WEBVTT 00:00.000 --> 00:05.000 This is BBC Television broadcasting from the Television Centre. 00:08.000 --> 00:11.000 In 1960, the BBC built its own Hollywood. 00:11.000 --> 00:15.000 Television Centre, the largest TV studios in Europe. 00:15.000 --> 00:19.000 A building with 43 lifts and the biggest air conditioning system 00:19.000 --> 00:21.000 in any non-industrial building. 00:21.000 --> 00:24.000 And space for thousands of people to work. 00:24.000 --> 00:27.000 And all constructed in the shape of a question mark, 00:27.000 --> 00:30.000 which made it the perfect place for the launch 00:30.000 --> 00:33.000 of a new science fiction series called Doctor Who. 00:33.000 --> 00:36.000 Except it didn't happen. 00:36.000 --> 00:39.000 TV Centre was for important programmes, 00:39.000 --> 00:42.000 like That Was The Week That Was and The Lance Percival Show. 00:42.000 --> 00:44.000 Doctor Who came here. 00:44.000 --> 00:47.000 Lime Grove. Pokey. Cramped. 00:47.000 --> 00:50.000 Ever notice that the TARDIS in the new series is bigger 00:50.000 --> 00:52.000 than the TARDIS in the original series? 00:52.000 --> 00:55.000 That's because a full-size police-bocked replica 00:55.000 --> 00:58.000 wouldn't fit in the lift of this building. 00:58.000 --> 01:01.000 The founding producer of Doctor Who, Verity Lambert, 01:01.000 --> 01:05.000 begged her bosses to allow her programme to escape this building. 01:05.000 --> 01:08.000 It took a year of nagging and the power of the Daleks 01:08.000 --> 01:12.000 to bring the TARDIS here in time for the first production block 01:12.000 --> 01:16.000 of Doctor Who's second season, Riverside Studios. 01:16.000 --> 01:18.000 Doesn't look that much, does it? 01:18.000 --> 01:20.000 I mean, it has that nice cafe at the front 01:20.000 --> 01:22.000 where you can get a very good mochaccino, 01:22.000 --> 01:25.000 but essentially this building is just a collection of sheds 01:25.000 --> 01:29.000 that was originally designed to house a factory that made water pumps. 01:29.000 --> 01:33.000 But under that roof, William Hartnell changed into Patrick Troughton. 01:33.000 --> 01:38.000 The Fishmen of Atlantis spread their cellophane fins and swam. 01:38.000 --> 01:42.000 Under that roof, Doctor Who dodged the bullets at the OK Corral, 01:42.000 --> 01:45.000 played deadly board games with the Celestial Toymaker 01:45.000 --> 01:49.000 and was caught by the bubbling fungus men of Mechanus, 01:49.000 --> 01:52.000 which I understand is as eye-watering as it sounds. 01:52.000 --> 01:55.000 And now I'm going to meet a man who saw some of that happen. 02:15.000 --> 02:18.000 So here we are, this is it, the Celestial Toyroom, 02:18.000 --> 02:22.000 the Plains of Troy. This is the planet Refusis, this. 02:22.000 --> 02:25.000 It's small, isn't it? Really? 02:25.000 --> 02:27.000 Did it feel small at the time? 02:27.000 --> 02:30.000 Because it's much more spacious than the Lime Grove studio 02:30.000 --> 02:32.000 that they were using immediately before. 02:32.000 --> 02:34.000 Don't forget, you never saw it like this. 02:34.000 --> 02:37.000 When you came into the studio, you probably got the back of a set 02:37.000 --> 02:39.000 in front of you, you know, flats and stuff. 02:39.000 --> 02:41.000 You come round those and then there's another set there 02:41.000 --> 02:44.000 and there's another one there, and the whole place is taken up 02:44.000 --> 02:47.000 with sets and cameras, and the cameras have to be able to move, 02:47.000 --> 02:49.000 so there's got to be floor space as well. 02:49.000 --> 02:53.000 So you never got the impression of it being a finite wall affair. 02:53.000 --> 02:55.000 Every set was different. 