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Mar 23, 2022 · Topics. doctor who, tv, movie, paul mcgann. Language. English. Item Size. 10.1G. Upscale I did during my free time of the TV Movie from the Special Edition DVD as opposed to the slightly off Blu-ray. Addeddate. 2022-03-23 21:30:29.
- 89 min
- 10.6K
- DanTheMan2150AD
From the introduction of Davros to the first extermination, relive some highlights of the iconic Fourth Doctor adventure 'Genesis of the Daleks'!Subscribe to...
- 45 min
- 772.3K
- Doctor Who
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- Overview
- Synopsis
- Plot
- Cast
- Production
- Worldbuilding
- Story notes
- Continuity
, often also known as The TV Movie, was a made-for-TV movie based on the original series. It was written by Matthew Jacobs, directed by Geoffrey Sax and featured the introductions of Paul McGann as the Eighth Doctor, Daphne Ashbrook as Grace Holloway, Yee Jee Tso as Chang Lee and Eric Roberts as the Master, making Roberts the first American actor to portray an established antagonist in Doctor Who.
It was made as an attempt to relaunch and continue the Doctor Who television franchise in the UK and abroad. With no on-screen title other than Doctor Who, home video releases of the film from BBC Video are marketed under the title Doctor Who: The Movie. The movie featured Sylvester McCoy's final chronological appearance as the Seventh Doctor and his regeneration into the Eighth Doctor. A large period of time is implied to have passed since Survival, as the Seventh Doctor has parted with his companion Ace, is visibly older, is dressed differently and is travelling alone. The TARDIS interior has likewise been revamped, with a brand new console room that did away with the simplistic white roundel design present throughout the show's history.
The story is also the first time that one Doctor's regeneration story also acts as the post-regeneration story for another Doctor. While the beginning of the film focuses on the Seventh Doctor, after he regenerates, the rest of the film focuses on the Eighth Doctor, with parts of the story showing the new Doctor going through post-regeneration issues as past incarnations before him.
This story marked the return of the Doctor's sonic screwdriver for the first time in fourteen years since 1982's The Visitation.
This would be the last televised story of Doctor Who until 2005's Rose, leaving a nine year gap. Even though the movie failed to get Doctor Who renewed as a television series, the series was kept alive through comics, novels and audio stories of the Eighth Doctor's adventures.
The film was co-produced by the BBC and Fox networks. Filmed in Canada, the telemovie introduced McGann as the Eighth Doctor and was his only on-screen performance in the role for 17 years until TV: The Night of the Doctor in 2013. The telemovie won a Saturn Award in 1996 for best television presentation.
The Doctor, nearing the end of his seventh life, is charged with transporting the remains of his fellow Time Lord, the Master, back to their home planet. Despite his precautions, his old enemy is not only not dead, but is out for revenge. Creating a timing malfunction in the TARDIS, and bringing the Doctor to San Francisco in 1999, the Master escap...
As part of a treaty between the Time Lords and the Daleks, Time Lord criminal the Old Master has been placed on trial on Skaro, and is sentenced to extermination for his life of evil. As part of a last, and somewhat curious, request, the Master asked that his old rival the Doctor, now late in his seventh incarnation, escort his ashes back to Gallifrey for proper burial. "It was a request they should have never granted." The Doctor narrates that Time Lords have thirteen lives, but the Master had already used up all his own. However, rules never mattered much to the Master, as he always found a way around them and kept on living. So, even though the Master was dead, the Doctor knew he couldn't trust him.
Fishing a sonic screwdriver out of a tool box, the Doctor locks the urn containing the Master's ashes inside another box. The Doctor smiles, glad to have added a precaution. Narrating again, the Doctor claims he had learnt, by the end of his seventh life, that he could not help but be too careful. After returning to the main control room, the Seventh Doctor sets the TARDIS coordinates for Gallifrey in the Rassilon Era.
Confident that nothing can go wrong now that he's ensured the Master's remains are safely sealed, the Doctor decides to relax on the trip back. Sitting in a recliner, the Doctor enjoys a cup of tea and resumes reading H. G. Wells's The Time Machine, whilst eating a bowl of jelly babies. At the same time, he has "In a Dream" playing on his gramophone.
