??0<< 3?03? 3?03? <3>> Picture2 Empty: ianbar Drawing1 Drawing2 Page3 Picture1 Empty: montwh Drawing1 Note1 Space pilot Steven Taylor was played by Peter Purves and made his debut in the 1965 story, THE CHASE. Purves also appeared as an American sightseer encountered by the Doctor and his companions on top of The Empire State Building in the same story. He stayed with the Doctor for ten more stories, 45 episodes, before finally leaving at the end of THE SAVAGES when he became leader of The Elders. Vicki was played by Maureen O'Brien and joined the TARDIS crew in the two part story THE RESCUE. She remained with the TARDIS crew for a further nine stories (39 episodes in all) and left to marry Troilus during THE MYTH MAKERS in season three. >>> Drawing2 Drawing3 Page4 Picture1 Empty: kingdom Drawing1 Note1 Sara Kingdom (left) was a companion for just one story, THE DALEK MASTER- PLAN. She was a dedicated agent of Mavic Chen and even killed her own brother out of a sense of duty. When she discovered Chen's alliance with the Daleks, she helped the Doctor to defeat them. She died from the effects of the Time Destructor. Sara Kingdom was played by Jean Marsh. Katarina was another short-lived companion, played by Adrienne Hill. She was a handmaiden of the prophetess Cassandra and was rescued from the carnage of Troy by Steven and the Doctor. She joined the TARDIS crew in THE MYTH MAKERS and stayed only until part way through the next adventure, THE DALEK MASTERPLAN, when she died saving the Doctor from blackmail. >>> Page5 Picture1 Empty: montwh Note1 Dorothea Chaplet (Dodo) was played by Jackie Lane and joined the TARDIS crew in the third season story THE MASSACRE. She returned to the 20th century during THE WAR MACHINES and left after just six stories and 24 episodes. Ben Jackson and Polly Lopez were played by Peter Craze and Anneke Wills respectively. They met the Doctor and Dodo during THE WAR MACHINES joining the Doctor at the end of this story, when they entered the TARDIS just before take off to return the Doctor's key to him. They appeared with William Hartnell's Doctor until he left the show and continued alongside Patrick Troughton. >>> Picture2 Empty: Page6 Picture1 Empty: amonty Picture2 Empty: amonty Picture3 Empty: Drawing1 Drawing2 List1 FTHE ILLUSTRATED STORIES ARE:- THE CELESTIAL TOYMAKER, THE TENTH PLANET E In the 1970s the BBC made a decision, partly for cost and partly to Emake space for new material, to cut back much of its archive stock of Cblack and white video recordings. This decision was to cost the BBC Cthe potential to make millions of pounds in revenue from home video Csales. In those days the home video was a long way off but it seems Estrange that nobody appreciated the future value of these recordings. A The BBC sold programmes all over the world, usually on a three- Cyear contract and ordered their overseas buyers to likewise destroy Ball tapes held by them at the end of their lease. Thankfully, some companies didn't do this. F The BBC also neglected to destroy a large chunk of the early William AHartnell stories, a vault at BBC Enterprises was found to contain ?most of the first two seasons. And they were found by accident! C In all, 47 episodes from the Hartnell era are officially missing, Ealthough many have found their way into private collections. At least Cthree episodes classed as lost are known to survive, parts four and Bfive of THE REIGN OF TERROR and episode four of THE TENTH PLANET, Cwhich went walkies after being lent to "Blue Peter"! It is rumoured Athat these three episodes were offered to the BBC for 2000 each. An offer that was declined! A Episodes are still turning up all the time from various strange @places ranging from a Mormon church cellar to a small station in Nigeria (THE TIME MEDDLER). THE LOST HARTNELL EPISODES. SMarco Polo. All The Reign of Terror. 4, 5 GThe Crusades. 1, 2, 4 Galaxy 4. All FMission to the Unknown. 1 The Myth Makers. All FThe Dalek Masterplan. 1-4, 6-9, 11, 12 The Massacre. All FThe Celestial Toymaker. 1, 2, 3 The Savages. All FThe Smugglers. All The Tenth Planet. 4 F The BBC currently have an initiative going to try to recover as much Fmaterial as possible. If you know the whereabouts of ANY BBC material, Eyou can contact Adam Lee at the BBC Archive. All calls will be in the Fstrictest confidence but be advised that the BBC will NOT pay for the return of their material. D If you'd rather deal with fans, who MIGHT pay for material (though Cobviously not thousands of pounds per episode!!) I have included my Caddress on the READ ME file. Again no questions will be asked as to the origin of the tapes. Picture4 Empty: montyagagin Button1 Page7 Note1 WILLIAM HARTNELL (1908-1975) William Hartnell was born on January 8th 1908 in Devon. He decided early on in life that he wanted to be an actor, which upset his parents a great deal. In his early teens he ran away from home and went to London. He trained to be a jockey and even boxed for a while but at sixteen years of age, he got a job with Sir Frank Benson's Shakespearian Company. The start was slow, he worked mainly backstage doing anything from call-boy to lighting director, with only the