02:55.000 --> 02:58.000 Consequently, it probably felt a bit bigger than smaller, 02:58.000 --> 03:00.000 if you see what I mean. 03:00.000 --> 03:04.000 Was there a sort of a set pattern to how sets were laid out 03:04.000 --> 03:06.000 in a space like this? No. 03:06.000 --> 03:08.000 It could be completely different. 03:08.000 --> 03:11.000 It would be completely random, except... 03:11.000 --> 03:16.000 Now, looking at the moment, we have these big boxes on the walls there. 03:16.000 --> 03:19.000 Well, this is where your cameras get plugged in to operate there. 03:19.000 --> 03:21.000 Now, obviously, we'd have to... 03:21.000 --> 03:24.000 Because they're on long cables, there's no restriction. 03:24.000 --> 03:27.000 It didn't mean that a set couldn't be built in front of that. 03:27.000 --> 03:29.000 It could, because the cables would come around. 03:29.000 --> 03:31.000 The restrictions, you know, were really on the directors, 03:31.000 --> 03:34.000 because the directors had to know which lens they were using. 03:34.000 --> 03:36.000 Are we having that shot? Are we having that shot? 03:36.000 --> 03:38.000 Are we having that shot? 03:38.000 --> 03:41.000 You know? And that depended on the lens, 03:41.000 --> 03:43.000 because you didn't zoom in and out on the camera, 03:43.000 --> 03:45.000 because you had to... 03:45.000 --> 03:47.000 He's got to know which lens for which camera. 03:47.000 --> 03:51.000 He's also got to know that those cameras are finishing a scene here. 03:51.000 --> 03:54.000 Two of the cameras are needed in that set over there. 03:54.000 --> 03:56.000 So his last shot's going to be on this camera, 03:56.000 --> 04:00.000 so that those two cameras can go before this scene finishes. 04:00.000 --> 04:03.000 Tough! There's a lot of running involved in this. 04:03.000 --> 04:04.000 A lot of running. 04:04.000 --> 04:07.000 And they hadn't got to get their loops of cables mixed up, 04:07.000 --> 04:09.000 because they couldn't go over a cable. 04:09.000 --> 04:13.000 It was a wonderful, wonderful time to work in the business, 04:13.000 --> 04:15.000 but it was so difficult. 04:15.000 --> 04:18.000 The Ark asked a lot of its production team. 04:18.000 --> 04:20.000 A jungle inside a spaceship, 04:20.000 --> 04:23.000 a race of monocular creatures in yak-hair wigs, 04:23.000 --> 04:28.000 invisible aliens, a gigantic statue, the Earth exploding. 04:28.000 --> 04:31.000 It seemed like they were being asked for the moon on a stick, 04:31.000 --> 04:35.000 but they made it all happen under one box-girder roof. 04:36.000 --> 04:38.000 No sun, no clouds, 04:38.000 --> 04:40.000 merely a metal roof 04:40.000 --> 04:43.000 radiating some kind of light. 04:43.000 --> 04:44.000 It's extraordinary! 04:44.000 --> 04:49.000 I did see producing it as a technical challenge, 04:49.000 --> 04:53.000 and I did want it to be a bit of a tour de force, 04:53.000 --> 04:58.000 because I was clear in my own mind that my career was somewhat on the line. 04:58.000 --> 05:02.000 And I thought, Doctor, who was an opportunity to show off 05:02.000 --> 05:05.000 what the BBC could do in the way of special effects, 05:05.000 --> 05:11.000 and I was the one who decided that we would film jungle scenes at Ealing Studios 05:11.000 --> 05:14.000 and that we would have live animals, including an elephant. 05:14.000 --> 05:19.000 The elephant, amusingly, came the previous day, 05:19.000 --> 05:21.000 and the BBC didn't want it on the premises, 05:21.000 --> 05:25.000 so it ended up in a van outside my flat! 05:25.000 --> 05:30.000 So that poor old driver had to spend the night, 05:30.000 --> 05:33.000 because there was nowhere else for it to go. 05:33.000 --> 05:35.000 I thought it was a great story. 