Despite Shada being the only uncompleted story in Doctor Who history it`s one that you can end up being more familiar with than some of those missing Hartnell & Troughton stories. You can see what footage there is on the VHS – and read the accompanying book of the scripts – or view the upgraded version of the same on DVD, or you can read Gareth Roberts` novelisation or listen to the audiobook of that novelisation or watch the webcast version or, if you know someone who was involved in its production, watch [as I have] the Ian Levine animated version. So why not add one more version to the list – The Fan Edit!
This is one of the few Fan Edits that I have redone from the original release two years ago, the inspiration behind which was the news that, at the time, Ian Levine had completed his animated version of the story. That led me to think about seeing if anything could be done with just the existing footage. At the time the story wasn’t out on DVD so I had to work from the VHS release and see what, if anything, could be done with it and how far you could get into the story before it no longer made sense. In the end, I decided that the only viable solution was to stick to the original episode one as I felt there was simply too much stuff missing from the later episodes.
That original 2011 edit ran just under 25 minutes and the answer to making sense of it all back then was very simple – when the Doctor gets chased by the sphere, he doesn`t drop the book! Of course, that means they never actually get to Shada, but then they don’t anyway as none of that stuff got filmed before the strike that shut everything down and left it as the only Unfinished Story in the show’s history. A big deal at the time, though I was blissfully unaware there was a missing story until DWW came along years later. Nowadays, it’s just the Tom Baker equivalent of all those partially recovered Billy & Pat stories.
The Levine Animation version is a rather flawed piece of work but kudos to Dame Levine for getting it finished. He has a completist obsession bordering on mania, the sort of Uber Fan who wants extended versions of every single story, even Timelash, with not one frame ending up on the cutting room floor. Hence his recreation of the missing original version of Planet of Giants, something I think Fandom can quite happily live without, even if Dame Levine can’t.
Having seen it [I know one of the animators who worked on it] I can say that I can understand why Dan Hall was reluctant to put it out on DVD without further work being carried out on it. There are numerous mistakes throughout the animated sections but nothing that couldn’t have been fixed. If the animation had been released commercially then I would certainly have included it in the Fan Edit. You can view sections of the Levine Animation on YouTube.
Fast forward two years from my original VHS edit and the story has come out on DVD, and it`s a very disappointing release as it’s just a reissue of the VHS original – no Levine animation, no studio footage, no updated effects, no bugger all really, so zero out of ten for that one, Dan Hall!
And so I decided that, with this being Anniversary Year, the time was right to revisit Shada as I knew I could do a much better job than last time.
The first updated sequence is when Skagra’s ship leaves Thinktank. I never liked the original and had the idea of using Servalan’s space station from the Blake’s Seven episode “Seek-Locate-Destroy” instead. I also improved the planet in the corner. Here’s a comparison:
In order to mask the original ship I had to rotate the B7 model shot and CSO out the black background. Then I Googled for a red planet and used that to mask the original so the final composite shot required several layers and a fair bit of ingenuity to achieve.
The next section to get an upgrade was the punting sequence, one I dropped from the first version. But it suddenly struck me that here was an opportunity to give a nod to the story’s inclusion as part of The Five Doctors, so that seemed as good a reason as any to reinstate the sequence in this version. The other thing I wanted to do was to change the music playing under the scene.
I’ve always thought that the gramophone on the punt should be playing something sort of Twenties Swing so I found a tune I liked and added it to the scene, having played about with the equalizer to make it sound as if it was an old 78 playing on the gramophone in the punt. I really like the scene now and if you listen closely you can still here the originals underneath but I`ve masked them as best as I can. If the film inserts had been on their own section of the DVD then this part of the edit would have been a helluva lot easier to do. And if you’re wondering, the tune is “Skirts” by The Pasadena Roof Orchestra.
Inserting The Five Doctors sequence where they get Timescooped meant I had to do something for them getting returned so I simply reversed the scooping sequence with some added motion blur. This way you get both versions of the same sequence!
The next thing to do was to go back and find a point in the long scene with Chronotis and Chris where I could cut away to a brand new shot of Skagra’s ship landing, something I think we ought to have seen in the original. Okay I know it’s still a shock reveal when we see Skagra on the bridge above the punt, but you’ve still got that “what the hell is he doing here?” thing going on so I added in the landing shot, as it still felt like an Obligatory Shot that had been missed.
In order to achieve that shot I used the clean background from when the ship lifts off later in the story and screen grabbed the ship from the cloud background. I then went back and animated the ship taking off and added a bit of motion blur. So now I had a clip of the ship becoming visible and ascending out of the top of the frame, so all I had to do then was to reverse the clip so it enters from the top of the frame, lands and goes invisible.
So the order of scenes is now – Skagra nobbles his Thinktank mates and legs it, Young Parsons comes to borrow a book from Prof C, Skagra’s ship lands, Parsons borrows the book and buggers off, the Dr and Romana get timescooped and un-timescooped and head off to see the Prof, watched by that naughty Skagra from the bridge.