Nearby, the casket containing the Master's ashes shakes violently. The record begins skipping on the word "time", but the Doctor fixes it, remaining unaware of the situation. The shaking grows worse, causing the record to start skipping worse. The casket breaks open. The Doctor's cup of tea crashes to the ground and the record skips to stop. Realising that he's trying to be told something, the Doctor immediately becomes suspicious of the Master.
A snake-like creature emerges from the box and, unseen by the Doctor, slithers into the TARDIS console. The resulting effect of the console malfunctioning as sparks fly out finally rouses the Doctor: leaving his chair, he rushes to fix it, but is unsuccessful; a critical timing malfunction forces him to make an emergency landing. Concerned that the Master may have had a hand in this, the Doctor quickly returns to where he left the ashes, only to see the box cracked open. The Doctor, shocked, stares at it with a worried expression.
The TARDIS exits the Time Vortex, heading to Earth.
•The Doctor - Paul McGann
•The "Old Doctor" - Sylvester McCoy
•Bruce/The Master - Eric Roberts
•Grace Holloway - Daphne Ashbrook
•Chang Lee - Yee Jee Tso
•Salinger - John Novak
Earliest form
After the show had first aired in the United States, American companies had worked hard to purchase the rights for an American version. In the early '80s, when The Walt Disney Company were on their spending sprees, they attempted to buy the rights to the show, meaning the entire franchise would belong to Disney, not just an American version of the show (as early as the mid-1960s, Disney had explored the possibility of adapting TV: Marco Polo and possibly other early stories for its Wonderful World of Disney anthology series). After the broadcast of TV Survival, American entertainment media such as Variety also reported on (or ran advertisements for) proposed feature films based on the series. Steven Spielberg was Disney's only choice to run the office. Spielberg was more than willing to do it, as he felt that Disney was the only American studio who could do such an amazing British show justice. He lost interest when he was told that the show would be released under their Touchstone Television banner; he felt that such an imaginative show needed to be released under their main Disney banner. British expatriate Philip Segal had been working since 1989 to forge a co-production deal between an American company and the BBC to make a new Doctor Who series even before the programme's twenty-sixth and final season, broadcast that year. At that time, Segal was working with Columbia Pictures, but little had come of his efforts by the time he left for a two-year stint at ABC. Subsequently, Segal went to work for Steven Spielberg's Amblin Entertainment. Shortly thereafter he resumed his efforts to acquire the rights to Doctor Who. By June 1992, he was joined by Peter Wagg, producer of the eclectic science-fiction series Max Headroom. There were several parties involved in the Doctor Who discussions: Amblin and the BBC, of course, but also Amblin's parent company, Universal Pictures, and the BBC's commercial arm, BBC Enterprises, which would shortly become BBC Worldwide. With each organisation trying to safeguard its own interests, negotiations stretched into 1993, and then 1994. Despite the many difficulties the complex situation presented, on 13 January 1994, an agreement was reached. Philip Segal was, for all intents and purposes, Doctor Who's newest producer. The race was on to get a series ready to be pitched to the American networks in time for the Fall 1994 season, essentially giving Segal and Wagg less than two months. One of Segal's first instructions from his superiors at Universal was to use a studio writer for the project, specifically John Leekley. Segal was hesitant, preferring to go outside Universal; former Doctor Who script editor Terrance Dicks was amongst the candidates he considered. However, aware that any fight with Universal would waste precious development time, Segal agreed to bring Leekley aboard.
As a TV series
With designer Richard Lewis, Segal and Leekley prepared an expensive and extensive series bible, The Chronicles Of Doctor Who?, to introduce Doctor Who in general, and the proposed new series in particular. Segal had envisioned this version as largely divorced from the original BBC series — although the basic concepts of Doctor Who were adhered to, the programme's mythos would be completely rewritten. The bible was written from the perspective of Cardinal Barusa (a misspelling of Borusa, a character who had first appeared in Season Fourteen's The Deadly Assassin). It introduced the Doctor and the Master, half-brothers and sons of the lost Time Lord explorer Ulysses, Borusa's son. When the evil Master becomes President of the Time Lords upon Borusa's death, the Doctor flees Gallifrey in a rickety old TARDIS to find Ulysses. Borusa's spirit becomes enmeshed in the TARDIS, enabling Borusa to advise his grandson. The Doctor takes the TARDIS to "the Blue Planet" to search for Ulysses, the native world of the Doctor's mother. They soon searched for the man to play the Doctor. Many people were considered and auditioned, including Rowan Atkinson, Derek Jacobi, and Jim Carrey. During a 2014 promotional event, Peter Capaldi confirmed he was invited to audition, but declined. It was under this script that Paul McGann later would audition. His brother Mark would as well.
