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Original 'Sloth' Transcription from http://www.hwcn.org/~an933
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This file was created without the consent or knowledge of the
Audio/Visuals team.
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AUDIO ADVENTURES IN TIME AND SPACE
TRANSCRIPTION: "REQUIEM: ON-TAPE"
NOTE: THIS FILE CONTAINS SPOILERS FOR
~~~~~
"SWORD OF ORION"
"PLANET OF LIES"
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THIS FILE WAS ORIGINALLY CREATED FOR MY OWN USE AS A RESEARCH DOCUMENT.
WHILE I FEEL THE WORDS ARE ACCURATE ENOUGH FOR THIS PURPOSE, I DO
RECOGNIZE THAT IT ISN'T PERFECT.
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"REQUIEM"
-AV21-
JULIAN HARRIS: [LAUGHS BREATHILY]
NICK BRIGGS: [OFF] Stop that!
JULIAN HARRIS: [COMPOSED] Scene seven. Take three. [IN CHARACTER OF
TOLLAND] There we are, my darlings. Lots more food to
come before the end of the day. [PAUSE] Come!
LORRAINE CROFT: [HESITANT] Uhh, Mister Tolland? [LAUGHS]
ALL: [LAUGH LONG AND LOUD]
[INSERT FADES]
GARY RUSSELL: That was an out-take from "Deadfall", and in this
edition of "Audio Visuals On Tape", we'll be talking
about the stories leading up to that one; namely, the
last three stories from season three.
Firstly, Simon Cunnington of West Sussex gave his
detailed appraisal of the pros and cons of "Sword of
Orion".
NICK BRIGGS: "`Sword of Orion' is a superb adventure story, in that it
rattles along at a fine old pace, but suffers from too
many too-familiar details associated with other
sources. For example, the opening salvage sequence
could be said to owe a lot to the dire "Aliens" movie,
and the infiltration of the Cybermats to Tom Baker's
Cyberman tale. Plus, the android-human war is a cliche
in its own right. But the twist at the end worked all
the same.
The music and sound effects were spot on. And the
performances were easily as competent as the standards
set by the TV show (damning with faint praise).
The Cybermen are menacing here: Implacable and strong,
keen on converting rather than simply killing the human
crew.
Although supremely shallow in terms of psychological,
emotional resonance, a standing criticism of melodrama
per-se, of course, it is a grand ripping yarn!"
GARY RUSSELL: However, Simon wasn't as keen about "Carny", and this is
echoed in a number of letters.
JIM MORTIMORE: John Moran from Huttersfield writes:
"As for Carny, well, I'm still confused. Was it real,
or was it a dream?"
NICK BRIGGS: And Peter Duncan from Bournemouth writes:
"`Carny': I found it a little too weird, even for me,
and I like some pretty weird things. I hated the
fortune teller. Completely over-the-top!"
GARY RUSSELL: On the other hand, Emily Brooks is representative of
those of you who thought that "Carny" was something
rather special:
JIM MORTIMORE: "The wonderfully evocative `Carny' captures the
atmospheres of past, present, and future beautifully.
It was like [living] a Ray Bradbury story."
GARY RUSSELL: Now, onto "Planet of Lies". And here are some comments
from Laurence Almeyer:
NICK BRIGGS: "I think `better late than never' is a good way to
describe `Planet of Lies', though it could have been
better.
The incidental music was not the best there's been, and
I found the general feel of the whole thing not quite
as smooth or professional as, say, `Enclave
Irrelative', or `Sword of Orion'; however, the script
was a masterpiece! Well done Alan Lear!"
GARY RUSSELL: In particular, Laurence singled out the script for
comment there. Strangely enough, Jim Mortimore; someone
you'd normally associate with the musical side of Audio
Visuals; had a lot to do with the plot of "Planet of
Lies". Jim? Tell us about it.
JIM MORTIMORE: Yeah! I was the guy who bludgeoned everyone else in
Audio Visuals into the story with a really subtle plot
line: to blow up Gallifrey.
No, but seriously, there was a lot of thoughts floating
around at the time, concerning the decline in the
Doctor's character during season three. Things like the
recurrence of his sargol addiction, and, uh, wanting to
harken back to the Dalek comic strips with their city
beneath the sand, which they controlled by magnetism.
Actually, though, I think the real reason was that we
like enormous explosions.
All these ideas, and more were considered at one of our
very bored (board) meetings, and from this I wrote a
plot synopsis of approximately twenty-five hundred
words, which Alan Lear, loosley, expanded into a
two-and-a-half hour script. Which script was then
adjusted in places by Arthur "I like [] [slips]" Wallis,
and Bilbo Baggins (Bill Baggs).
GARY RUSSELL: Well, that's all we've got time for on this tape.
You'll hear more from us on the next releases:
"Cuddlesome" by Nigel Fairs, and "Endurance" by Erica
Galloway.
And don't forget, all orders and letters to: Audio
Visuals. ---------- ------- ----, -------- ------,
-------.
NICK BRIGGS: And, just a reminder that all cheques should be made
payable to ---- -------.
MUSIC: [OUT]
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