WEBVTT 00:00.000 --> 00:09.000 This is our props department. 00:09.000 --> 00:10.000 Yes, wonderful. 00:10.000 --> 00:12.000 This is where we keep all the scenic artists. 00:12.000 --> 00:13.000 Very familiar. 00:13.000 --> 00:14.000 Yeah, I'm sure. 00:14.000 --> 00:15.000 They all look the same, don't they? 00:15.000 --> 00:16.000 They do. 00:16.000 --> 00:17.000 A mess. 00:17.000 --> 00:19.000 And then this is our sort of more specialist store. 00:19.000 --> 00:20.000 Oh, the Daleks. 00:20.000 --> 00:21.000 The Daleks. 00:21.000 --> 00:22.000 Yes, here we are. 00:22.000 --> 00:23.000 Two of them. 00:23.000 --> 00:27.000 Yeah, we've got four in total. 00:27.000 --> 00:28.000 Four? 00:28.000 --> 00:31.000 Yeah, including one which is a black Dalek. 00:31.000 --> 00:35.000 Unfortunately, they're all out and about on various things, exhibitions, etc. 00:35.000 --> 00:37.000 But this is obviously a complete one. 00:37.000 --> 00:39.000 Yes, they're beautifully made. 00:39.000 --> 00:43.000 Yeah, fiberglass, as I think the originals were, were they? 00:43.000 --> 00:44.000 Yes. 00:44.000 --> 00:49.000 I mean, we haven't changed much, I suppose, from your original design. 00:49.000 --> 00:57.000 Yes, I was saying earlier that one of the original ideas I had was behind these blisters, 00:57.000 --> 00:59.000 were going to be P-lights. 00:59.000 --> 01:00.000 Right. 01:00.000 --> 01:04.000 Connected up to a 12-volt car battery under the operator's seat. 01:04.000 --> 01:05.000 Right. 01:05.000 --> 01:11.000 So when the Dalek got agitated, all these lights would all flash off in a random pattern. 01:11.000 --> 01:12.000 Fantastic. 01:12.000 --> 01:14.000 Great idea, great, you know. 01:14.000 --> 01:16.000 But we've worked it out. 01:16.000 --> 01:20.000 You can't afford four 12-volt car batteries. 01:20.000 --> 01:22.000 So the whole idea had to be scotched. 01:22.000 --> 01:23.000 Yeah, yeah. 01:23.000 --> 01:26.000 Because there would have been a perfect position under the seat for the battery, wouldn't there? 01:26.000 --> 01:27.000 Yes, yes. 01:27.000 --> 01:32.000 Because it's a great, very primitive inside, but they look great from the outside. 01:32.000 --> 01:39.000 When they were taken down to the rehearsal room, I went down, I said to the director, 01:39.000 --> 01:40.000 how is it going? 01:40.000 --> 01:41.000 He said, yeah, great. 01:41.000 --> 01:44.000 He said, there's just one problem. 01:44.000 --> 01:49.000 I can't tell which of the Daleks is talking. 01:49.000 --> 01:51.000 So that's when I come up with the lights. 01:51.000 --> 01:52.000 With the lights. 01:52.000 --> 01:58.000 Originally, as an emergency thing, we had ping pong balls stuck on. 01:58.000 --> 02:04.000 I think they were only on for one story, or one particular episode. 02:04.000 --> 02:09.000 And am I right in thinking that they developed into little mini Cooper lights? 02:09.000 --> 02:11.000 Did I read that somewhere? 02:11.000 --> 02:13.000 No, somebody else might have done that. 02:13.000 --> 02:15.000 Might have done that afterwards, OK, yeah. 02:15.000 --> 02:17.000 We never went in for anything elaborate. 02:17.000 --> 02:18.000 We couldn't afford it. 02:18.000 --> 02:20.000 These things, you know what these things are, don't you? 02:20.000 --> 02:21.000 No. 02:21.000 --> 02:32.000 Well, of course, the Daleks were written for the one story, and they lived in the Dalek city. 02:32.000 --> 02:40.000 And they got their power from the floors, like the dodgem cars at fairgrounds. 02:40.000 --> 02:43.000 We want more Dalek stories. 02:43.000 --> 02:47.000 And so the writers wanted to put the Daleks outside of the Dalek city. 02:47.000 --> 02:49.000 Where did they get their power from? 02:49.000 --> 02:51.000 So it was a quick idea. 02:51.000 --> 02:53.000 I thought solar panels. 02:53.000 --> 02:54.000 Right. 