05:35.000 --> 05:38.000 You've got the first part where the Guardians are travelling to this planet, Refusus, 05:38.000 --> 05:41.000 and the Monoids are their servants. 05:41.000 --> 05:45.000 700 years later, they come back to exactly the same spot, 05:45.000 --> 05:49.000 and the statue that was being built to commemorate man's arrival on Refusus 05:49.000 --> 05:53.000 is not a big statue of a man, it's a statue of a Monoid. 05:53.000 --> 05:56.000 And it was a great moment. That was the end of episode two. 05:56.000 --> 06:00.000 In episode three, the Monoids are in charge, and they're nasty, 06:00.000 --> 06:04.000 and they're getting their own back on the Guardians, 06:04.000 --> 06:06.000 who had treated them badly as well. 06:06.000 --> 06:11.000 It was a great story, very clever, and what a clever idea to do that time jump. 06:11.000 --> 06:13.000 Isn't that extraordinary? 06:15.000 --> 06:20.000 We had a new girl, this was a new female assistant for him, 06:20.000 --> 06:24.000 and I was involved in the process of helping to take care... 06:26.000 --> 06:29.000 This is Jackie Lane's first full story. 06:29.000 --> 06:31.000 Yeah, that's it. Funny enough, I'd forgotten that. 06:31.000 --> 06:33.000 Do you remember about her, how she settled in? 06:33.000 --> 06:37.000 The arc was possibly a struggle for her, but I mean... 06:37.000 --> 06:39.000 Why do you say that? 06:39.000 --> 06:42.000 Because she was coming into an established serial, 06:42.000 --> 06:48.000 like I found the meddling monk a bit difficult when I joined, the time meddler. 06:48.000 --> 06:52.000 She came into an established serial where everyone knew what it was, 06:52.000 --> 06:55.000 and I think it might have been her first big television job. 06:55.000 --> 06:58.000 Very dear Charles, if you're going to be with us for any length of time, 06:58.000 --> 07:00.000 you've got to say something about that English of yours. 07:00.000 --> 07:02.000 What's wrong with it? It's a terrible child. 07:02.000 --> 07:04.000 Oh, it's most irritating. 07:04.000 --> 07:07.000 There seems to have been some indecision among the production team 07:07.000 --> 07:10.000 about who she is and where she comes from, 07:10.000 --> 07:14.000 that you can almost sense ideas being revised about this during the programme, 07:14.000 --> 07:17.000 because her accent seems to change. 07:17.000 --> 07:20.000 Yeah, she starts quite North Country, doesn't she? 07:20.000 --> 07:24.000 It's very strongly North Country, and then that more or less vanishes. 07:24.000 --> 07:26.000 I'll bet if you go down that path there, 07:26.000 --> 07:29.000 you'll come to the American bison and the T-bar. 07:29.000 --> 07:31.000 But do you think there could have been some anxiety 07:31.000 --> 07:34.000 about having a lead character in a serial like this 07:34.000 --> 07:38.000 who didn't speak correctly enough, who didn't speak in an RP accent? 07:38.000 --> 07:41.000 They decided, you know, that's a little too Northern for us, 07:41.000 --> 07:43.000 let's pull back a bit. 07:43.000 --> 07:45.000 I am going to teach you to speak English. 07:45.000 --> 07:48.000 It may well have been that she'd done stuff on film which Michael liked 07:48.000 --> 07:51.000 and it was nice she got a little character that she could play. 07:51.000 --> 07:53.000 By the time they'd looked at the rushes and all the rest, 07:53.000 --> 07:55.000 they asked her to tone it down. 07:55.000 --> 07:59.000 I don't know if that did happen. Maybe it did. 08:04.000 --> 08:09.000 On a Monday we'd go in and maybe then we read the whole thing through 08:09.000 --> 08:13.000 with the entire assembled cast and then we started blocking it. 08:13.000 --> 08:15.000 So it's broken up into nice small scenes. 