noise was so furious, all I heard was ‘good luck’.
It’s a lot more than just an acting job. You take on the mantle of Dr. Who, and that kind of instant charisma that goes with the job.
I’ll be a much younger Dr. Who, and I’ll be wearing a kind of Victorian cricketing outfit to accentuate my youth. I’d like my Doctor to be heroic and resourceful. I feel that, over the years, ‘Doctor Who’ has become less vital, no longer struggling for survival, depending on instant, miraculous solutions to problems. The suspense of ‘Now how’s he going to get out of this tight corner?’ has been missing. I want to restore that. My Doctor will be flawed. He’ll have the best intentions and he will in the end win through, but he will not always act for the best. Sometimes, he’ll even endanger his companions. But I want him to have a sort of reckless innocence.
I don’t consider it a disadvantage taking on a part that is well-known. It’s not as if you have to continue the same characterisation. You can start from scratch. I don’t overtly copy (the other Doctors), but I do bear in mind a particular aspect of each one.
Tom Baker (1970’s)
January 7, 2010I have a new favourite Tom Baker interview. It was conducted for Australia’s ABC Television to promote the fifteenth season, and includes a lengthy digression onto the subject of what would happen in the Doctor met Superman. The transcript is below, but to get the full impact you really have to watch the video.
Q: What does it feel like to be in Australia, considering you travel the universe, you span 500 years?
A: Oh, good. Good.
Q: Sometimes they say Australia’s 500 years behind the rest of the world. What’s your assessment of that?
A: Oh, I would’ve thought it’s longer than that, isn’t it?
Q: I hope not. Now you’re starting your new series tomorrow night, four nights a week at 6.30. You must get in some awful strife. Can you let us in on some secrets?
A: Well, the first one has a very messy monster. ‘Horror of Fang Rock’, it’s called. And in a series of ‘Doctor Who’ type coincidences… It’s not a bad script at all, I think that viewers might like it. I hope they do, because there seems to be a big interest in it.
Q: Are you surprised by how popular ‘Doctor Who’ is, both here and in Britain?
A: Well it’s very difficult to believe anything that happens on the other side of the world, isn’t it? I’ve never been to Australia before, so to arrive here and be so warmly welcomed, especially by young children, is wonderful. I knew the series was popular here, but I didn’t appreciate it, and now I appreciate it and I enjoy it.
Q: Your theme song was a bit hit in the charts a couple of years ago, and now there’s a disco version. Have you heard the disco version?
A: Mmm. Yes, I have.
Q: Will we ever see Dr. Who and the monsters dance to it?
A: No. No, they’re not brave enough back home to let me do that. I’d like to do that very much.
Q: The disco version?
A: (smiles) Yes.
Q: Now, with the advent of ‘Superman’ coming to the big screen, do you think there’s ever a chance that Dr. Who and Superman may run into each other?
A: Well that’s a nice idea, but what would be the point? I mean, Superman wouldn’t be any opposition, would he, because… well…
Q: You both have a similiarity with phone boxes, though, don’t you?
A: Ah, yes, but that’s the only way. I suppose Superman only uses a phone box because he’s rather prudish and modest, and doesn’t want to take his knickers off in public. But I think compared to the character of Dr. Who, he’s a bit of a bonehead, isn’t he, Superman? He punches things out. Whereas the character I’m involved with tries to think it out.
Q: Now, I’ve often wondered, does Dr. Who wake up in the morning and get confused about the time? Because you only have to travel from Sydney to Perth to get confused about the time. You must get really confused.
A: Yes. I am. I’m in a permanent state of confusion.
Tom Baker (1990’s)
October 26, 2009Here’s a brief extract of a Tom Baker interview, in which he talks about his approach to playing the Doctor, as well as the plans for the 1970’s film ‘Doctor Who Meets Scratchman’, for which he co-wrote the script with Ian Marter, but which was never made.
“I never consciously thought it out. I never knew where I was going with ‘Doctor Who’, because the very essence of the character is that the Doctor never does know where he’s going. What I worked hard at was maintaining the spontaneity and ideas, keeping the audience surprised, since, after all, the Doctor was meant to be an alien. He wasn’t emotionally involved, except in the most heroic way.
