Review The Classic Who Producers

Doctor Omega

Member: Rank 10

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Love his tenure on the programme or loathe it.... he was the man who shaped Doctor Who for a decade....

But what are your views on John Nathan Turner as a producer?

Positive or negative?

And what of the supporting players around him and his choice of employees?

Such as....

Gary Downie
Eric Saward
Christopher Bidmead
Ian Levine
Andrew Cartmell

and his acting choices, such as...

Peter Davison
Colin Baker
Sylvester McCoy
Matthew Waterhouse
Janet Fielding
Sarah Sutton
Mark Strickson
Nicola Bryant
Bonnie Langford

and his directorial choices, such as...

Peter Moffatt
Graeme Harper
Peter Grimwade
Ron Jones
Fiona Cumming


Did he get these choices more often right or more often wrong?

Should he take all of the blame if there were shortcomings - or should some of the above names burden a share of the blame?

Importantly, what of the choice of stories and scripts?
Should he be held responsible for these? Or his Script Editors?

And, ultimately, was he the right man for the job?


 
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chainsaw_metal1

Member: Rank 8
I don't think that all of the blame should be placed on JNT, but he was the showrunner at the time, so it falls on his shoulders. Maybe it is nostalgia on my part, but I still have fond memories of that era of DOCTOR WHO, and still find myself watching a lot of those episodes and enjoying them. I've even begun to appreciate Colin Baker more in the role than I did for a lot of years, and I think that, with other choices made to the show, it would have been much better. Also, I hated Nicola Bryant on the show. Her American accent sucked, and she just came off as whiny (nice to look at, but no substance). I also never cared for Mel, and was glad when she left and Ace came on board.

I also still think that they should have gone further in developing the Cartmel Masterplan, and delved deeper into the mystery of The Doctor. Alas, we'll never get to see that onscreen.

So no, he wasn't terrible, but not the best choice for showrunner. Plus, there were those at the Beeb who just wanted the show gone anyway, so he was always fighting an uphill battle.
 

Gavin

Member: Rank 6
VIP
I suspect that he gets a lot more criticism than he deserves. He was responsible for some good decisions (including my personal favourite Doctor, Peter Davison) and it was largely due to him that the show remained on air as long as it did. There were some bad decisions too (Colin's costume) but I don't think there's a producer in history that hasn't made some bad decisions along the way. At least he was willing to try new things and was actively trying to market the show. I think he was probably a little over his head and could have been helped a bit but the fact that BBC management actively wanted to get rid of the show was probably working against him. With significant budget cuts he was forced to get by as best he could and despite that he still tried to give us a show that pushed the boundaries. And even he recognised that he'd reached the end of what he could do but wasn't allowed to leave. Given the choice between leaving and having the show cancelled or staying he chose to stay and gave us the wonderful Sylvester McCoy who we wouldn't have otherwise had.
 

chainsaw_metal1

Member: Rank 8
He did really good things with the show. I do wish they had done more Gothic-feeling serials as they had done under Hinchcliff, but he was also under orders to cut the violence, so we got a much different tone, and it works. We say goodbye to Leela, and hello to two incarnations of Romana, both of whom are great additions to the show. I still love the whole series dedicated to the search for the Key to Time.
 

alpha128

Member: Rank 3
I watched all the trailers above and IMO Seasons 16 and 17 suffer in the memorability department.

But Season 15 for the most part feels like a legitimate continuation of the Hinchcliffe/Holmes era. That's certainly true of "Horror of Fang Rock" and "The Invasion of Time", and both stories are on my top ten list. I like "The Sun Makers" too. I own all three of them on DVD.

So for that, I voted Graham Williams a good producer.
 

Doctor Omega

Member: Rank 10



When John Nathan Turner first moved into the production offices, Graham Williams warned JNT to have nothing to do with him.

But JNT went on to befriend Ian Levine and he became part of the production process, acting as continuity advisor and also having a hand in the creation of "Attack of the Cybermen".

He was there right up until the end of Colin Baker's era and then turned on the producer, attacking his production choices, past and present, publicly in print and in interviews.

He found missing episodes in his spare time and contributed to the dvd range, including a reconstruction of the "missing" episode of Planet of the Giants". He also animated "Mission to the Unknown" and "Shada".


What are your views on this man's contribution to the programme.