occasional walk on part. Two years later, Hartnell left the group and went on tour, working for several companies. He understudied for the likes of Bud Flanagan and also played the lead in "Charley's Aunt" in Sheffield before touring Canada in 1928. When he returned to England he married Heather McIntyre and decided to try films. At first he could only find work in crowd scenes but eventually began to win featured parts, mostly in low-budget comedy shorts such as "I'm an Explosive" (1933). Despite making twelve films by 1938, Hartnell returned to the theatre as the majority of his work was still in crowd scenes. When war broke out, he was drafted into the Royal Artillery Corps but suffered a nervous breakdown eleven months later due to the strain of the training. He was invalided out of the service after twelve weeks in an army hospital. He also developed a stutter. Hartnell conquered his stutter and by 1941 had begun acting again. He got a few parts in films such as "They Flew Alone" and "The Dark Tower" but his big break came in 1943. He was appearing as Dallow in "Brighton Rock" at the Garrick Theatre in London, when he was spotted by director Carol Reed. Hartnell's performance impressed Reed and he offered him a screen test for the type of role Hartnell would become famous for, that of a tough army sergeant. >>> Page8 Note1 The film was called "The Way Ahead" and Hartnell's performance earned him a contract with a major studio, British National. He was given the lead role in four films- "Strawberry Roan", "The Agitator", "Murder in Reverse" and "Appointment with Crime" but they were not successful and his contract was not renewed upon expiry in 1946. Despite this, Hartnell was kept busy in films and he won many roles, including the part which "broke" him, Dallow, in the Boulting Brothers cinema version of "Brighton Rock". He now found himself rather typecast as the tough guy however and even when given parts in comedies, he would usually have the straight role. In 1957, Granada Television gave him a part in their new comedy series, "The Army Game" but once again he played the straight man. It was this role however, along with his portrayal of a talent scout in the film "This Sporting Life", which led to his biggest success. Hartnell had tremendous confidence in "Dr Who", predicting a five year run. He was a little uncomfortable with the science-fiction stories but very much at home with the historical ones, especially those with comedy influences. The constantly changing nature of "Dr Who" didn't always meet with Hartnell's approval though. After the departure of Verity Lambert, he didn't like the attempts made by her successor to make the series more sophisticated. He also disliked the trend to shorter stay companions after the long tenure of Carole Ann Ford, Jaqueline Hill and William Russell. The move away from historical stories also found no great favour with him and the punishing shooting schedule began to take its toll. The work load would have been horrendous for a fit man but Hartnell was suffering from arteriosclerosis, a disease which hardens the arteries and affects blood flow. His proprietorial attitude toward the role made him difficult to work with and all of these factors lead the producer, Innes Lloyd, to decide >>> Page9 Note1 to change the lead actor. Lloyd felt that the change would benefit both the show and Hartnell himself. Hartnell was devastated at having to give up the role. He later said that the events leading to his departure were engraved on his heart. He had another breakdown in 1967. William Hartnell's physical and mental health continued to deteriorate and by the early seventies, his arteriosclerosis had become so bad, it prevented him from working. In 1972, the "Dr Who" production office contacted Hartnell to offer him the chance to reprise his role for the tenth anniversary. As is so often the case with sick people, he had no idea how ill he really was and readily accepted. Heather Hartnell contacted the BBC to tell them his true state and provision was made for him to pre-record his contribution. Even then Hartnell had to read his lines from cue cards due to his poor memory. "The Three Doctors" was to be his final work. After suffering several strokes, William Hartnell died on April 24th 1975. >>> Picture1 HARTNELL: Drawing1 Page10 Note1 THE ORIGINS OF DOCTOR WHO In 1962, Sydney Newman joined the BBC as Head of Drama. Newman was a Canadian who had come to Britain in 1958 to work for ABC Television. Whilst at ABC he worked on the Sunday night play series Armchair Theatre and also played a part in creating The Avengers One of his first tasks at the BBC was to create a programme to fill the gap between Grandstand Juke Box Jury on Saturday evenings. He wanted a programme that would keep adults after the football results as well as being exciting for younger children and interesting enough to hook the teenagers waiting for Jury. When he had worked in Canada, Newman had worked on several sci-fi series and this was a genre which had all the right ingredients for all types of audience. He was inspired by the H.G. Wells novel The Time Machine realising that he could use the time