“The script for ‘Doctor Who Meets Scratchman’ was about scarecrows becoming animated when a fertilizer on Earth goes horribly wrong. The scarecrows were able to make other scarecrows and they go on the rampage, raiding stores and using their sticks as weapons. The Cybermen came into it, too; there were wonderful scenes of the Cybermen coming out of the sea.
“The whole thing hinged on the fact that somewhere out in space was this creature called Scratchman, which is an old-world named for the Devil. He just wanted to make trouble. I remember the ending: we were going to turn the whole studio into a giant pinball table. The Doctor and his companions were stuck on this table and Scratchman was firing these balls at us. The balls disappeared down holes which were sort of gateways into other hells. It was a very violent film, but very funny too. The production office saw it and hated it, but I thought it was marvellous.”
Lalla Ward (1985)
September 30, 2009Here’s Lalla Ward talking about her time as Princess Astra and Romana, as well as her marriage to Tom Baker, the loss of ‘Shada’ and her decision to leave the show in ‘Warriors Gate’:
“I must have been the most unusual entrant into the series. My audition was, unwittingly, a six-week story! Naturally, at the time I had no idea it would blossom into the offer of a regular job. I was fortunate because when I joined, I knew everybody, so the first-night nerves, so to speak, were not so concentrated. Everybody had been so surprised at Mary Tamm’s decision to leave. It was all so quick, before I knew it there I was – the new Romana!
“The director of ‘The Armageddon Factor’, Michael Hayes, had worked with me on ‘The Duchess of Duke Street’ and also noted my work in ‘Shelley’. He contacted my agent because he saw me as right for the past of Princess Astra. I think one of the reasons they asked me to take over from Mary was that my original character had received a favourable response from the viewers. I’d got on so well with Tom – and with Mary – that I was suggested and I certainly had no qualms about taking it on.
“I just couldn’t be the same as Mary. It wouldn’t have worked. I had to approach it differently. I kept thinking that I was in somebody else’s shoes and they didn’t quite fit. So it was weird – but a challenge. Besides, when Time Lords regenerate, they don’t stay the same, do they? None of the Doctors have, and I’m sure Romana wouldn’t have either. It was never easy to do ‘Doctor Who’ – it was very hard work, very taxing at times for all sorts of reasons.
“We used to have the most awful problems with our writers. Tom and I used to have the rewrite most of our dialogue with the director, usually because it wasn’t right for the parts we were playing. And it happened from the very st art. Our actual rehearsal time, which was incredibly tight, was reduced still further as a result. So the programme was always a heavy workload – we had this responsibility for the show and we were doing so many a year against the problems of a small budget and scripts that we wouldn’t have done without at least an element of rewriting.
But our writers were under pressure too. They had to work with severe limitations, and in making it adventurous the characters were often neglected. And in some ways, I felt the show was more about people than adventure situations.
“The schoolgirl outfit was my idea – so was the riding look in ‘The Horns of Nimon’. I took the whole thing to its limits because I knew I’d probably never have such a chance again. In ‘Destiny of the Daleks’, we came up with that smashing idea – a joke on the Doctor, really – of having a version of his costume for Romana. She was an individual charaacter and her clothes had to show this – a fantastic mixture of all the different worlds at her disposal. I’m ashamed of the way I bossed my poor designers around. They’d suggest something, which might be alright, but then I’d see myself in something else, so I’d insist on that. They were always letting me have my own way, so I had a tremendous time. I always bore n mind what would appeal to the viewers and make them laugh. It was all fantasy and I enjoyed every minute of it.
“City of Death was very challenging. For a start, we had to film loads of scenes in the rain and cold and as quickly as possible because we only had a few days – there was no glamour at all! Then we had tov irtually rewrite the whole thing, because it just wasn’t working out. Luckily the excellent cast helped and it was stimulating, but very difficult. In retrospect, it was different from the ordinary stories too, and I liked the finished result.
“My favourite was ‘State of Decay’. It had the most amazingly real designs – the sets made me feel so eerie, it wasn’t difficult to act. I think perhaps the horror element was over-played, but it was a powerful script, one of our beset, and beautifully directed.
