Friday, July 31, 2015

Murray Gold does Gauda Prime

How would B7 have been some life-affirming MG tunes taped over it?

video

That was Blake with "Final Days" and "The New Doctor" from The End of Time.

But wait, there's more! Yes! And here's Rescue, similarly redubbed!

video

In rough order there's "Futurekind" from Utopia, "The Impossible Planet Suite", "Yana" from Utopia, "All For One" from The Curse of the Black Spot, "Locked On" from The Doctor's Wife, "Missy's Theme" from The Caretaker and "Aristole, We've Been Hit" from Into the Dalek.

Could even Stardrive be improved with some actual speed to the proceedings? (Oh ze bitter irony!)

video

That includes "The Truth Of the Daleks" from Into the Dalek, "Concussed" from Deep Breath, "Remember Me" from The Name of the Doctor, "Davros" from Journey's End, "Hanging on the Tablafone" from The Stolen Earth, "A Symphony for War" from The Time of the Doctor, "I.M. Foreman" from The Day of the Doctor, then "Terrible Decision" from Kill the Moon and finally "The Master Vainglorious" from The Sound of Drums. Phew.

That's probably enough for now, amirite?

28 comments:

Matthew Blanchette said...

Should've swapped out "The New Doctor" with "Vale Decem"... or would that have been too depressing? :-P

Youth of Australia said...

Well, the idea was that by adding music you could defuse the horror and turn it into an exciting cliffhanger. So, Vale Decem would have been wrong for that. Mind you, I think those operatic wordless vocals aren't really B7. Well, unless there's the telepathy.

Hope Rescue and Stardrive also impress.

Matthew Blanchette said...

They do. :-) I do love that "The New Doctor" completely conveys Paul Darrow's idea that Avon didn't die, he just ducked, though.

Youth of Australia said...

Yes, there is that. I'm taking the smile to be "Ah, you want to take me alive and none of you have stun-guns. So you can't shoot me. But I can shoot you." He smiles...

(The late Mary Ridge plans out the gunfire over the credits - Avon shoots out the lights, ducks, the troopers shoot each other, Avon stands up and shoots those left.)

But it's amazing how changing the music instantly alters the whole thing.

Matthew Blanchette said...

Hey... I was wondering if you had seen any of these yet? :-)

http://www.youtube.com/watch?v=UZh895H-CQ4
http://www.youtube.com/watch?v=dWEoVrKu25k
http://www.youtube.com/watch?v=foPQrT1DW-A

(If you have... well, no reason not to see them again! :-P)

Youth of Australia said...

Thanks for sharing, dude. I hadn't seen them as a matter of fact, so gratitude in abundance. Oh what might have been...

Matthew Blanchette said...

If nothing else, it's nice to see the cause of Tom's infamous "fuck whoever banged the door" outburst -- and he's right, because it ruined a perfect take.

Speaking of which, have you ever read the Roberts novelization, by any chance? I bought it a few weeks ago, and I've been digging into it. :-)

Youth of Australia said...

Ah yes. Not a bad book at all, but I prefer the paperback (which is a red book, 5 by 7, obviously).

And I think Tom's best reaction to a ruined take is from Underworld where he's with the little girl. "What should we do to him, Claire?" he asks her evilly...

Matthew Blanchette said...

Didn't know they'd preserved any outtakes beyond '78 (with the BBC's Christmas tapes, after all)... where'd you see that? :-)

And... I'm actually looking for a PDF copy of the Roberts version -- can't seem to find one online, although weirdly there IS one of Dirk Gently's Holistic Detective Agency floating around for free. Was hoping you could help, if you could. :-)

(For the record, I'm going to try and create a literary synthesis -- meld the fan-written red paperback [which is ALSO available online], the Roberts version, and the adapted segments of Dirk Gently [for more of that authentic Adams flavor, including what he added] in order to partly bring it back closer to the recorded text -- but also to partly add in some genuinely good Douglas Adams bits that he came up with later. Paradoxical, I know. :-P)

Youth of Australia said...

