Production
| Episode | Broadcast date | Run time | Viewership |
Archive |
|---|---|---|---|---|
| "World's End" | 21 November 1964 (1964-11-21) | 23:42 | 11.4 | 16mm t/r |
| "The Daleks" | 28 November 1964 (1964-11-28) | 24:19 | 12.4 | 16mm t/r |
| "Day of Reckoning" | 5 December 1964 (1964-12-05) | 26:50 | 11.9 | 16mm t/r |
| "The End of Tomorrow" | 12 December 1964 (1964-12-12) | 23:23 | 11.9 | 16mm t/r |
| "The Waking Ally" | 19 December 1964 (1964-12-19) | 24:29 | 11.4 | 35mm t/r |
| "Flashpoint" | 26 December 1964 (1964-12-26) | 25:21 | 12.4 | 16mm t/r |
This was the very first serial of Doctor Who that made extensive use of location filming, with London being chosen as the primary backdrop. The decision to use London also helped to keep the show within its production budget given that the BBC's Lime Grove studios where Doctor Who was produced were located at nearby Shepherd's Bush. Location filming took place in various parts of the city including extensive sequences at Whitehall, Trafalgar Square, Westminster Bridge, Albert Embankment and The Royal Albert Hall, moving on to Kensington and the Albert Memorial with scenes involving the Dalek roadblock being filmed at Wembley. Other location scenes were filmed at the abandoned Wood Lane (Central line) tube station in West London and river sequences both shot besides the River Thames at St Katherine's Dock in Wapping and at Kew Railway Bridge. The mine scenes were the first Doctor Who scenes to be filmed in a quarry, using the disused John's Hole Quarry at Stone, Kent.
The music was composed and conducted by Francis Chagrin.
Read more about this topic: The Dalek Invasion Of Earth
Famous quotes containing the word production:
“[T]he asphaltum contains an exactly requisite amount of sulphides for production of rubber tires. This brown material also contains “ichthyol,” a medicinal preparation used externally, in Webster’s clarifying phrase, “as an alterant and discutient.””
—State of Utah, U.S. public relief program (1935-1943)
“Constant revolutionizing of production ... distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.”
—Karl Marx (1818–1883)
“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)