“Tom works incredibly hard, too hard. He’s a perfectionist at heart, and with ‘Doctor Who’ we often didn’t have time for perfection. He love the fans he got through playing the Doctor – especially the children – and he always kept up an incredibly conscientious role while he was in the series – he never smoked or drank in public. That was something he saw as his responsibility. He is a superb actor and his popularity reflects this. The trouble is our careers came to be just as important as each other, and we grew apart. I was angry at suggestions that it didn’t work because I was too young – or that Tom was unreasonable to me. It was a decision we discussed and felt was for the best.
“On ‘Shada’, we had stupendous problems for a while. We shot the series out of order anyway, and because of delays and over-running we got steadily more and more behind schedule. The team were all working at breakneck speed to complete it all in time. Tom was a hopeless punter, so that scene on the gondola took hours! We lost everything we’d done – which was a lot, unfortunately. As I remember, the filming in Cambridge was superb, but overall I wasn’t happy with it. Douglas had written a superb script, but it just coincided with a time when I felt fed up with everything. To have worked so hard and got so far advanced was heartbreaking when all that happened was its cancellation. Morale sank very low.
“I know it’s a cliche, but it’s best to get out on top. I’d had my era – it was time for a new look and the programme never keeps its cast for too long anyway. I’d made up my mind before the start of recording for the new series that I’d like to go halfway through. John Nathan-Turner had exactly the same feeling, so we had no conflict over the decision – it was entirely amicable, and a relief, because I’d been dreading telling him – and vice versa, I think. I absolutely loated ‘Warrior’s Gate’ because it was my last one. I felt particularly regretful, I’d become so very close to the show. The story itself was a good one – a fine leaving story – with a sufficient air of mystery to it. I hadn’t wanted to be killed off or fall in love or anything tame and silly, so I was pleased that I got a nice open-ended departure. I was also delighted I got K9 as company. It somehow eased the break. An excellent story – good for Romana – but terribly sad for me.
“I discovered quite early on that a camera never lets you down. Your acting is unrestricted by its presence, whereas an audience will react in different ways. I love the theatre and I do like to work ‘live’ every so often, but my first loyalty is to television. I’d done so much there – I feel a sense of attachment. The atmosphere of television is right for me.”
Robert Holmes (1985)
September 23, 2009Robert Holmes was one of the most important contributors to the original ‘Doctor Who’, and if he was still around today he’d probably still be writing the occasional episode.This interview is from an old DWM. The Autons and the Sontarans were among his most famous creations, and both have been resurrected in the modern version of the show.
He’s probably best remembered for his time as script editor in the mid 1970’s, covering some of the most popular Tom Baker stories, and he wrote or co-write (sometimes uncredited, sometimes under a pseudonym) stories such as ‘The Ark in Space’, ‘The Sunmakers’ and ‘The Deadly Assassin’.
In fact, in the recent DWM poll to find the most popular episodes of all time, he wrote three of the top ten: ‘The Caves of Androzani’ (number 1), ‘The Talons of Weng-Chiang’ (number 4) and ‘Pyramids of Mars’ (number 7). He was also script editor for ‘Genesis of the Daleks’ (number 3) and ‘The Robots of Death’ (number 9). Not bad going 🙂
Even though I’ve cut parts out, it’s still a long interview, so I’m going to split it over two posts. Part 2 will be up in the next few days, there may be something else in-between. Anyway, enjoy:
“I sent ‘The Krotons’ in, not as a ‘Doctor Who’ story but I sent it to the drama department as a story called ‘The Space Trap’, for inclusion in a series they were doing of four-part science-fiction thrillers, because I thought it was a suitable idea. Then I got a letter back from Shaun Sutton, the Head of Serials at the time, saying that they had decided to discontinue this series and he’d passed the idea on to ‘Doctor Who’. And I never heard any more about it. Three years passed and we were moving house and when I was clearing out my desk I came across the thing and thought ‘Well that’s not too bad’, so I rehashed it specifically for ‘Doctor Who’ and sent it in again. Terrance Dicks was script-editor by then and he commissioned it.
“(The Space Pirates) was originally intended as a four-part story, but at the last minute became a six-parter when one of their other six-parters fell through, so I went back and reworked some of it. I remember that the germ, that got me going on it, was this odd captain type chap in his battered space vessel who, every time it went wrong, kicked it or hit it was a beer bottle and got a result. I can’t remember too much about it, but my wife insists it is better than any of the others I’ve done.