A movie is formed
Through mid-September, Leekley's script made the rounds of all the various organisations which had to approve it (Amblin, BBC Television, BBC Enterprises, the Fox network and Universal). Ironically, the death knell was sounded by Segal's own boss, Steven Spielberg. Spielberg was concerned that Leekley's script veered too closely to his own Indiana Jones franchise, and on 26th September asked Segal to start again with a new writer. This meant that principal photography would be delayed until at least February 1995. The BBC, particularly BBC1 Controller and longtime Doctor Who supporter Alan Yentob and Tony Greenwood of BBC Enterprises were still enthusiastic about Doctor Who and around the start of October, at the instigation of Universal, Segal met with veteran writer/producer Robert deLaurentis. DeLaurentis agreed to put together a new story proposal, using Leekley's script as a starting point but wanted to accentuate its "fun" aspects. On 7 October, DeLaurentis delivered a new draft of the storyline. This time, in the process of meeting Lizzie in World War II London, the Doctor also discovers that his father (no longer named Ulysses) was involved in a plot to assassinate Hitler. They travel forward to the United States in 1994, where the Doctor is reunited with his father. The Master lures the Doctor, his father and Lizzie to Skaro for a final confrontation. There, the Doctor destroys the Master's time-travelling warship, though the Master himself escapes with his Daleks. Other minor alterations included Castellan being renamed Casteloan (though this would subsequently be changed back), and giving Lizzie a bulldog companion named Winston, who stays with the Doctor at the story's conclusion. A third producer joined the Doctor Who team in March, much to the surprise and, at the time, the dismay of Segal. This was Jo Wright, assigned by the BBC to represent their interests. Around the end of March, Doctor Who was offered to the four American networks. NBC and ABC were completely uninterested. CBS president Peter Tortorici tentatively offered Segal a two-hour pilot and six one-hour episodes (presumably to serve as mid-season replacement series), but this was retracted by network head Howard Stringer in mid-May. That left Fox, at the time still the youngest American network. Led by head of series Robert Greenblatt, Fox was interested in Doctor Who, but was only willing to commit to a two-hour movie with the possibility of a second. It appeared Segal's dreams of producing a new Doctor Who series were fast disappearing. Despite this, he agreed to an offer made by Doctor Who historian Jean-Marc Lofficier and his wife Randy to become unofficial consultants on the project. At the suggestion of Trevor Walton, Fox's vice president in charge of movies, Segal and Wagg met with Matthew Jacobs, who had written for The Young Indiana Jones Chronicles. (Jacobs was the son of Anthony Jacobs, who had played Doc Holliday in The Gunfighters, and had been present on the set.) The selection was approved by the other interested parties and Jacobs set to work on 5th May. Unlike the DeLaurentis iteration, it was decided to essentially discard all the work done to date, with Jacobs starting afresh on an entirely new script. Only the idea of the Doctor having a human mother would be retained. By 19th May, Jacobs had composed a storyline; unlike the earlier Leekley and DeLaurentis versions, this continued from the end of the original series, starting by introducing Sylvester McCoy's Seventh Doctor. The Doctor arrives on modern-day Earth in either San Francisco or New Orleans. However, the dying Master has transmogrified himself into a shape-shifting slick of DNA, and attacks the Doctor, mortally wounding him. The Doctor's body is found by a street kid named Jack. Jack brings the Doctor to the hospital, where he is operated on unsuccessfully by Dr Kelly Grace (an obvious play on the name of actress Grace Kelly). In the morgue, the Doctor regenerates; meanwhile, the Master acquires a temporary human host body. Jack has gained access to the TARDIS using gloves he has pilfered from the Doctor's body. The Master raises Jack's father from the dead and through him uses Jack to take over the TARDIS. As Halloween approaches, the Master uses the TARDIS to unleash an army of the dead. With Kelly's help, the Doctor returns to the TARDIS and draws himself, the Master, Kelly, Jack and the dead into another dimension. He defeats the Master, returns Jack to Earth and leaves with Kelly. Various changes were made by the time of the next draft, on June 27th. The date was shifted to the days leading up to New Year's Eve instead of Halloween, and San Francisco was specified as the