02:54.000 --> 02:56.000 These were originally meant to be solar panels. 02:56.000 --> 02:57.000 Yeah. 02:57.000 --> 02:59.000 Wouldn't work in Cardiff, solar panels. 02:59.000 --> 03:00.000 Well, no sun. 03:00.000 --> 03:01.000 Miserable weather. 03:01.000 --> 03:02.000 Yes. 03:02.000 --> 03:05.000 Right, people say that you were inspired by a pepper pot. 03:05.000 --> 03:08.000 Yeah, people do say I was inspired by a pepper pot. 03:08.000 --> 03:13.000 And I always think, well, if that's all it takes to become a designer, it's a doddle. 03:13.000 --> 03:21.000 When I asked Bill Roberts, the special effects chap who was going to make them, when I invited him to lunch, 03:21.000 --> 03:26.000 and I picked up the pepper pot and moved it around the table, and said it's going to move like that. 03:26.000 --> 03:30.000 No visible means, you know, no wheels or anything. 03:30.000 --> 03:34.000 And ever since then, people say I was inspired by a pepper pot. 03:34.000 --> 03:37.000 But it could have been the salt pot I picked up. 03:37.000 --> 03:42.000 When I asked, well, you were inspired by, I suppose it was really a system of logic. 03:42.000 --> 03:48.000 Because I realised that you've got to have an operator to operate them. 03:48.000 --> 03:52.000 If you had anything mechanical, ten to one on the take, it would go wrong. 03:52.000 --> 03:53.000 Go wrong, absolutely. 03:53.000 --> 03:57.000 So you've got a human being in there that would be absolutely totally reliable. 03:57.000 --> 03:58.000 Yeah. 03:58.000 --> 04:06.000 And to be in the studio all day, and I wanted these things to be, they're a bit higher than a five foot four over here. 04:06.000 --> 04:10.000 We did that for a reason, because Billy Piper was a certain height. 04:10.000 --> 04:14.000 And I wanted Billy to be looking directly into the eye stalk of the Dalek. 04:14.000 --> 04:16.000 So that's why they ended up being slightly bigger. 04:16.000 --> 04:22.000 So I thought, well, the operator's got to sit down, drew a seat, ergonomic height, 18 inches, 04:22.000 --> 04:25.000 got the operator down, and then drew round him, you see. 04:25.000 --> 04:28.000 That's how the basic shape appeared. 04:28.000 --> 04:30.000 And I thought, well, he's got to be able to see. 04:30.000 --> 04:36.000 And I came up with this mesh idea, where you can't see in, but he can see out, all round. 04:36.000 --> 04:39.000 And it just grew out of a sort of system of logic, really. 04:39.000 --> 04:40.000 Very clever. 04:40.000 --> 04:43.000 They're a work of genius, I think. 04:43.000 --> 04:47.000 You really did something special there. 04:47.000 --> 04:48.000 After you, then, Ray. 04:48.000 --> 04:49.000 Welcome to the TARDIS. 04:49.000 --> 04:55.000 TARDIS. 04:55.000 --> 04:59.000 So it's, as you know, 500 years old. 04:59.000 --> 05:01.000 Oh, this looks like a dog's breakfast. 05:01.000 --> 05:02.000 Yeah, exactly. 05:02.000 --> 05:06.000 It's seen better days, I think. 05:06.000 --> 05:12.000 We wanted the idea to be 500 years old, and that there was nothing original left on it, really. 05:12.000 --> 05:17.000 Everything had been broken, snapped off, and that the doctor, in his eclectic way, had just gathered things. 05:17.000 --> 05:25.000 Everything from paperweights to all sorts of bits of machinery that basically do the job of what the original machine would have done. 05:25.000 --> 05:26.000 Does the column still go up and down? 05:26.000 --> 05:27.000 Yes, it does. 05:27.000 --> 05:28.000 Yeah, that all goes up and down. 05:28.000 --> 05:30.000 And it's lift from within. 05:30.000 --> 05:38.000 And we've also then created, we've retained the roundels all the way around, and the coat stand. 