User:Sceptre/TVtest/prod
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Production
The concept of the Daleks and Cybermen appearing together on screen is not new; in December 1967, the BBC approached Terry Nation to have both races in a serial, but Nation vetoed this idea. The concept came to Davies while mapping out the 2006 series: the story would both serve to resurrect the popular Daleks and provide a suitable exit for Piper, who had decided to leave Doctor Who.[1]
The two-part finale was originally going to take place in Cardiff on the time rift which was the focus of the episodes "The Unquiet Dead" and "Boom Town". When Torchwood was commissioned in 2005, Davies decided to base the spin-off in Cardiff and relocate "Army of Ghosts" and "Doomsday" to Canary Wharf in London.[1]
To ensure that Clarke and Dingwall were available for filming, the story was filmed in the season's third production block with "Rise of the Cybermen" and "The Age of Steel". Filming for the story started on 2 November 2005 on location in Kennington, but did not become the primary focus of the production crew until 29 November, when filming began on the scenes in and around the sphere chamber. The scene of the Tylers driving through Norway was filmed at Bridgend on 6 December. Scenes in the lever room, the main setting for the story, were filmed between 12 December and 15 December, and 3 January and 5 January 2006. Greenscreen work for Rose being sucked into the void took place on 13 January and the skirmish between the military and Cybermen on the bridge was filmed on 15 January.[1]
The penultimate scene of the episode, the Doctor's farewell to Rose, was filmed on 16 January 2006; the last day of filming for Clarke and Dingwall. Piper's last scene was Rose's reunion with the Doctor in "The Satan Pit" on 31 March,[2] but the shoot was rather emotional,[3] to the point there were several tears on set.[4] The last scene, Catherine Tate's appearance in the TARDIS as Donna Noble, was filmed on 31 March during the wrap party, and was the last usage of the TARDIS set that had been used since 2005. To ensure the secrecy of Rose's departure and Tate's appearance, only Piper and Tennant were given scripts of the departure scene, and director Graeme Harper was not informed of the final scene until the last possible second.[1]
An item of discussion between the production staff was over who would rescue Rose; Davies and Julie Gardner wanted Pete to rescue her, while Clarke and Phil Collinson wanted Mickey. The position was ultimately given to Pete, to emphasise that he had accepted Rose as a surrogate daughter.[1] The Doctor's intended reply to Rose was also discussed; Davies, who left the reply unspecified, stated he didn't know when asked by Collinson on the commentary, and Gardner vehemently believed the Doctor would reciprocate Rose's love.[3]
Some elements of the story were inspired by Philip Pullman's His Dark Materials trilogy. Pullman was "flattered" by the references in the episode, and compared Davies' actions to his own practice of referencing works.[5]
Music
"I wanted to get that kind of throbbing, sort of hurt, sound of quite emotional rock, because I thought that's Rose would do if she was hurting and ran up to her bedroom and locked herself in her room and had a good old cry, really."
Murray Gold on the subject of "Doomsday"[6]
As well as using existing music such as the themes for the Daleks, Cybermen and Rose, Murray Gold specially composed a piece of music for Rose's farewell, entitled "Doomsday", which featured vocal work from Melanie Pappenheim. Instead of using the swelling violins that Davies and the rest of the production team had expected, Gold took a minimalist approach. When pitching the track to the production team, Gold described the track as representing Rose's unbridled energy and determination as she searches for the Doctor. The piece uses the same vocal work from "Rose" when Rose first enters the TARDIS, thus creating a bookend effect.[6] It is a favourite among fans, especially executive producer Julie Gardner,[3] and is one of the reasons, along with Pappenheim's overall contribution and the song "Song for Ten" from "The Christmas Invasion", that the a soundtrack of both series was released several months later.[7][8]