A negative influence on the show?

Or a true fan, who just wanted what was right for the programme?


 
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Doctor Omega

Member: Rank 10
How I wish JNT had taken Graham Williams's advice and had nothing to do with him.

With friends like Ian Levine.....
 

Doctor Omega

Member: Rank 10
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1993 INTERVIEW

Here’s John Nathan-Turner, probably the most controversial producer in the show’s history, giving a quite wide-ranging interview about the show. He talks about working as a Floor Manager in the Patrick Troughton days, about trying to persuade Peter Davison to stay on for a fourth series, and about the real reasons for the Colin Baker era’s troubles.
Q: Going back to ‘The Space Pirates’, how did you find the production team, the atmosphere, compared to under Barry Letts, who was producer on your second one ‘The Ambassadors of Death’?

A: Well when I first worked on the show it was in the role of Floor Assistant, the most junior member of the production team, basically a kind of glorified Call Boy, my main responsibilities being getting the actors on the set at the right time. And the very first story I worked on was with Patrick Troughton as the Doctor, and subsequently two other stories with Jon Pertwee as the Doctor. Now the thing about the role of the Floor Assistant is that you’re working on the floor, you don’t have headphones, you’re not aware of what’s going on upstairs, and certainly it seemed to me that what was going on down on the floor was more fun on the Patrick Troughton show. There was a tremendous atmosphere of naughty schoolboys, almost, with the last Pat Troughton and Frazer Hines and Wendy Padbury all goofing around. Being serious for the rehearsals and takes, of course. Now that’s not to say that when it came to working on the Pertwee shows they weren’t fun, they were just not as much fun. I think perhaps the technicalities of the show undoubtedly had become greater. The show had moved into colour, which required greater concentration in those areas. So that’s why my chief memories of the show are of Pat’s era, towards the end of black and white era of ‘Doctor Who’, as being a very fun environment, and Jon’s era being a little more serious from upstairs.

Q: When the BBC gave you the producer’s post in 1979, you’d already proved yourself as a Production Unit Manager on ‘All Creatures Great and Small’ and on ‘Doctor Who’ under Graham Williams. Did you know what you wanted to do from the start with ‘Doctor Who’, particularly with the changes to fan consciousness of the show in America?

A: I think if you’re hoping for something to happen, like you’re hoping to take over ‘Doctor Who’ as producer, then you tend to have very very tentative plans indeed, because I think the whole time perhaps you’re expecting disappointment and that it won’t happen. So I’d made only a few initial plans of what I’d do if I got to take over from Graham Williams. It wasn’t until I actually took over that I sat down seriously to appraise what it was that I actually wanted to do. I think it was a case of tempting fate too much, if I’d had an enormous list before I got the job.

Q: Recalling what Pat Troughton told Peter Davison, to not play the Doctor for more than three years, and then recalling the 18th month hiatus, the cancellation in 1989, and all that happened, do you wish you’d got Peter Davison to stay on for a fourth year?

A: Well I did attempt to persuade Peter to stay on after he’d completed three years. I think the decision that the optimum period is three years is one that’s been made subsequent to Peter’s time. I think everyone at the BBC – myself, the head of drama, perhaps even the controller of BBC1 – did attempt to persuade Peter to stay on. If that had happened, I think those questions of ‘What if?’ are very difficult to answer. One thing I know is that I really wish that I had moved on earlier, because I feel to some extent, although every actor who plays the part gets labelled by playing the leading role in the world’s longest-running science-fiction series, I feel that as producer for eleven years it labelled me more than I would like, because I don’t see my future being concerned totally with science-fiction. I actually see my career having a much broader canvas, really, so I think in terms of people moving on maybe I should have moved on earlier.

Q: On the bright side, if you come to the States you always have somewhere to stay.

A: (laughs) That’s true.
 

Doctor Omega

Member: Rank 10
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PART TWO.....


Q: Looking at Colin Baker’s era, and the official story that the show was put on hiatus for 18 months because of the excessive violence in his first year, do you wish you could change the violence level, looking back at it?