The rest of the edit followed the template of the 2011 original up to the point where Romana rescues the Doctor from the sphere. This was where that original edit ended but I really wanted to see if I could get further into the story this time and I’ve succeeded. Essentially after this we alternate between Claire and Chronotis and the Doctor and Parsons. It’s about as far as I reckon you can go with the original footage before it no longer makes sense, meaning this edit runs about double the length of my previous effort, which just goes to show what an additional two years of experience will do for you!
The next additional shot was the very end where the policeman asks where the Police Box went. The original ending always confused me somewhat as I wondered why old Salyavin/Chronotis didn’t just use a bit of the old “Gallifreyan Ooja” on him! So the last shot has Chonotis’ eyes glowing in as similar a way as I could manage to when he put the `fluence on Claire earlier [see what I did there?]. I also updated that sequence too.
But the thing that really makes this edit different is the simple idea of making the sphere itself a character in the story. There’s so little of Christopher Neame’s Skagra that it’s hard to justify the second half of the story since there are no scenes with him in for us to cut to. And he can’t take off with Romana in the Tardis as the scenes resolving that plotline don’t exist. So I suddenly hit on the idea of making the sphere the one that’s really behind all this and that Skagra is being used, he’s not really the main villain at all.
Quite where the idea came from I’m not sure, but it was probably a combination of needing a way of smoothing over the joins in the plot and the fact that Babelcolour was updating his progress on colourising episode one of The Mind of Evil at the time I was doing the edit. I think that’s what sparked the idea of “what if there’s something in the sphere?”. Besides just the mind of Skagra and all the other ones he’s nicked.
I was thinking along the lines of some sort of Keller Machine-ish Mind Parasite or Great Intelligence type thing, and suddenly realised that would give me the perfect way to smooth over some of the plot holes left by the absence of so much material. And since they never actually get to Shada in this version, or at all since it never got filmed, that meant I could get away with re-titling the story as The Sphere of Skagra instead.
My next piece of inspiration came from using the space station footage from B7. In order to – to “fix” the plot and explain the absence of Skagra I came up with the idea that the Sphere abandons him on earth and high tails it back to the ship. The Dr & Romana see the ship take off and follow it. The ship makes its rendezvous with the Krarg carrier ship and that ship then travels back to the Thinktank, where the Sphere has set a trap – the Kraargs are waiting for the Doctor! That made sense of the footage but I still needed additional shots for the sphere to explain all this to the audience. The solution I came up with was, I think, quite ingenious and all I will say is that it involves more Blake’s Seven footage. To find out what footage I used and how it’s been incorporated, well you’ll just have to download the edit!
Of course, giving the sphere a part in the show meant that either I would have to play him myself, or I could use Andrew Sachs` performance as Skagra in the Paul McGann version but have him playing the “Voice of the Sphere” instead. And that then gave me the idea of possibly replacing David Brierly`s K9 with John Leeson`s, since he returned to voice the character in the following season anyway.
But before I made a final decision about any of that, the next thing to do was to go through the story and patch up the music. This was for two reasons – one, some of the material had been re-ordered, and two, a lot of sections cut away to Tom`s narration. The way the edit was put together meant that there were several gaps [nearly two dozen of `em!] that had to be plugged with additional music cues. It seemed to me that the simplest solution was to use other cues by the same composer, Keff McCullough, so they stood a chance of matching up with the existing ones.
Most of the cues I ended up using came from “Battlefield” as that was the one that seemed to fit best. As for the amount of work involved, well let`s just say that the music alone took as long as the editing of the video, some sections were easier than others and some required some real ingenuity to fix!
In the end it proved impossible to match the webcast audio to the original pictures so I ended up playing the part of the sphere myself, which if nothing else meant I could be sure the dialogue would fit the gaps! Recording the dialogue was almost the last thing to be done for this show, which, as I’m sure you can imagine, was a bit of a challenge as the sphere has no lines in the original!
As an actor I’m used to improvising so I did a couple of takes for each section, trying to think of what the sphere might say if the thing inside it could speak. In terms of performance, I was aiming for something halfway between Christopher Neame and Andrew Sachs, with a bit more emphasis on the latter. Then it was simply a case of matching that dialogue to the action.
That meant the opening section had to be cut back a bit to match the dialogue, something I think it does rather well. I also replaced the countdown with a rather more dramatic set of captions which, together with the sphere dialogue, combines into a nice little scene setter which helps makes the plot rather clearer than it would be without it. The only other problematic section was when the Krarg buggers up the whole plan at the end, literally sending things up in smoke. It’s a very confusing sequence but I’ve tried as best as I can to make sense of it with the sphere’s lines added to the footage.
Of course there are still a lot of unanswered questions in this version but I’ve tried to make sense of it all as best I can given how much material is missing. If only they’d recorded one more studio session before the strike!
As an alternate version of the story, with the sphere as the real villain, I think it stands up well enough on it’s own merits. And you all know the intended version well enough to fill in the backstory for yourselves. Given how little footage there is to work with, I reckon this version makes as much sense of the story as it’s possible to do without resorting to Tom’s narration. It was a very satisfying edit to work on and I hope you enjoy watching it as much as I enjoyed editing it!