I saw it on the Underworld DVD.

Emailed you a PDF of GR's version. You need the TSV one of Shada as well?

Matthew Blanchette said...

No; the TSV guys put it up on their website ages ago. And thanks! :-) Beats trying to type everything straight off the page by hand... :-P

Speaking of DVDs... I can guess why they didn't put those outtakes from the studio recording on the Shada release -- that being, sweary Tom, who they can bleep out in excerpt (as on the "Nightmare of Eden" docu) but which would be rather awkward in the middle of unexcerpted studio segments.

Still, it does finally solve the mystery of whether the Ship's final line actually was recorded (as the excerpts show, it WAS).

Youth of Australia said...

Indeed. Well, give us a shout if you need any other materials. Earthbound Timelords have a handy transcript of the actual filmed scenes mingled with the narration and unfilmed stuff.

Matthew Blanchette said...

I remember reading something like that ages ago; it also had a description of how the blocks were laid out, in the order of recording.

However, according to Gareth Roberts, the released scripts were apparently much earlier versiona than the rehearsal and camera scripts he was able to use -- so I'm curious as to what those actually look like. (As for the additional new scene that Douglas Adams had penned -- which Roberts eagerly mentioned, but refused to say which added scene it was -- I'm pretty sure it's the scene with the bomb in the Ship. Only one that doesn't add to the backstory or add sets out of nowhere.)

And while I did like the change he made to Part 5 -- which I've half a mind to keeping, though I'm not sure if I should -- I didn't like so much the love story he added between Chris and Clare. Seemed sort of cliche, and I don't think either character, or the story, really needed it. :-S

But, what do you think? :-)

Youth of Australia said...

Well, I like it gives Clare more to do, but it's hard to fit with Chris on screen (Daniel Hill playing him as a self-absorbed know-all-know-nothing whose most useful skill is bouncing off Tom Baker).

But, hell, it's season 17 and the season of love - the Doctor and Romana, Stott and Dela, Seth and Teka, the Scarlionis... yeah, why not have Chris and Clare get together?

Matthew Blanchette said...

Just thought it... sort of contrived, is all. *shrugs* I'm sure there would've been a better way of giving Clare something more to do than just marrying her off like it's Shakespeare. :-P

Although I did love the random TARDIS bedroom/bathroom scene. But I am curious -- why exactly DO you prefer the little red book, 5 by 7? ;-)

Youth of Australia said...

The hardback was more work, physically, to read, to keep the dust cover intact, etc. Plus I like the joke the novelisation could be mistaken for The Worshipful and Ancient Law of Gallifrey.

And they don't marry off Clare. They get her to bonk Chris while they're in a Cambridge police cell. Considering the whole "everyone mind-sucked by the sphere gets a second life in handsome clones" ending, it's positively grim in comparison.

Matthew Blanchette said...

Well, I didn't mean literally marry her off -- it just felt like Roberts HAD to pair them, when there wasn't anything romantic at all in the original text. I feel like I've suddenly turned into Peter "no hanky-panky in the TARDIS" Capaldi with that objection, but... *shrugs* I'm not even a traditionalist on that, but it just.. rubs me the wrong way. Heck.

I was really surprised by the mind-sucked happy ending; for some reason, I had thought that Skagra had sucked out their mental abilities, not their whole brains, and that's why the Doctor was able to revive Akrotiri -- his actual self was still there, it just needed brainpower. Wonder where Roberts got the concept he used from? Because that's not what I had expected at ALL from having read the online scripts.

(And, incidentally, I actually have a paperback of the Roberts version, not hardcover. Unfortunately, I've already banged the lower edge of the cover up damn badly.)

Youth of Australia said...