A: Well I think I have to pick you up there and say I don’t think it’s ever been said that it was taken off for 18 months because it was too violent. I think the real reason was that they needed a certain amount of money by cancelling many programmes – ‘Doctor Who’ was one of them – to establish daytime television on the BBC, and it was an attempt to suddenly demand this money because the BBC wished to pull forward their launch date because the independent companies were pulling forward theirs. So there was a sudden and dramatic attempt to get this money by cancelling a lot of shows, and this was always the reason, or certainly the reason I was always given, as to why it was rested. As for Colin’s contribution, I actually think he got a tremendously raw deal, in that he did one season, then there was the hiatus, then we came back and there were only fourteen episodes and they were in a different format, and then the decision was made to move forward with a new Doctor. So Colin never got a chance to get his teeth into the part. I think most people would agree with me that the first season of virtually every Doctor is really a very tentative one, the actor trying desperately to find a way to play the part, which after all is veyr thinly sketched, and coming to terms with the amount of themselves that has to be injected into the portrayal. So I really feel that Colin, maybe, if there hadn’t been that hiatus, would have got into a slightly higher gear that would have allowed him to mature his portrayal.

Q: He did seem to get screwed, and he did very well with the resources that he had. Was ‘Doctor Who’ put off a bit to make way for ‘Eastenders’?

A: No, I don’t think so. ‘Eastenders’ had been on the cards for a number of years. I think that where ‘Doctor Who’ got involved with ‘Eastenders’ was that after ‘Doctor Who’ was moved from its traditional Saturday slot, each year we’d be on different days. One year it’s be Monday and Wednesday, then another year Monday and Tuesday, and so on, and apart from doubling our audience during this time, which was a significant indication that those early evening drama slots could work, I think that what we were doing was really rehearsing which of the two evenings of the week would be ideal for a soap opera which had yet to be named, which was ‘Eastenders’. And the whole thing has come full circle, because this weekend in Britain there has been a programme celebrating thirty years of ‘Doctor Who’ combining the programme with ‘Eastenders’. The TARDIS arrives in London and gets embroiled with characters from ‘Eastenders’ in a two-part mini-adventure in 3D, a very exciting technology that I don’t think we’ve seen the end of. The story has all five living Doctors, twelve companions, a multitude of characters from ‘Eastenders’, and a multitude of monsters, something like twenty different monsters. And in a way there’s a certain irony that we were once rehearsing the slot for ‘Eastenders’, which by the way has just become the most popular programme in Britain, in positions one and two, it’s finally beaten ‘Coronation Street’.

Q: Fans want to know if the selection of Bonnie Langford as Melanie Bush was because the BBC wanted to keep the show on track when it returned, because she was popular from ‘Crackerjack’, or was it more a matter of calming down the front office from the BBC’s point of view?

A: You’ve got a lot of mis-information there. Bonnie was never on ‘Crackerjack’, which was a programme that was cancelled when ‘Doctor Who’ was rested in 1985, and ‘Crackerjack’ never came back. I don’t think Bonnie was ever involved in that. I cast Bonnie, it was my idea, I thought she was right for the part. I also thought that bringing in someone who already had a name, as a companion, would help with publicity, to refresh people’s memory and to help with that. It was not a popular decision with many of the fans in Britain, but I think you have to keep that in perspective. Fans with a big ‘f’ who are members of the DWAS in Britain total 2,500 people, and over the years, for example when we were doing two episodes a week and getting ten million viewers, I think you have to keep the views of the Fans in context.

Q: I was speaking to Sophie Aldred, and she said that she didn’t originally audition for the role of a companion. She said she auditioned for Chris Clough, then went to you for approval, then back to Chris Clough and found out that you had just selected her in a way that required no test readings or auditions whatsoever. And she said that she owes her career success to you.

A: Well it was a weird situation in a way, because at the end of that season there were two stories both of which featured a possible ongoing character. There was a young girl in ‘Dragonfire’ and a young girl in ‘Delta and the Bannermen’, and the script editor Andrew Cartmel and I couldn’t decide which story should end the season, and consequently the casting of these two young girls involved my office in a very major way because whichever one went out last would possibly hold the key to staying on in the show as a companion. But I’m delighted that it was Ace. I certainly don’t think that Sophie was right for the other part. I’m not saying she couldn’t have played it, but I think she was much righter for Ace, and I think the combination of Ace with Doctor number seven, Sylvester McCoy, is probably one of the most successful in the show’s history.

Q: How do you know if that chemistry will exist?