05:38.000 --> 05:45.000 And then this is a metal structure covered in cling film, and then this is roofing insulation that we've sprayed on. 05:45.000 --> 05:49.000 And just like your idea with the Daleks of putting lights inside, we've done the same sort of thing here. 05:49.000 --> 05:52.000 We fill this with lights so that it all illuminates. 05:52.000 --> 06:02.000 And basically we've created a light box so that we don't have to have any lights within the TARDIS to light the actors, because we light it from the outside with big space lights. 06:02.000 --> 06:03.000 Very good. 06:03.000 --> 06:10.000 I mean, I was keen that, obviously there's been fantastic TARDISes in the past, and I'm sure there'll be fantastic TARDISes in the future. 06:10.000 --> 06:15.000 And I was keen that we sort of had something that grew, that it had grown, so it's quite organic. 06:15.000 --> 06:17.000 It works quite well. It's quite cathedral-like in its form. 06:17.000 --> 06:19.000 It is, isn't it? Massive set, yeah. 06:19.000 --> 06:24.000 Ray, how does it compare size-wise to the original set? 06:24.000 --> 06:28.000 Much bigger, yes, much bigger, yeah. 06:28.000 --> 06:33.000 Of course, as you say, this isn't constructed to dismantle and re-erect next week, is it? 06:33.000 --> 06:36.000 No, absolutely not. It took a month to move it. 06:36.000 --> 06:37.000 Yes. 06:37.000 --> 06:44.000 But it ruined my day when they said it had to move, because it is just literally an installation, not a set built to move. 06:44.000 --> 06:46.000 But they don't tell you that at the beginning, do they? 06:46.000 --> 06:47.000 No, no. 06:47.000 --> 06:49.000 No, no, no. 06:49.000 --> 06:52.000 We want it to be this, and we want it to be that, and we want it to be this, and then all of a sudden... 06:52.000 --> 07:01.000 That was a common problem also in TV sales, where you have a set which is designed for the first episode, never to be seen again. 07:01.000 --> 07:02.000 No. 07:02.000 --> 07:04.000 And then it comes back. 07:04.000 --> 07:05.000 Yeah, because they love it. 07:05.000 --> 07:07.000 Somebody's written it in, you know. 07:07.000 --> 07:13.000 Yeah, we always try and check with Russell when it comes to characters, interiors that we build, whether it be sort of the Tyler's flat. 07:13.000 --> 07:17.000 I always say to Russell at the end of a series, now do we keep this or do we throw it in the skip? Oh, no, they're not coming back. 07:17.000 --> 07:19.000 Throw it in the skip. Off it goes. 07:19.000 --> 07:23.000 First phone call you get, did you throw that flat away? Yeah. 07:23.000 --> 07:25.000 We may need it back. 07:25.000 --> 07:31.000 We've had the Daleks in here. Peter, I think, one episode, we rolled in the Dalek. 07:31.000 --> 07:32.000 Oh, really? 07:32.000 --> 07:33.000 Yeah, and then we blew it up. 07:33.000 --> 07:34.000 Yes. 07:34.000 --> 07:40.000 And it's not the best set to have fire in, because it's all sort of plastic and resin. 07:40.000 --> 07:56.000 Yes, because that was the problem with when the studio-based Doctor Who, if there were anything like that, you know, explosions, bangs, or burning through metal doors or anything like that, you couldn't possibly do in the television studios. 07:56.000 --> 08:01.000 They all had to be filmed on the stage at evening and then slotted in later. 08:01.000 --> 08:08.000 How much was studio-based and location-based in it? Was there a pattern in the episodes? 08:08.000 --> 08:19.000 No, no, no. I mean, the keys of Mariners, it was the model shots, which would have taken time to set up in the television studio. 08:19.000 --> 08:25.000 We haven't got time. We had three hours to do the show. 08:25.000 --> 08:42.000 Something I miss, actually, that we don't do is the model work. When you look at some of the model shots from the classic series, like specifically Skaro and Dalek City, there's a quality to that that's quite unique, I think. 08:42.000 --> 08:43.000 Really? 08:43.000 --> 08:44.000 Yeah, definitely. 