travel concept to present historical stories which could have educational value. Although space travel would be an important ingredient, Newman wanted to get away from the old "monster fun" approach, which he saw as the lowest form of sci-fi. Newman came up with the idea of a "timeship" which was bigger on the inside than out, disguised as an everyday object. Originally, the TARDIS was to change its appearance to suit its surroundings but this was deemed to be too expensive to pull off. The production team got around this by making the TARDIS chameleon circuit faulty, sticking the ship in its police box form. In time, the BBC came to buy the rights to the design of the police telephone box from the Metropolitan Police. In addition to the concept of what was to become the TARDIS, Newman decided that the traveller would be old, alien and unable to control the ship. The unpredictability of this would make for exciting television as the viewers would have no idea where or when the ship would go next. >>> Page11 Note1 In early 1963 Newman submitted his ideas to Donald Wilson, the Head of the BBC Script Department. It was around this time that the Drama Department was undergoing a restructuring process and as a result of this, the new programme was delayed. The Script Dept was abolished and Wilson became Head of the new Serials Dept. Newman discussed the new show with Rex Tucker, a producer/director who was to temporarily take the reins of Dr Who in March 1963. Around this time, responsibility for turning Newman's ideas into solid scripts was handed to C.E. Webber. "Bunny" Webber was a mutual friend of both Donald Wilson and Rex Tucker and it was Webber who devised the characters of Ian Chesterton, Barbara Wright and Susan. His original script involved the travellers being taken on a journey by the Doctor and being shrunk to just an inch in height. This was rejected by Rex Tucker as "too cerebral", although the idea was later used in the story PLANET OF GIANTS. Tucker handed the job of writing the script to an Australian, Anthony Coburn and appointed the shows' first story editor, David Whittaker. Coburn's first draft story was based around Webber's rejected manuscript but contained three new scripts based around the stone age. Whittaker was happy with these scripts but suggested changes to make the story less educational and more exciting. He agreed to Coburn's suggestion of a police box shape and the name TARDIS. The character of Susan was changed from being a travelling companion (with its possible sexual connotations) to that of the Doctor's grand-daughter. In April 1963, Rex Tucker went on a holiday and the job of permanent producer was given to an associate of Newman's from ABC, a young woman called Verity Lambert. Lambert was just the right person for the job being young and forward looking. Dr Who was the first in a long line of successes for her, including Adam Adamant Lives!, Budgie Minder. Lambert soon made her mark on the show, changing many of Tucker's production ideas, including the theme music and some of the tentative casting made by him. >>> Page12 Note1 Donald Wilson appointed an experienced man to the post of associate producer as he felt that Lambert was perhaps a little too green to handle the job alone. The man chosen was Mervyn Pinfield. During May and June of '63 the casting process proper began. The lead role was offered to both Cyril Cusack and Leslie French (the choices of Whittaker and Pinfield) but both turned it down. It was Lambert who remembered the performances of William Hartnell in Granada TVs The Army Game and the film This Sporting Life. He was offered the role and accepted after some initial hesitation. The role of Ian was filled by William Russell who had starred in the ITV series The Adventures of Sir Lancelot. Ex model Jaqueline Hill (now sadly deceased) was chosen for the role of Barbara and Susan's part was played by Carol Anne Ford, who had appeared in films since the age of eight. Whittaker drafted a six page writer's guide for the series and soon submissions were reaching Whittaker's desk. Among these early ideas were THE SURVIVORS by Terry Nation and DR WHO AND A JOURNEY TO CATHAY by John Lucarotti. These ideas later made the screen as THE DALEKS and MARCO POLO. By September '63 Whittaker began to assemble the first 52 week series. Both Terry Nation and John Lucarotti were given a second story but Coburn's second submission, MASTERS OF LUXOR was rejected and Nation's Dalek story was comissioned instead. The theme music was written by Ron Grainer and then taken to the BBCs Radiophonic Workshop and Delia Derbyshire. She and her assistant Dick Mills took Grainers' descriptions of the sounds he wanted, "windbubble and clouds" and came up with the distinctive theme. A theme which was murdered by later composers when it came to be updated from 1985 onward. The first episode, AN UNEARTHLY CHILD, was filmed on 27th September 1963 in Studio D at the BBCs Lime Grove Studios. This pilot was refilmed with minor adjustments on 18th October and was transmitted the day after the assassination of John F. Kennedy on 23rd November 1963 at 5:16pm. THE STORY HAD JUST BEGUN. >>> Page13