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THREAD 1/18 A little present: a guide to each TARDIS interior used in Season One. It's great fun to see the difference in the size of the set each time. This is built on the great work of @claytonhickman! #DoctorWho #TARDIS There's bound to be at least one mistake in all this...
A1 - An Unearthly Child: The full control room set, with all furniture. The ormulu clock, armillary sphere and Chinese dragon (the latter two not yet seen) will periodically rotate between the eagle lectern and the pedestal in future eps (though the dragon doesn't last long).
A2 - The Cave of Skulls: A smaller, reverse angle, showing the opposite wall. The interior doors make their first appearance. Things are still reasonably consistent. Part of the desert set is built outside the exterior doors, allowing a view out onto the landscape.
A4 - The Firemaker: Slightly modified version of the first set, although interestingly built at the opposite end of Studio D.
B1 - The Dead Planet: We're looking the opposite way into the set again, and things have changed. The TARDIS doors are no playing the back wall, Susan's writing table has appeared, as have some new screens delineating the food machine area. Some mirrored floor panels missing.
B2 - The Survivors: With only one TARDIS sequence at the end of the episode (Susan retrieving the anti-radiation g̶l̶o̶v̶e̶s̶ drugs), studio space is given over to the extensive Skaro sets. We're left with a couple of flats and the control unit, with a nice jungle exterior used.
B7 - The Rescue: Another small corner of the TARDIS, again used for the end scene only. Again, only the two flats (a wall and the door wall) are employed.
C1 - The Edge of Destruction: Glorious. The full set fills Lime Grove D. The two bedrooms (sans doors!) and couch area make their first appearance. The food machine is relocated. From this ep on, the large wooden half-tubes above the scanner are replaced by a trompe l'oeil flat.
C2 - The Brink of Destruction: An almost identical set to last week. Only a few pieces of furniture have moved. A strange box on the floor by the interior door which was present in C1 has gone.
D3 - Five Hundred Eyes: Ep1 one of Marco Polo only uses TARDIS footage from C2, so Ep3 has the first TARDIS scene. It's for the condensation sequence, and no photos of it exist. This is my estimate based upon the existing set plan and set pieces which had been built at that time.
D5 - Rider from Shang-Tu: with sets packed in tight this week, the single TARDIS scene is played out against one wall and a couple of set pieces. Worth it though, to allow the other wonderful sets for this story to be used!
D7 - Assassin at Peking: Again, Marco Polo's grand design has a very busy studio represent the TARDIS with a wall and a photographic blow-up flat. The very definition of a corner. The set was used for a single shot at the end of the episode. They really needn't have bothered!
E1 - The Keys of Marinus: Terry Nation's best story in Season One :) begins with another one-wall set, but this time it's the door wall and allows the cast to see out onto the surface of Marinus.
F4 - The Day of Darkness: The TARDIS interior doesn't appear again until one scene in the last ep of The Aztecs. We're now down to two photographic blow-ups and two set pieces. We've come a long way from The Edge of Destruction.
G1 - Strangers in Space: A slightly larger set using some of the properly-built walls allows one of the best TARDIS moments to take place. The crew leave the Ship and the camera follows them out into the spaceship set. Very nice.
H1 - The Land of Fear: A welcome return for the larger control room, although it's starting to look a little shabby in places, notably around the awkward scanner assembly and mirrored floor panels. My render has knackered the transparent screens here too. Might fix this.
H6 - Prisoners of Conciergerie: And so we reach the end of S1(if not the recording block), and the big set's out again, with minor adjustments. Notably, the scanner wasn't slung - but you wouldn't know because they built this large set then only shot one small corner of it!
END 18/18 - And that's it. A quick note to say how impressive the work is from the hard-working folk who designed, built, erected and shot the sets, in a small-ish room at Lime Grove. Great stuff, Mr Brachacki.
