Who's The Doctor? A TL
- Thread starter DAv
- Start date
Well the focus isn't just going to be on Doctor Who, but elements of pop culture as a whole. 2000 seems to be a good place to end as any.
Mary Whitehouse is going to feel very vindicated ITTL...
Generally the serial ideas were all used except Regeneration on Ramos and Redemption of The Daleks which were my own creations. Generally the other ideas were watered down after the creative input of several other people, including Denver himself.
Yep, throw in a group of Daleks that essentially become hippies, and you've got a lot for core Whovians to be annoyed over on top of everything else.
Aye, can't imagine him being too happy with the serial come to think of it.
OK, but even though Adams is supposed to be one of Denver's main supporters, I'm surprised that he's willing to go so far in watering down his own story.
Also I've just noticed this:
Isn't it a bit early for this ? The episode is going to be broadcast in September 1979 and Maggie only became Prime Minister in May 79. Also before the Falklands Conflict, Maggie wasn't seen as particularly militaristic - her Government actually cut defense spending in 1981.
There was an episode featuring a pastiche of Margeret Thatcher, but that was broadcast in 1988, by which time she was much more of an acceptable target for such treatment.
I've just remembered one more thing. IOTL, the ratings for season seventeen were distorted due to a strike that shut down ITV for 3 months. Lots of people tuned in to watch Doctor Who for the first time because there was nothing else available.
Cheers,
Nigel.
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Alright lets just say this, youve killed Doctor Who via the Terry Nation Estate. Terry Nation was a very hard fisted b****** when it came to the Daleks. Anything like Redemption will make him go charge into the fray to stop the script (Since he had final say on approving the scripts with the Daleks).
If it gets made without his permission then no one will forget who owns the Daleks ever again.
Plus you would get a Cartmel Masterplan type of scripts 10 years early from the BBC to redeem Doctor Who.
If it gets made without his permission then no one will forget who owns the Daleks ever again.
Plus you would get a Cartmel Masterplan type of scripts 10 years early from the BBC to redeem Doctor Who.
Stolengood
Banned
JNT was not the first man approached for succeeding Graham Williams; that would be George Gallacio. Would've been interesting to see what he'd do with it... or maybe David Maloney, were he not busy with another Nation property. 
Personally, I've always felt that the one American who could've played the Doctor was Gene Wilder; he's pretty much an American Tom Baker, already.
But I'm hoping another out-of-left-field Doctor will come soon... is it too much to hope for Malcolm McDowell?
Personally, I've always felt that the one American who could've played the Doctor was Gene Wilder; he's pretty much an American Tom Baker, already.
But I'm hoping another out-of-left-field Doctor will come soon... is it too much to hope for Malcolm McDowell?
Hm, you may be right there. It was largely born out of me wanting to make the stories different from OTL as just copying them directly didn't seem quite right. Mea culpa on that aspect.
Good point, but Margaret Thatcher still had the whole milk snatcher thing going for her at this time. Granted, this was just a throw in I put in because it seemed to fit. Easily disregarded as an idea if I ever get to re-edit this.
I honestly kept on reading that when I was doing what research I did for TTL and I don't know why I utterly failed to bring it up. Could chalk it up to Denver simply omitting the facts I suppose.
Hope you enjoy it.
All I could find regarding the rights of the Daleks was that they were owned equally by Nation and the BBC and that Nation didn't do too well trying to move them out of the franchise. If you have any information adding to this, that'd be a big help.
Funny you should mention that...
Huh, I could actually see that. And it would be wonderful.
The next few would be a bit more conventional choices as I have planned, but no less entertaining.
Do you remember the Looney Toons movie with the Daleks in it? No, I thought not, The estate grew so pissed at the comical handling they were moving in to sue since the producers of the film (Back in Action) only asked the BBC for usage of the Daleks.
P.S. if you have Lungbarrow or similar stories before Dr. Who is put to sleep I will subscribe for life.
P.S. if you have Lungbarrow or similar stories before Dr. Who is put to sleep I will subscribe for life.
Nope, can't say I did see that. I just knew there was some kind of joint control of sorts. Afraid Lungbarrow won't be involved just before the first fall happens. It could be brought up in some manner though, although in an alternate sense,
The Hiatus Begins
Part Three: Indefinite Hiatus:
“I will not answer questions about that.”
- Extract from interview with Peter Postlethwaite after being asked as his time as the Master, 1984
The creative direction had been chosen for the eighteenth series while John Denver was doing publicity work in the US. Douglas Adams, although forced to leave, was happy to move onto other projects and kept in touch with Denver over the upcoming months of filming. Upon returning to the set, Denver found the atmosphere changed as the scripts were brought to him, the show reflecting a much darker take than before. Nathan-Turner’s insistence that the creative direction be much darker, along with some of the more hostile fan reaction to Denver’s time on the show, dampened his enthusiasm to continue. Despite the hostility from fans and his own questions regarding the material, questions which only increased in frequency as time went on, Denver stuck with the show although correspondence with friends and family at the time showed he was having second thoughts about returning for a third series if he was invited back to it. There was some good news as the casting of Matthew Waterhouse as Adric allowing a new companion to the show as a potential protégé of the Doctor.