08:15.000 --> 08:18.000 The floor manager and assistant floor managers have worked out 08:18.000 --> 08:20.000 where everything will be in the studio, 08:20.000 --> 08:23.000 marked it out on the rehearsal room floor in different coloured tapes, 08:23.000 --> 08:25.000 and we work to that. 08:25.000 --> 08:29.000 When you get to the studio, you do a full camera rehearsal before you shoot 08:29.000 --> 08:31.000 and that means going through shot by shot, 08:31.000 --> 08:34.000 making sure that you can get the shots you want 08:34.000 --> 08:37.000 and that everything's just lit and there are no shadows 08:37.000 --> 08:39.000 where there shouldn't be, etc, etc. 08:39.000 --> 08:43.000 Dress run at about five o'clock, something like that, 08:43.000 --> 08:45.000 where you're in full make-up, full costume. 08:45.000 --> 08:48.000 You then do the show almost exactly as it's going to be. 08:48.000 --> 08:51.000 The director then goes and panics for an hour 08:51.000 --> 08:53.000 and decides how it's finally going to be 08:53.000 --> 08:56.000 and how he can put right the things that didn't work, etc, etc. 08:56.000 --> 08:58.000 And at 7.30 we come in. 08:58.000 --> 09:02.000 And then you would try and do a run without stopping, 09:02.000 --> 09:05.000 which not all was achieved. 09:05.000 --> 09:10.000 The recording time allowed was three times the length of the programme. 09:10.000 --> 09:14.000 Normally things tended to go wrong because it was so demanding 09:14.000 --> 09:16.000 and people were tired, 09:16.000 --> 09:19.000 so you usually ended up using most of the recording time. 09:19.000 --> 09:23.000 The show could only afford something like four edits per programme. 09:23.000 --> 09:26.000 My drama organiser came in to see me, 09:26.000 --> 09:30.000 which again I should realise was a bad sign. 09:30.000 --> 09:32.000 I said to him, 09:32.000 --> 09:35.000 we're on page 12, and he said dryly, 09:35.000 --> 09:38.000 I'm beginning to wonder, is there another page? 09:38.000 --> 09:42.000 I thought, oh God, that's not very good. 09:42.000 --> 09:45.000 In the dress run, all that happened. 09:45.000 --> 09:47.000 Everything came together in the dress run 09:47.000 --> 09:51.000 and then there was a break whilst everyone collected their thoughts 09:51.000 --> 09:53.000 and controlled their nerves. 09:53.000 --> 09:55.000 It's as live for everyone. 09:55.000 --> 10:00.000 The crew, camera crew, the sound crew, the actors, everybody. 10:00.000 --> 10:04.000 There is no-one who relaxes when the show is being done. 10:05.000 --> 10:08.000 The main Congress Hall, 10:08.000 --> 10:12.000 where the Guardians talked and met and gathered 10:12.000 --> 10:15.000 and where the trial takes place, it's one set. 10:15.000 --> 10:18.000 Not terribly complicated, you get five cameras in on that. 10:18.000 --> 10:22.000 There's the kitchen, which was a very cursory affair. 10:22.000 --> 10:24.000 The bizarre idea of the security kitchen. 10:24.000 --> 10:27.000 Take them away to the security kitchen. 10:27.000 --> 10:31.000 The script might have originally contained the prison and the kitchen 10:31.000 --> 10:34.000 and these two were perhaps combined for reasons of economy. 10:34.000 --> 10:36.000 This is more than possible. 10:36.000 --> 10:40.000 Doctor Who was made on a fairly tight, low budget. 10:40.000 --> 10:43.000 I mean, my salary was only 30 quid a show. 10:43.000 --> 10:46.000 Basically, there was no money around. 10:46.000 --> 10:50.000 It presented many more technical challenges than I'd ever had. 10:50.000 --> 10:54.000 On the other hand, I quite enjoyed trying to work out 10:54.000 --> 10:57.000 ingenious ways of doing things. 10:57.000 --> 11:02.000 There's a scene where a man is shrunk from full size into miniature 11:02.000 --> 11:05.000 so he can be stored away, 11:05.000 --> 11:10.000 which, again, we actually filmed rather than do it in the studio. 