doctorwithaspoon
Another piece of social media
I'm a fortysomething year old mom, wife, daughter, whatever you want to call me. My husband says I'm 12 so I guess that means I can still be a fangirl. This site is dedicated to all things Doctor Who, Peter Capaldi, House, Hugh Laurie. I sense a theme...
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Cute photos of Pedro with his comrades over the the years.
BONUS: Meryl Streep with Pedro.
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Pedro doing voiceovers for ‘The Mandalorian’ (2019) • 2/2
Screencaps from the Documentary (1 /2)
♥ You can watch online the ‘Cast’ episode here.
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Pedro Pascal reciting Romeo’s speech from the balcony scene of Romeo & Juliet. In Spanish.
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It’s very economical and subtle story telling and all about risking it all, the value system, the Creed, and everything to save the child
(pt.1)(pt.2)
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I miss these three so much....
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Monks Road Social goes inter galactic…. what’s going on?
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Peter Capaldi Triple Treat Birthday Project 2019
The package has been delivered to Peter.
Thank You to all who contributed.
From Pauline who delivered it:
“He was was in awe. I had everything In a clear inner bag. He took the inner bag out and kind stuck his hand in and flipped though and said ‘That’s a lot of stuff!!! I’ll have to take it all upstairs and look though! Thank you so much!!’ TBH, I think he was a bit overwhelmed, I was taking fast, so I’m not sure it all soaked in, but once he reads the note, he’ll understand. I made sure I pointed out the box with the USB with the videos on it too. He looked tired, very social but he was saying in like what time it was home because he kept yawning! LoL.”
Donations can still be made here until April 14th.
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Because I’m really missing Peter right now.
Peter Capaldi, Mark Gatiss and David Bradley behind the scenes of ‘Twice Upon A Time’. | Source
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Heaven Sent live commentary with Rachel Talalay and Sarah Dollard
Sarah: “Peter spent billions of years training to punch a racist in Thin Ice.”
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Notes on Heaven Sent, Part 1
Below I have broken down scene 1 of the BBC-published script for Doctor Who S09E11 and annotated it with a combinations of notes, thoughts, and questions. This starts to illustrate the complexity of the script and the process of figuring out shots, set design, locations, production, etc etc. - the decisions/discussions that went into the details. Many of these are in a shorthand note form I might use to annotate the script on an early read, others contain more detailed explanations.
What is the castle? References? Where will we find the spire footage – shoot/stock?
sunrise? 2nd unit shoot or stock footage? Practical or VFX?
2nd unit/stock for sky?
We ended up taking a stock sky shot and animated the moving flare, rather than the more common moving clouds shot. (Note that the flare is moving in the wrong direction.)
For the light sweeping in the room – find a room where we have access to windows where we can put lights on cranes and create the movement. Smoke will enhance this?
We found these logistics in the Great Hall on the main floor of Caerphilly Castle, where the lighting could be controlled for the moving beams and they fortunately did allow us to use movie smoke. Lights were on lifts to provide enough height for the shadows to hit the floor to emphasize the movement.
This could have been done with VFX as well.
The Castle design: Production Designer Michael Pickwoad suggested the look of Pierrefonds as it is Disney-esque fantasy, isolated, and complex.
We location-scouted castles: Caerphilly, Cardiff, St Donat’s (William Randolph Hearst’s house/castle in Wales, now a school), Castle Coch, Raglands, and Chepstow. Each had elements that could work, but we used only the first two — St Donat’s was a wish-list addition, but was ultimately difficult to shoot for the complicated scenes we were placing there.
There’s a film production ‘joke’: “Montage is the French word for overtime”.
What does this paragraph mean? How many shots? Where? This could shoot for a whole week…or more… After much time discussion about breaking this into 10 or more shots in different locations, I pitched the idea of shooting stills (during our break while everyone important was at Comicon and we were starting to prep episode 12), so DOP Stuart, AD Scott, my daughter, and I went to Cardiff Castle and shot 200 or so stills of details in the castle. Well, Stuart did all the work, and Scott, Sophie and I talked to the docent and learned more about the Castle history. We were allowed access to non-public areas of the castle. The private prayer room is yet another spectacular area of the house. Magic words: ‘Doctor Who’. As it is, Cardiff Castle does a DW tour of areas used in the series.
We only used 2 or 3 of the shots in the episode, but the collection is amazing.
We could only afford [time was a major limitation, because we had so many sets to build for the episode] to build two cog machines — one metal/brass and one ‘stone’. Conceptually, stone was used for castle locations and brass for Time-Lord technology rooms — the Teleport chamber and the Azbantium Wall room.
We were not entirely consistent with this, but that was my ‘concept’. Moving these contraptions around, keeping them working, etc, limited what was where – especially in the practical locations, where we also had to be careful not to damage anything. It was a particular chore to bring one to the Fireplace room on the top floor of a room in Caerphilly, accessible only by one narrow circular staircase.
Which corridor?
Blood? — very not-Doctor-Who.
At this point, I don’t have any idea who this is. Later I know and realize nothing can be given away.
My corridor of choice was at Cardiff Castle, but we were not permitted to use blood at this location. Must re-think.
Later we see this blood disappear, as if the area is re-setting.
