Army of Ghosts - Production

Production

The two-part finale comprising "Army of Ghosts" and "Doomsday" 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". With the commission of the Torchwood series in 2005, Davies decided to base the spin-off in Cardiff and relocate "Army of Ghosts" and "Doomsday" to Canary Wharf in London.

To ensure that Noel Clarke and Shaun Dingwall (Mickey Smith and Pete Tyler, respectively) were available for filming, the story was filmed in the season's third production block along with "Rise of the Cybermen" and "The Age of Steel". Filming for the story started on 2 November 2005 on location in Kennington, but this story 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. 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.

The episode also features references to other programmes by the BBC. The most notable of these is the cameo of Barbara Windsor as Peggy Mitchell in EastEnders, where she bars a ghost whom she presumes to be Den Watts from The Queen Victoria. Watts, presumed killed in 1989, returned to the soap in 2003, before being killed a second time in 2005 after being written out of the show. Other British TV personalities appearing in the episode are Trisha Goddard, Alistair Appleton and Derek Acorah, appearing as themselves. Additionally, the shot of One Canada Square is taken from the opening credits of The Apprentice. A programme with the same name as a controversial broadcast in 1992 by the BBC, Ghostwatch, also appears in the show.

Location shooting took place at the Coal Exchange and Mount Stuart Square, Cardiff Bay.

Read more about this topic:  Army Of Ghosts

Famous quotes containing the word production:

    An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.
    George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)

    In the production of the necessaries of life Nature is ready enough to assist man.
    Henry David Thoreau (1817–1862)

    The repossession by women of our bodies will bring far more essential change to human society than the seizing of the means of production by workers.
    Adrienne Rich (b. 1929)