11:10.000 --> 11:15.000 I said to the cameraman, shoot on 24 degrees and elevate the camera 11:15.000 --> 11:19.000 so the bottom of the frame is his feet and just pull back. 11:19.000 --> 11:21.000 He will shrink. 11:21.000 --> 11:23.000 And the camera said, oh, really? 11:23.000 --> 11:27.000 And we tried it and it worked, so I was rather pleased about that. 11:33.000 --> 11:36.000 I came up with this idea of the monoids 11:36.000 --> 11:39.000 because the Daleks had obviously been a big success 11:39.000 --> 11:45.000 and had led to various toys and things being manufactured, merchandising. 11:45.000 --> 11:49.000 I thought, what could we do that kids might take up? 11:49.000 --> 11:53.000 So I came up with this idea of a creature with one eye 11:53.000 --> 11:57.000 and a ping-pong ball in their mouths to be the eye 11:57.000 --> 11:59.000 and just hide their real eyes. 11:59.000 --> 12:04.000 I hoped that the BBC would sell these half-ping-pong balls 12:04.000 --> 12:06.000 and woolly masks to kids, 12:06.000 --> 12:09.000 but it never happened and they didn't catch on. 12:09.000 --> 12:13.000 I can remember the first sight of them thinking, ooh. 12:13.000 --> 12:16.000 That might have been a good reaction, I suppose. 12:16.000 --> 12:20.000 You want the audience to go, ooh, at the strange creatures. 12:20.000 --> 12:23.000 But, in fact, they just looked silly. 12:23.000 --> 12:26.000 I always thought they looked silly. 12:26.000 --> 12:30.000 And revisiting the tapes now and looking at them again now, 12:30.000 --> 12:32.000 I still think they look silly. 12:32.000 --> 12:35.000 I gave them the idea, but I don't remember seeing the costumes 12:35.000 --> 12:40.000 so they actually had to work in them, which was very restrictive. 12:40.000 --> 12:43.000 Of course, they were very rubbery and heavy for the actors, 12:43.000 --> 12:46.000 so it took a long time for them to move around the place. 12:46.000 --> 12:50.000 And, of course, we had to have a way of them talking, 12:50.000 --> 12:53.000 since their mouths were occupied with being their eyes. 12:53.000 --> 12:56.000 We had this idea of a necklace round their neck 12:56.000 --> 12:58.000 with a loudspeaker in it, 12:58.000 --> 13:01.000 and they had to touch that to indicate who was talking 13:01.000 --> 13:03.000 because it wasn't always clear. 13:03.000 --> 13:07.000 There were these sort of, again, Dalek-ish voices going on. 13:07.000 --> 13:09.000 I just don't think they ever worked. 13:09.000 --> 13:11.000 Terrible wigs, sometimes... 13:11.000 --> 13:15.000 I mean, the quality of the pictures, I mean, 13:15.000 --> 13:19.000 what you'll see on this DVD is enhanced pictures, 13:19.000 --> 13:22.000 far better than they ever were when they went out. 13:22.000 --> 13:26.000 The transmission on 405 lines meant that the contrasts weren't there, 13:26.000 --> 13:30.000 so if something was darkly lit, it might have looked quite good in reality. 13:30.000 --> 13:33.000 By the time it got transmitted, it looked very poor. 13:33.000 --> 13:36.000 And I just felt that, no, they didn't work. 13:36.000 --> 13:39.000 Though I liked the serial. I thought it was a great story. 13:39.000 --> 13:42.000 Contact the doctor as soon as you can. 13:42.000 --> 13:44.000 I'll stay here. 13:45.000 --> 13:47.000 All right. 13:47.000 --> 13:50.000 What about you, Benettus? I'll stay too. 13:50.000 --> 13:52.000 Right. 13:52.000 --> 13:56.000 There's a faint suggestion of a love triangle for Stephen in this story. 13:56.000 --> 13:58.000 Yes, I think that was intentional. 13:58.000 --> 14:03.000 I think Stephen had usurped him in her affection slightly. 