08:44.000 --> 08:45.000 Well, we did our best. 08:45.000 --> 08:56.000 Yeah, we tend to use a lot more CGI, don't we? A lot more computer graphics and matte paintings and that sort of stuff now. I think the model, I'm sure, as it was when you were doing it, is very expensive. 08:56.000 --> 08:57.000 Oh, yes. 08:57.000 --> 08:58.000 Very expensive. 08:58.000 --> 08:59.000 Yes, yes. 08:59.000 --> 09:13.000 You know, we would try and do something. And we've done a bit of it, but it's thousands of pounds. It's so labour-intensive. Whereas if you've got a couple of guys in a nice warm room with a computer, it just tends to be a bit… 09:13.000 --> 09:27.000 Yes, there was one model shot which we did in the studio, I remember. We were doing some filming on Canberra Sands down in East Sussex with the Daleks. And he wanted the Dalek to come out of the sand. 09:27.000 --> 09:46.000 And we tried to explain to him that if you half bury the Dalek in the sand, there's a certain sort of suction that builds up and it'd be impossible to pull out. So I got Shawcroft to build a model Dalek about that size. And we had a sand table in the studio. And it was operated from underneath. 09:46.000 --> 09:47.000 Right. 09:47.000 --> 09:49.000 And the Dalek rose up through the sand. 09:49.000 --> 09:58.000 And you got away with it. And it is very often about getting away with it. We take all sorts of risks. Some of them pay off and some of them don't. 09:58.000 --> 10:10.000 This is basically the art department room. So we've got everything from concept artists, Al who's one of our model makers, set designers. And we also have a storyboard artist here as well. 10:10.000 --> 10:19.000 I've been asked this, you know, my art department was me and my assistant. That was the art department. 10:19.000 --> 10:21.000 See, and you made it look so easy. 10:21.000 --> 10:24.000 Thanks for that. 10:24.000 --> 10:43.000 We've got some designs here for the Supreme Dalek. So what we were trying to do was kind of think back in a design in a sort of 60s vein, which is why you get sort of Sputnik ideas going on here. 10:43.000 --> 10:44.000 Yeah. 10:44.000 --> 10:56.000 All the bolting and everything. So those were the first sketches for the new Supreme Dalek. And you can see here how it kind of developed. 10:56.000 --> 11:05.000 Because we're obviously keen to retain that sort of 60s feel as Pete says, you know, without suddenly turning it into a sci-fi fest. 11:05.000 --> 11:13.000 And you don't want to lose the actual Dalek feel to it. It's very easy to sort of digress. 11:13.000 --> 11:15.000 These things are unearthly. 11:15.000 --> 11:16.000 Yeah. 11:16.000 --> 11:24.000 They have powers of intelligence and construction and manufacture beyond human beings understanding, you know. 11:24.000 --> 11:33.000 So if they wanted strength, they wouldn't have to make it look as though it's all riveted and bolted together. This is an earthly concept. 11:33.000 --> 11:34.000 Yeah. 11:34.000 --> 11:38.000 I mean, to them, rivets and bolts are old fashioned, they're not archaic. 11:38.000 --> 11:44.000 And some of these sketches, I think, are very much based on your original designs. 11:44.000 --> 11:56.000 Yes, that was an initial idea, a little squat thing with arms that moved around in all directions, 360 degrees all over. Couldn't afford it. 11:56.000 --> 11:57.000 No, no. 11:57.000 --> 11:59.000 Couldn't afford it. 11:59.000 --> 12:13.000 And we've just got you a little gift. This is an artist's print wrapped in Gallifreyan text of the Dalek DNA, which we thought you might want to take away with you. 12:13.000 --> 12:20.000 It basically portrays what we're suggesting is Dalek text and then the Dalek DNA. 12:20.000 --> 12:22.000 Gracious me. 12:22.000 --> 12:24.000 We thought you might quite like that. 12:24.000 --> 12:30.000 Yes, it's lovely. Thank you. Wonderful.