location. After regenerating, the Doctor sees a vision of his mother. Jack uses the TARDIS key instead of a pair of gloves to enter the time machine. In addition to Jack's father, Kelly is also confronted by someone from her past, and an earlier suggestion made by Jacobs that Jack be killed only to be brought back to life via the power of the TARDIS was included. Kelly also reluctantly remained behind at the end of this version. At this stage some of the key crew positions started to be filled, most notably British director Geoffrey Sax, whose work included episodes of Bergerac and Lovejoy. Because the movie would be filmed in British Columbia, Canadian regulations meant that most of the rest of the crew would come from the country. This included production designer Richard Hudolin, whose major task was a redesign of the TARDIS console room. Segal wanted to invoke the Jules Verne feel of the wooden version of the set used during Season Fourteen, but on a much grander scale. Construction on the TARDIS sets began very early on, during September, before the project had even been officially green-lit. Around the start of October, Fox announced Doctor Who would air in mid-May 1996. May was one of three key "sweeps" periods for the American networks (the others falling in November and February), when ratings performance determines advertising rates for the next quarter. Consequently, expectations for Doctor Who would be fairly high. The next step was to cast the major roles. Sylvester McCoy had already agreed to appear, fulfilling a promise he had made to himself in 1989 to hand off the role of the Doctor to a successor in proper fashion. Jo Wright, in fact, had wanted Fourth Doctor Tom Baker to appear instead, but Segal was adamant that the telefilm continues from where the original series had left off. Segal also briefly considered the idea of including a role for Sophie Aldred as Ace, the Seventh Doctor's final companion. This, however, was quickly vetoed by the BBC. Segal did decide to give the Seventh Doctor a new wardrobe, having long disliked the umbrella and the question-mark pullover which were hallmarks of the original outfit. McCoy, similarly, had detested the pullover. Costume designer Jori Woodman composed a new costume which echoed the earlier version but was much more refined; to Segal's delight, McCoy brought with him a hat he had worn during his time on Doctor Who. With production just weeks away, Jacobs was working on fashioning his script into a finished form. The BBC was much more receptive to his November draft, but passed it along to an in-house script editor, Craig Dickson, for comment. From this came the decision to eliminate the Millennium Star concept, with the Master's focus now simply to take over the Doctor's body. Jacobs' newest draft was ready by 29th December, and this was fundamentally the version which was recorded. Other small changes eventually made included changing Grace's surname from Wilson to Holloway; eliminating the Bill And Ted reference (which the BBC felt was out-of-date) by renaming the former Pete; having the Master break Bruce's wife's neck instead of shooting her; and excising a scene where the Master callously kills a hospital patient who resembles the Seventh Doctor. Much of Chang Lee's background had also been lost to timing issues by this stage, with all references to Sam and Jimmy Lee being dropped. As 1996 dawned, numerous difficulties still remained to be overcome. Geoffrey Sax had originally been promised a luxurious thirty-day shoot, but Beaton subsequently curtailed this to twenty-five days to save money. Then Segal discovered that the BBC did not actually own the rights to the familiar Doctor Who theme music; this rested with Warner/Chappel Music, who wanted to charge a hefty fee for its use. Universal baulked at this, but finally Segal convinced the BBC to pick up the cost. The new theme arrangement would be composed by John Sponsler and John Debney. Segal had not realised that McGann had recently cut his hair severely for another production until McGann arrived in Vancouver for a photo shoot on 7th January; this meant that hair stylist Julie McHaffire had to hastily put together a wig.
Foods and beverages
•In the TARDIS, the Seventh Doctor has a bowl of jelly babies, together with a cup of tea and The Time Machine by H. G. Wells. •Grace takes a glass of champagne at Professor Wagg's party.
Gallifrey
•"Rassilon Era" appears on the TARDIS' console and screen. •The Seal of Rassilon is featured extensively throughout the TARDIS. •Carvings of Rassilon's head are used extensively in the Cloister Room. •The Master uses the Eye of Harmony to spy on the Eighth Doctor and in an attempt to transfer his lives.