I assumed that was because Akritori was part of the cone-chair-set up so he'd be a special case. Plus, he wasn't human. And a genius. Very different from "man on bicycle" or "bloke fishing".

Matthew Blanchette said...

It was a nice happy ending, though -- even if it's not really anything like the finished serial would've done. (Still can't believe that Tom and Lalla allegedly cut out the explanation for Skagra, according to Roberts, though!)

Youth of Australia said...

They thought the last scene in the TARDIS (and the season) would be better if it wasn't pure exposition, so presumably Skagra's origin would have been mentioned previously - allowing them a comedy/romantic "where to next?" skit.

Matthew Blanchette said...

...I thought the exposition was in a scene before the last one? For some reason, I was thinking Daniel Hill and Victoria Burgoyne were also in this expository scene -- which obviously wouldn't be the TARDIS scene, since that's just Tom and Lalla. But I think my memory might just be failing me, at this point. :-P

Also, been re-watching the Levine animated version that Roberts gives props to in his dedication... holy GODS, does Ian Levine have no clue how to direct actors. Christopher Neame's performance, in particular, is EXECRABLE -- and ridiculously jarring against his low-key '79 performance when you can audibly hear him devouring the scenery in the 2010s Levine audio.

Youth of Australia said...

The last scene in the TARDIS has the Doctor and Romana discusing Salyavin and Skagra, with the Doctor suggesting he too well end up such a nice old man in the future.

Tom, Lalla wanted to do a scene where they say things like "Where to next?" "When to next?" "Or where shall we have been going to before?" "I'll tell you when." "When?" "Now?" as they start setting controls.

Guess you had to be there.

As for Neame, well, acting demure and sinister is OK in studio but in animation. At least he's actually enthusiastic unlike everyone else who is just damn sullen and depressed.

Matthew Blanchette said...

I don't think he was really enthusiastic -- I have a feeling he was more contemptuous of the whole thing. He COMPLETELY misplays the whole scene where he's explaining his rationale to Romana -- going WAAAY over the top when he should be low-key but quietly passionate. It kills the scene dead. It probably didn't help that he was quite literally being directed over-the-phone.

Oh, I knew about that final scene. For some reason, though, I think I forgot that Drornid was mentioned for the first and only time in that scene, as well. But where did you get Tom and Lalla's version of the scene from? That sounds a lot like the version JNT had planned on trying to finish, as I recall you telling me...

But you CAN be quite subtle in voice acting and animation -- SO many voice artists have been able to be, on Big Finish and elsewhere. Why couldn't Neame?

Youth of Australia said...

Well, it would piss off Ian Levine. A noble enough intention, I'd say.

Matthew Blanchette said...

Except that Levine was reportedly over-the-moon about Neame's performance. So I'm guessing Neame didn't give a shit and Levine didn't know any better.

You still haven't answered my question about the Tom and Lalla scene version, though... :-P

Youth of Australia said...

I got it from DWM 267 (pg 34) which describes it in detail.

Matthew Blanchette said...

What, the whole thing? :-O If you could send me a scan, I'd love to see it!

Youth of Australia said...

Not much to see.

INT. TARDIS.

(THE DOCTOR, ROMANA AND K9 ENTER. THE DOORS CLOSE.)

DOCTOR: Where shall we go?

ROMANA: Or where shall we have been?

DOCTOR: Or where were we about to have come from?

ROMANA: Or when were we going to have been where?

K9: Or indeed whence.

(THE DOCTOR AND ROMANA STARE AT HIM FOR A MOMENT.)

DOCTOR: Tell you what...

ROMANA: When?

DOCTOR: Now.

ROMANA: Now what?

DOCTOR: Then. Let's use the randomizer.

(THE DOCTOR CROSSES TO THE DEVICE AND COUNTS DOWN.)

DOCTOR: One... two... three...

ROMANA: Then?

DOCTOR: Now.

(THEY BOTH THROW THE LEVER.)

(END TITLES)