“The cast (of Carnival of Monsters) never met! I can’t remember the reason, but I was asked to make it cheap – though I was told afterwards that it worked out quite expensive. So I decided that the way to write it was to do it in two sections: the onboard ship section and the people outside the machine. Only the Doctor and Jo passed in between. They shot that with the shipboard stuff done in the first session in the studio, and the outside recording two weeks later. It was quite a different and amusing idea to have this peepshow – my favourite bit was when the Doctor got out of the TARIS at the beginning and started talking to the chickens!
“I had been a script editor on other programmes about three times – I must have done probably about seven years editing in the last twenty-five years – I edited ‘Shoestring’ and ‘Knight Errant’, and they even asked me to edit ‘Blake’s Seven’ later. So I was quite used to the idea of script editing and I had written for ‘Doctor Who’ for some time, and had developed ideas on how I would like the show to change. Basically I thought it was over cluttered with characters – all the UNIT people – and I wanted to get it back into space because it had been stuck on Earth for such a long time. I also wanted to toughen it, try to make it more adult – to widen the audience and incorporate the mums and dads. I had Mary Whitehouse and Shirley Summerfield and ‘great’ people like that raising questions in the House of Lords when ‘Terror of the Autons’ was done a few years previously, so I think that was indicative of the way my mind worked anyway! I don’t think fantasy violence is at all damaging to children, and as I explained to Jean Rook and everybody else, if they think they have a sensitive child then don’t let it watch these programmes. It’s not up to television to cater for the minority of kids who might be influenced.
“I trailed Terrance Dicks for about three shows, including ‘Death to the Daleks’ and ‘The Monster of Peladon’. What that really meant was that as I worked on these shows, Terrance came in twice a week, poked his head round the door and asked ‘How are you doing? The aspirins are in the top right-hand draw!’ and cleared off again! And then I got him to write ‘Robot’ as he claimed it was traditional for a departing script editor to write the first episode of the next season! Good excuse, wasn’t it?
“(Season 12’s stories) were entirely ours. As I said, I got Terrance to do the first one, and then I asked John Lucarotti to write the next one, ‘The Ark in Space’. He was living on a boat in Corsica at the time and there was a postal dispute so the scripts came in – after I’d outlined the sort of story we wanted – a bit later than expected. When the second episode came in, we could see it was veering off the course that we wanted but it was too late to do anything about it. Then when the last bit came in, Philip (Hinchcliffe) said ‘We can’t use this thing – we’ve eighteen days to get it right’. That was just before the director, Rodney Bennett, arrived. So I took it home and totally rewrote it. It had my name on because I totally rewrote it. Wherever possible, though, I tried to keep the original writer’s names on the credits – unless it was 100% me. If not, as with ‘The Brain of Morbius’, we used pseudonyms.
“A similar thing happened with ‘Pyramids of Mars’, again a total rewrite. I commissioned Lewis Grieffer – I knew him from old and that he had an interest in mythology. He had written some science fiction before for ITV, but then he had to go into hospital and then had to go to be a television chairman in Tel Aviv or something. Anyway, the scripts arrived late and again we couldn’t get him to do rewrites quickly enough, not all the way from Tel Aviv, in the style we were looking for! I also got the impression that poor old Lewis had never actually got to see ‘Doctor Who’ because it was quite different from the series’ pattern and the Doctor’s character was odd and everything. So, I wanted the mythology and I wanted a re-run of ‘Curse of the Mummy’s Tomb’, or one of those, so I had to rewrite it. He didn’t even give me the story basis of Egyptian mythology – I got all that from a book! His story veered all over the place and wasn’t anything to do with Egyptian mythology. I wanted Horus, Sutekh etc. ‘Pyramids of Mars’ was, I think, his original title – he was very into pyramids.
“It was Philip (Hinchcliffe)’s idea to do ‘The Deadly Assassin’ and we decided I should write it. He said it would be good to explore this place we’ve never been to – home of the Time Lords. Lis Sladen’s contract was up and we decided to see if we could do a story for the Doctor without a companion, just as a rest. It was also the first story, if you discount the Master, that we struck the ‘received law’ that every ‘Doctor Who’ story had to have a monster. There were no monsters and ‘The Deadly Assassin’ was very popular. It aroused a lot of anger among the traditionalists, but that’s alright.”