Individuals
•The Master, the Eighth Doctor and Grace mention Marie Curie, Sigmund Freud, Leonardo da Vinci, Puccini and Genghis Khan. •Grace likes Madame Butterfly, and the Doctor has met its composer. He tells Grace that Puccini had died before he finished, meaning someone had to finish it based on Puccini's notes. •The Seventh Doctor's x-ray reveals the presence of two hearts. •Both the Master and the Eighth Doctor state that the Doctor is half-human, with the Doctor claiming it's "on [his] mother's side". •The Doctor remembers to have watched a meteor storm with his father during his first incarnation. •The Seventh Doctor "dies" late on Dec. 30, 1999, while he regenerates into the Eighth Doctor early on Dec. 31, 1999. This marks the first time exact calendar dates are given for the Doctor's regeneration (previously, the First Doctor was only known to have regenerated sometime in 1986. (TV: The Tenth Planet)
•The telefilm features a redesigned console room with a library and Gothic architecture. Although this attracted criticism from some fans, in TV: Time Crash, it would be established that the console room design can be changed like a desktop theme. TV: The Masque of Mandragora previously also established that the TARDIS has more than one console room, and TV: Logopolis established that the interior can be reconfigured.
•The Rassilon carvings were based on Richard Mathews' likeness (In-Vision #108: The TV Movie).
•For The Nth Doctor, the tele-movie producer Philip Segal approves of the subtitle "Enemy Within" to help distinguish it from the unproduced movies also named "Doctor Who". However, this name was never used in any official capacity, at any stage of production. The story's title was always Doctor Who.
•British-born television producer Philip Segal had a longtime ambition to produce Doctor Who. While working at various American production companies, including Steven Spielberg's Amblin, he attempted to develop a Doctor Who series or film. Eventually he arranged a co-production between Universal Pictures and the BBC. The script went through several different forms, including some which would have taken place on Gallifrey or during World War II.
•The eventual script by Matthew Jacobs continued from the BBC series, including a substantial role for Sylvester McCoy, the previous actor to play the Doctor.
•For the international release, the opening sequence within the TARDIS has the caption "Based on the series originally broadcast on the BBC". It is standard practice for American productions to give screen credit to a series/character creator, so this title card is used in lieu of crediting Sydney Newman or any of the others involved in the creation of the original series. Contrary to later practice, Terry Nation does not receive screen credit for the Daleks, who are referenced and heard but not seen. Further in line with American practice is the billing of the main cast in the opening sequence, a custom that would be reappropriated for the 2005 revival series after opening billings were adopted by British television.
•The Doctor has a toolbag containing some of his tools such as the one used against Omega's fusion booster, (TV: Arc of Infinity) a magnetic clamp, a laser cutter and a magnetic drone. (TV: Earthshock)
•The Decayed Master previously attempted to use the Eye of Harmony to give himself a new set of regenerations. (TV: The Deadly Assassin)
•The Master states that the Doctor made him waste all his lives. (PROSE: The Dark Path)
•The Cloister Room is revisited. (TV: Logopolis)
•Pete watches the 1931 film version of Frankenstein as the Doctor undergoes his seventh regeneration. The First Doctor encountered an android version of Frankenstein's monster at the Festival of Ghana in 1996. (TV: The Chase)
•Death previously taunted the Doctor by telling him that his seventh incarnation would die without warning, without purpose, afraid and alone. (PROSE: So Vile a Sin)
- 2 min
- 88
With Tom Baker, William Hartnell, Jon Pertwee, Patrick Troughton. The adventures in time and space of the Doctor, a Time Lord who changes appearance and personality by regenerating when near death, and is joined by companions in battles against aliens and other megalomaniacs.
- (40K)
- 1963-11-23
- Adventure, Drama, Family
- 25
Including brand new trailers, behind-the-scenes footage, exclusive videos - this is the place to find all the best official content from all 60 years of Doctor Who history.
The 2005 revival of Doctor Who is a direct plot continuation of the original 1963–1989 series and the 1996 television film. The executive producers of the new incarnation of the series were Queer as Folk writer Russell T Davies and BBC Cymru Wales head of drama Julie Gardner.
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Overview. The adventures of The Doctor, a time-traveling humanoid alien known as a Time Lord. He explores the universe in his TARDIS, a sentient time-traveling spaceship. Its exterior appears as a blue British police box, which was a common sight in Britain in 1963 when the series first aired.