14:03.000 --> 14:08.000 It's a totally unstated piece of overacting. 14:08.000 --> 14:10.000 LAUGHTER 14:13.000 --> 14:17.000 Was Doctor Who a programme that directors were happy to come to? 14:17.000 --> 14:21.000 A lot of the directors on Doctor Who had done very fine work. 14:21.000 --> 14:24.000 They're not, you know, they weren't just, you know, 14:24.000 --> 14:27.000 guys picked up from nowhere who could, oh, do a Doctor Who episode. 14:27.000 --> 14:29.000 No, these were good directors. 14:29.000 --> 14:33.000 My contract was due for renewal while I was doing Doctor Who. 14:33.000 --> 14:36.000 I'd hoped that by doing a very good Doctor Who, 14:36.000 --> 14:39.000 I would redeem myself and my contract would be renewed. 14:39.000 --> 14:44.000 But in fact, just as I was about to go into the gallery 14:44.000 --> 14:48.000 for the final episode, that a memorandum arrived to tell me 14:48.000 --> 14:50.000 that my contract would not be renewed, 14:50.000 --> 14:54.000 and therefore that was my last show as a BBC director. 14:54.000 --> 14:57.000 I did put it out of my mind while I got on with the job. 14:57.000 --> 15:00.000 I owed it to the cast and the crew and everyone 15:00.000 --> 15:02.000 that we had to do as good a job as we could, 15:02.000 --> 15:05.000 so I didn't let it affect me too much. 15:05.000 --> 15:09.000 I got on quite well with Michael and he cared about the performances. 15:09.000 --> 15:12.000 I mean, there was some awkward stuff in there, 15:12.000 --> 15:15.000 the fact that the monoids didn't talk, so to talk to them 15:15.000 --> 15:17.000 you did sort of strange gestures. 15:17.000 --> 15:20.000 I'm not sure he got all that right, but all of those things, 15:20.000 --> 15:25.000 he had to invent a language for them which made some sort of sense. 15:25.000 --> 15:30.000 It did look a bit like squirrels putting away their nuts at times 15:30.000 --> 15:34.000 and doing all this sort of stuff, which was odd. 15:34.000 --> 15:38.000 But, no, he was a very nice man to work with. 15:38.000 --> 15:41.000 I have happy memories of working on the programme 15:41.000 --> 15:46.000 and it is a source of constant amazement to me 15:46.000 --> 15:48.000 that we are still talking about this programme 15:48.000 --> 15:53.000 where all the other things I did, nobody is interested in. 15:53.000 --> 15:57.000 Michael Imerson wasn't the only person to leave the world of Doctor Who 15:57.000 --> 16:00.000 through the doors of Riverside Studios. 16:00.000 --> 16:03.000 This was a time of great change and upheaval on the programme, 16:03.000 --> 16:07.000 with producers and script editors coming and going in a matter of weeks 16:07.000 --> 16:11.000 and all with different ideas about what Doctor Who should be. 16:11.000 --> 16:14.000 Jackie Lane and Peter Purvis were dropped 16:14.000 --> 16:17.000 and soon there would be even bigger changes. 16:17.000 --> 16:21.000 Because of the state Bill was getting into, he wasn't terribly well 16:21.000 --> 16:23.000 and he would make awful mistakes. 16:23.000 --> 16:26.000 And, of course, because they couldn't edit, you didn't do them again. 16:26.000 --> 16:29.000 So the fluffs, the mistakes, they went out. 16:29.000 --> 16:33.000 Yes, we've already established this place as illogical. 16:33.000 --> 16:38.000 They did give him a role that was not quite as dominant as it had been. 16:38.000 --> 16:41.000 He still had to be the boss, he still had to be there. 16:41.000 --> 16:44.000 It's called Doctor Who, after all, so he had to be there. 16:44.000 --> 16:50.000 But they did try on a couple of occasions to see how it worked without him there. 16:50.000 --> 16:54.000 It was quite interesting that every change in the Doctor 16:54.000 --> 16:59.000 over the ensuing years has been quite a marked change. 