Traveling along the corridors — which ones? What details? — there was a great corridor in Caerphilly (no time, hard to light, ultimately did not use), instead Caerphilly had the best staircase. In 2015, all those areas have metal railings for health and safety. We were allowed into a non-public area of the castle that had not yet been fitted with these – this was a coup. Otherwise they need to be avoided,( limiting angles), or digitally removed, (limiting camera movement).
Fantastic battlement corridors all around the perimeter of Cardiff Castle (priority to use these as they were majestically long, but also difficult to light).
Radial and circular corridor around teleport chamber must be built. No locations have circular corridors. The Radial corridor must be narrow enough that the Doctor cannot get around the Veil – “finally run out of corridor - a life summed up”. Radial corridor needs moving wall at the end – hence building it made most sense.
I work with Scott to figure out time/locations/logistics – and what a splinter unit (2nd camera running around pickup up extra shots) could help with. It’s always about time-management. Always maximize shooting time. “Moving locations is not shooting”.
Photographic thoughts: Wider lens to emphasize movement. Lower angle, but only if we have a ceiling on the set.
Lighting thoughts: Graphic hard shadows of German Expressionism. Minimal smoke so that nothing looks soft – avoid romanticism of castles. Creepy, scary only. But the corridors in Cardiff are too high up and too long to light from outside the windows. Does that make this idea impossible? (Ultimately not at all, because Stuart had a plan, but these are my early considerations).
Lighting: besides the sunlight (or simulated sunlight), what are our sources? No fire or torches or electric lighting. We can light the sets through the windows, but will it be enough? If it is to be scary, we want dark. But not too dark, that scares broadcasters. And what about the nighttime? How many moons in this location? Where are we, anyway? What colour is our night? Blue feels wrong, even though it invokes cold. Ultimately we decide the confession dial sides are reflecting orange into the night sky. And the Doctor is on Gallifrey, another orange reflection. And it’s the Doctor’s torture chamber and the Time Lords want it to evoke hell.
I spend time staring at shadows and light in each castle location we scout. I look like I’m zoning out, but I am gathering ideas. Stuart and I are trading images.
I used this image as reference for lighting the corridor outside the garden - you may notice that much of the lighting makes no sense. I had to push for that.
Monitors cannot be mounted in the practical locations. How to solve this? How big are they? Is this old or new technology? How much should it fit in with castle look?
Design concepts for this? (the art department came up with concept art) Moveable to shot? Ideally practical as much as possible to save £’s of burn-ins. They end up on moveable bases and mounted on joints that can be angled to shot. This was critical because there were times when we had to see them through windows or pan from them down the hallway, etc.
We need the ‘human’ shadow on the door — how will we show this shadow and not reveal in any way that it is the Doctor? His silhouette is distinctive, should we set up the shadow to be like the Veil? This ended up being quite easy, but I had to ask the questions and test ideas.
Production note — this is just the 1st scene and less than 1-½ pages of the script! We already have more questions than can be answered and more time for 2nd unit that I think we can afford. This alone could take a week to shoot. I also worry how long this will take on-screen. What is the audience thinking now?
Tone - How creepy is this? How much geography are/should we be giving away?
Editorial - we probably spent more time debating what to use in this scene than in any other scene in the episode - including the epic ending montage. This is because we ended up with a lot of varied material which was completely non-standard for a Doctor Who opening, so much discussion of how to draw the audience in, prepare for this totally different type of episode, but not lose them to itchy remote fingers.
Coming soon: Questions answered…well, some of them … and kind of answered.
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So this happened today! He was so lovely and generous, and it was his suggestion that we get a selfie. ❤️ (x)
#petercapaldi worth the wait Ben was awe struck 💚 (x)
So I think Peter Capaldi might be the nicest human ever 😁 (x)
So…this happened…and I’m still swooning because of it. Thank you so much to Graeme for this brilliant photo (x)
Adam always has such a fantastic time at Capital sci fi con. Everyone who takes part does such an amazing job raising funds for Children’s Hospices Across Scotland who support children like Adam with life shortening conditions. Adam wasn’t feeling well today but still managed some smiles and met the stars. (x)
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Peter Capaldi Triple Treat Birthday Project 2019
We are getting closer to that time of year again when a certain beloved curly haired man celebrates his birthday. Some of us have been brainstorming a little something I like to call The Peter Capaldi Triple Treat Birthday Project.
What is this you ask? Let me explain. We are doing three things and putting it together to give to Peter. You can choose what you would like to participate in and of course you can choose more then one to join in on.
Video
Wish Peter Happy Birthday with a video message. Feel free to tell him how he has inspired you, what he means to you or just something you think will make him smile. Max 30 seconds. When you send the video please include your name and what country you are from. Deadline for this is March 7th. Send your video to [email protected]
Homemade Birthday Card
Simple as that. Make some art for Peter.The cards needs to arrive to an certain address by the 13th of March, so make sure to account for how long shipping takes from your address to the final destination. Also include your name and what country you are from. Send a message to [email protected] and we will provide you with an address.
Also use above address if you have any questions or worries.
Oh, and if you want add a pic of your home town or country where you live. Either in the video or the card. Show him the world.
Fundraising
We are raising some money for Peter. If you feel like donation you can do that over at Happy Birthday Peter. This can also be shared via Twitter, Facebook and Linked In.
The video, cards and fundraising info (you can keep donating right up until April 14th) will be given to Peter in person when he is at the Seattle Con in March. A bit early but then again, he will not expect it at that time. *wink*
Thank You.
Karin, Brenda, Pauline, Emily and Sabrina.
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