Having completed Dr.Who and The Daleks and been extremely pleased with the result, I moved on straight away to the second – and I think better – of the two Peter Cushing movies.
The first thing to do was to create a new shot for the Tardis leaving 1966 – the original, with that bloke mugging to camera, is not only a bit naff it’s rather spoiled by a very bad roll back and mix. Next I created a new background for the opening titles, this time from the Patrick Troughton Title Sequence. Since this was the second film it seemed right to use the second set of titles from the tv show, and it was nice to see the footage in colour. I exported the file and then colourised the Black & White titles section, exported it again and then adjusted the hue on four separate layers, exported that file and then finally, as per the previous film, recreated the credits from scratch before exporting the opening sequence for the final time. Then it was on to the rest of the film.
Before embarking on editing the two Dalek films, I knew that the first one would get cut down more than the second. Bernard Cribbins’ character is played pretty straight, whereas Roy Castle was more of a cut-price Norman Wisdom. The only thing I knew we would lose for sure from this film was all that bollocks with the Robomen and their Smartie-dispensing food machine. The film ends up being just over an hour and five minutes long, with the first cut being the bit where Cushing introduces himself as “Doctor Who”. It didn’t work in The War Machines and it still doesn’t work here, so after the Doctor tells Tom it`s 2150AD we cut to him leaving the Tardis.
The next big cut is the initial scene at the rebel HQ where we meet Dortmund. We don’t really need it and it helps keep the focus of the edit on the Doctor and it means the Daleks turn up earlier! We get to the rebel HQ when we need to, which is them planning their attack on the saucer. As well as several trims to scenes to keep the pace up, the next thing to go was the aforementioned Food Machine sequence, the knock on effect of which was that I had to cut the later sequence it was in with Tom and Louise.
When we get to the mine I cut all the nonsense about replacing the core of the planet with a bloody big engine, which is pure B-Movie stuff and totally unworthy of Doctor Who. Finally, when it came to the Daleks` downfall, I cut out all the dodgy model work, as some of the Daleks that get blown up are less than convincing to say the least. I also cut a couple of frames from just before the model of the Dalek Saucer gets blown up as they completely give the game away that it`s a different model that explodes – if you freeze frame on your DVD or Blu-Ray you can see that the lighting is completely different. Also, if you look closely at the explosion in the middle of the Rel Counter shot as the bomb is hurtling down the shaft, the explosion they use is actually an alternate angle of the Dalek Ship exploding from the end of the film! So that got cut out.
And that completed the major editing work on the film. The next thing to do was to see if there was any way that I could use footage of Wilfred Mott as if he was an older Tom Campbell, remembering his adventure with the Doctor. That’s something Who fans have had an eye on ever since The Cribster was cast, but would it work? The best bit of footage I thought I could use was from The End of Time Part One when Wilf sneaks upstairs and pulls out his old service revolver just before Ten chucks stones at his window to get his attention. In order to find out if it would work I mocked up a B&W photo from a screen grab of the Doctor waving goodbye to Tom in the doorway of Tardis. And while we’re on the subject, that scene makes no sense, if you look at how long Tom is driving for, he would have been nowhere near the Police Box to wave at them as it’s clearly only across the street from the jewellers! But Wilf as Tom just didn’t work and I didn’t like it so I dropped the idea. Of course, if you like it, there’s nothing to stop you putting it back in in your version!
And so instead of that I had the alternative idea of using a much shorter version of the end coda sequence with Tom stopping the robbery. The more I thought about it, the more I thought that the best way to do it was to have a nod to what happened in “Father’s Day”. Remember, when Tom exits the Tardis and looks across the street, he should see himself looking in the travel agent’s window. So when he clobbers the getaway driver Tom 1 fades away as Tom 2’s arrival negates the original version of the timeline, the one where he went into the Tardis in the first place! Paradox Alert! An additional sound effect for this sequence, plus a few other “proper” Tardis ones completed the Fan Edit of this second Peter Cushing Dalek Movie. What a shame Dalekmania burned itself out before we got a third!