16:59.000 --> 17:03.000 But Bill to Patrick Troughton was only a slight change. 17:03.000 --> 17:05.000 Happened in this very room. 17:05.000 --> 17:07.000 Happened in this very room. 17:07.000 --> 17:11.000 Were you aware at the time that there was a kind of a move 17:11.000 --> 17:14.000 to remove him from the programme to ask him to go? 17:14.000 --> 17:18.000 No, no. And Bill's attitude was always that he was very much in control 17:18.000 --> 17:21.000 of what was going on. He knew he was the top man there. 17:21.000 --> 17:24.000 I think he felt indispensable to the show. 17:24.000 --> 17:27.000 And I suppose rightly so. He created the character. 17:27.000 --> 17:29.000 And it was a wonderful, quirky character. 17:29.000 --> 17:33.000 Yes, you must travel with understanding as well as hope. 17:33.000 --> 17:38.000 You know, I once said that to one of your ancestors a long time ago. 17:38.000 --> 17:41.000 That was the Doctor. And for me it still is. 17:41.000 --> 17:46.000 Much as I like the modern versions, Billy is still the Doctor. 17:46.000 --> 17:50.000 But do you think that he was anxious about his ability to learn lines? 17:50.000 --> 17:53.000 Oh, I think that was the reason he got quite bad-tempered with people, 17:53.000 --> 17:57.000 because he was aware that he was losing it. 17:57.000 --> 18:01.000 It's not your fault at all. If it's anybody's, it's mine. 18:01.000 --> 18:04.000 And that was very sad for him. He used to get terribly angry 18:04.000 --> 18:07.000 because he'd made mistakes and he'd take it out on other people 18:07.000 --> 18:08.000 rather than himself. 18:08.000 --> 18:12.000 Put that thing down! That is no way to establish friendship. 18:12.000 --> 18:16.000 How do you think he responded to knowing that he in fact 18:16.000 --> 18:19.000 wasn't indispensable to this programme? 18:19.000 --> 18:23.000 Knowing him as I did, I would think he was terribly hurt. 18:23.000 --> 18:25.000 Terribly hurt. 18:25.000 --> 18:33.000 And deep down, I think he would have known it was bound to happen. 18:33.000 --> 18:36.000 He knew he wasn't getting it right. 18:36.000 --> 18:39.000 The character was always there. He never faltered with the character. 18:39.000 --> 18:44.000 The character was rock solid. The words weren't. And he knew that. 18:44.000 --> 18:47.000 But I'm sure he was absolutely distraught. 18:48.000 --> 18:51.000 It was in this studio that Doctor Who discovered 18:51.000 --> 18:54.000 that it could change its lead actor and survive. 18:54.000 --> 18:58.000 William Hartnell fell to the floor here and got to his feet 18:58.000 --> 19:01.000 as Patrick Troughton in a pair of pixie boots. 19:01.000 --> 19:05.000 But then the producer, Innes Lloyd, had change imposed upon him. 19:05.000 --> 19:10.000 Doctor Who was to return to the confines of Studio D at Lime Grove 19:10.000 --> 19:13.000 and there was nothing that he could do about it. 19:13.000 --> 19:15.000 And you know what? I don't think it's a coincidence 19:15.000 --> 19:19.000 that at the moment Doctor Who returns to that smaller studio, 19:19.000 --> 19:22.000 then it suddenly becomes dominated by stories 19:22.000 --> 19:26.000 about monsters attacking isolated bases. 19:26.000 --> 19:29.000 And some of those stories are among the very best. 19:29.000 --> 19:33.000 But maybe the stories shot here had a special kind of audacity about them 19:33.000 --> 19:37.000 because some of the weirdest things that ever happened to Doctor Who 19:37.000 --> 19:41.000 happened to him in this room, in the ISOP galaxy, at the OK Corral, 19:41.000 --> 19:44.000 in the domain of the celestial toymaker, 19:44.000 --> 20:04.000 on the plains of Troy, on the planet Refusis, Studio One. 20:14.000 --> 20:20.000 .