A: If you could bottle that kind of chemistry, you’d be the next multi-millionaire. I think it’s very much a kind of instinctive chemistry that happens between two people who are working together and something additional gels in front of the camera. It’s something that I think was particularly applaudable in the work that Sophie and Sylvester did.

Q: Onto the ‘New Adventures’ books, do you like the novels and their treatment of the characters?

A: I have to confess that I have limited knowledge of those novels and their characters. Not being the resident producer of ‘Doctor Who’, although I’ve just guested on this Children in Need thing, I find some of the things that have developed that I’ve read slightly odd, you know, but then I’m a sweet old-fashioned thing hankering after my old days. I think it’s right that the show should develop, and I’m not knocking what Peter Darvill-Evans does with the books, and I think it needs to go forward in order to be successful. The development of characters, situations, the whole premise of the show, I think it would be infinitely preferable if it happened on television rather than in the novels first.

Q: Sophie Aldred said that she didn’t like seeing Ace as a warmonger in the books, she wanted her to be a pacifist, but she said that she hadn’t actually read the books. I take it a lot of people from the show don’t know how the books have developed things?

A: Unfortunately not had the time, I guess.

Q: Your participation with the video releases, after the cancellation, did that help to convince the BBC that they didn’t really need to make new stories? That they could just make a buck with rehashed old stories.

A: Well, I think that’s a very simplistic view, if I may say so. I think inevitably there’s a buck to be made, but you don’t have to be a mathematician to see that the buck is going to run out pretty soon. In the UK, they release twelve complete stories each year, plus three specials, and that’s a hell of a lot of material. They’ve been doing it for a number of years, and I don’t think it’ll be long before those video releases run out. I know you get them slightly slower in the States, so they’ll hang on longer, but I really don’t think that anyone thinks it’s a substitute for making new product.

Q: When the show comes back, how would you like to see it?

A: I’ve said in print and in a docuumentary that goes out tonight in the UK that I see this ‘Children in Need’ thing as my absolute farewell to ‘Doctor Who’. Although it’s only twelve minutes, it has brought together every living Doctor, all of them in costume, all of them recording new material that’s specific to this rather than using material that was left over from a junked story, and it’s brought back so many of the companions and so many of my old team that I really feel that it’s the end of ‘Doctor Who’ for me. What it needs for the future is a new team with new ideas and a whole new aegis of taking the show forward into the next century.
 

Doctor Omega

Member: Rank 10
Derrick Sherwin, Doctor Who producer and creator of UNIT, dies aged 82
He served as story editor, producer and scriptwriter on the BBC sci-fi series.


http://www.digitalspy.com/tv/doctor-who/news/a869487/derrick-sherwin-doctor-who-producer-dies/



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Derrick Sherwin – former producer and story editor on Doctor Who – has died, aged 82.

Between 1968 and 1970, Sherwin served as story editor and scriptwriter and later producer on the BBC sci-fi series.

He was originally offered the role of story editor in 1967, with the following year's 'The Web of Fear' the first story to air under Sherwin.

He also contributed a number of scripts to the series, writing another '68 story, 'The Invasion' – which famously introduced the United Nations Intelligence Taskforce (UNIT) to Doctor Who.
 

Doctor Omega

Member: Rank 10
Derrick Sherwin Interview


Derrick Sherwin being interviewed about his time as Writer, Script Editor and Producer on Doctor Who during the late Troughton era, as well as the very start of Jon Pertwee's tenure.


 

Doctor Omega

Member: Rank 10
Never seen before interview.......


John Nathan-Turner (Return of Fenric 1997)


In 1997, members of cast and crew of Doctor Who "The Curse of Fenric" came together in Hawkhurst, location of the 1989 Doctor Who classic.




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Doctor Omega

Member: Rank 10
I notice in the comments of the video this......


Chris Chapman7 months ago
Hi Mark, Chris Chapman here from the BBC Doctor Who range - what's the best email to contact you on?

Which would seem to suggest, if legit, that at least snippets from this will be turning up on the blu-ray collections.


Credit to JNT for his professional, considered, and serious tone throughout. No smart-arsed quips whatsoever or vengeful getting even with his critics. Just intelligent, informative, mature answers to questions. Unlike now, where criticism is taken very badly indeed - and inane, shallow, "funny" answers are the order of the day.
 
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