A nice little interview with RTD and Moffat on their recent novelisations.
I’m reading the Moffat one at the moment on recommendation from a friend. It’s a fun read.
Murray Gold gets slagged off quite a bit for his contribution to Doctor Who, but after listening to this again I’m really going to miss him on the new series.
His work has really grown on me. It bugged the hell out of me in the first of the new series (and partly because they played it too loudly in the mix). I thought a lot of it sounded a bit ‘Bontempi organ’. Then I stopped noticing it for a while and by Matt Smith’s introduction and the 11th Doctor theme I was a fan.
My favourite story was the Christmas Carol episode where some botched communication meant he had to write the song for Katherine Jenkins to sing in about 4 hours or something similar. Quite daunting I’d assume when it’s the first time they’d have a real opera singer on the show. It turned out remarkably well and a really emotional piece (although I’m sure he added all the orchestration later to the main melody).
It is funny reading Russell T Davies’ book how much he operated by the seat of his pants during his run. I think Moffat was more inclined to push dates back if pressure came on but Davies just somehow managed writing scripts the day before shooting etc.
I think it got better, too. The stuff he did with the Eleventh and Twelfth Doctors (including their themes) was way ahead of earlier stuff in the first few series.
I always felt a bit sorry for him that fans chucked all their complaints about the sound mix (loud music/drowned-out dialogue) his way.
Gold was great at leitmotifs, but they got overused and became a bit familiar with Smith and Clara. It was too loud a lot of the time, though. I disagree Dave, I think his earlier pieces are some of the best: the little bit that comes in when people reference Gallifrey in the first couple of series; the bit from the end of Doomsday! It’ll be interesting to hear the new composer’s work, whoever they are (I doubt I’d recognise any TV composer by name except Gold and Blake Neeley).
That interview with Davies and Moffat was lovely, btw. I’m tempted to pick up some of those novelisations.
That’s fair, there were some good bits in the early series too. I only remember really actively enjoying it in the later series though, maybe because the themes were a bit bolder. And Heaven Sent is really fantastic throughout.
I agree with you on the leitmotifs, both how good they are and how overused they became - particularly Clara (although again that may be an issue with how it was employed and how regularly, which may be out of his control to a large extent). The reworking on guitar during the Clara diner scenes in her final episode was quite nice, though, I thought.
Yeah, that bit was brilliant on all counts.
I didn’t realise people ever complained about Murray Gold. I think his music has always been fine. It was often too loud, but that’s hardly his fault (unless he was in the editing room personally turning the music dial up to 11, in which case it was his fault, the bastard ).
I meant current ones. Oh, there’s WG Snuffy Walden too, of course.
Hello everyone I am working on a doctor who fan made comic book
It is going to be the seventh doctor and Ace going against the sea devils and the cybermen
Thanks guys for putting a like to it I am halfway into drawing the comic
But will it include the 8th Doctor movie?
Probably not. Thankfully.
No. The ad in the link says from An Unearthly Child in 1963 to Survival in 1989.
Damn it. Better have it ready to queue up on my end then.