- Extract from ‘Doctor Who: The Backstage Story’, 2008
The decision to bring back the Master came with the choice to darken the tone of the show in response to the light hearted feel of the seventeenth series of Doctor Who. The idea would be that the Master could provide a dark reflection of the Doctor himself, more so than ever and be able to provide a balance to the series. Casting calls went out and the role eventually went to a then unknown Peter Postlethwaite. Considering it a big break for his career, Postlethwaite would be remembered as one of the more memorable people to take on the role, although for reasons he would come to regret.
- Extract from ‘Doctor Who: The Backstage Story’, 2008 (1)
“I don’t want to talk about that. Next question please.”
- Extract from interview with Peter Postlethwaite after being asked about his role as the Master, 1986
“It was of great disappointment me personally to see the way in which the series had changed in just one year. The casting of John Denver had led to the show being much more suitable for children, despite some questionable elements remaining. I had thought that good sense and decency was starting to return to the BBC, only for such images of horror and depravity to be shown that something had to be done.”
- Private correspondence from Mary Whitehouse, 1991
“I’m really not liking this Nathan. I don’t think this stuff’s suitable for kids.”
“If you want kids’ stuff John, go on bloody Tiswas!”
- Alleged conversation between John Denver and Nathan-Turner during the filming of series eighteen of Doctor Who
Disagreements over the direction of Doctor Who started as soon as the cast started to read the scripts for the show. John Denver in particular voiced his unhappiness to Nathan-Turner over the direction the show was taking but reluctantly went along with it, generally due to an idea of doing ‘damage control’. The tension was ramped up by Turner taking full control over the creative direction where possible, causing complaints among the script writers as their ideas were sent back or edited thoroughly. This led to the eighteenth series of Doctor Who being the darkest of the entire shows run as deaths were common place and no one was safe, not even the Doctor’s companions as ‘Vengeance on Varos’ was soon to show.
- Extract from ‘Doctor Who: The Backstage Story’, 2008
“I thankfully wasn’t alone when it came to protesting what was going to happen on ‘Vengeance on Varos’. John, Peter and others all spoke out against it but something in Nathan just spurred him on. Any time John tried to get him to make things less bleak, he just got blanked or snapped at and that began to wear him down. When it came to filming, Peter was very nervous, it was his big break into acting and the scene we had to do towards the end made him question whether or not he’d remain a bankable star. We could all see the controversy that was going to come up because of it and I hated the thought of possibly being written out of the show that way. John did his best, trying to smooth things over and actually introduced Peter to some American agents to perhaps get some work in the States if he felt like it. It’s a good thing he did as it at least allowed Peter to get away from Mary Whitehouse and her mob until things smoothed over.”
- Extract from interview with Lalla Ward, 1996
‘Motivational Death’, formerly known as ‘Raped by The Master’
- Extract from TV Tropes, 2011 (2)
Vengeance on Varos:
The final serial of Doctor Who’s eighteenth series started off with the Doctor, Adric and Romana touching down on Varos. The loss of K-9 to the Cybermen in previous adventures lead them to try and find some way to relax and Varos is regarded as an idyllic location. While on there, the Doctor gets involved with an archaeological dig that manages to unearth a TARDIS, having laid dormant for thousands of years. Ignoring the warnings of the Doctor, the lead archaeologist manages to break into the TARDIS, amazed by the potential of his discovery. Before he can enjoy it though, his attempts to reactivate the console panel sees the heart of the TARDIS activate and send a course of energy through him, merging him with the Master, who had hid his essence in the heart of the TARDIS to escape death before waiting for a chance to gain a new life and new regenerations. Realising that the Doctor is on Varos, the Master decides to take his revenge, having become much more deranged in the years he was trapped as pure energy. He manages to lure Romana into the TARDIS, escaping and having the Doctor and Adric pursue him to rescue their friend. On board his TARDIS, the Master subjects Romana to a series of tortures that allow him to claim her regenerations as his own. The final torture all but destroys Romana’s mind and the Master goes to kill her, only for the Doctor’s TARDIS to finally catch up, the Doctor boarding the Master’s TARDIS and beginning a struggle with him while the pressure from two TARDIS’ being so close together and in such conflict threatens to tear a hole in space. Eventually, the Doctor accidentally throws the Master into a rip in space, sending him careening into the void before he and Adric pull Romana to safety. The serial ends with Romana recovering, but without most of her regenerations and the Master potentially alive and able to return at some point in the near future.
- Synopsis of ‘Vengeance on Varos’, aired 28th February – 21st March, 1981
“Dear sir,
I am writing to you in order to complain about the content of last night's episode of Doctor Who. It was one of the most disgraceful things I have ever seen on television designed for family viewing. My grandchildren were present for what I can only describe as on-screen rape, something I felt was completely unsuitable for the time slot it was shown on and for the intended audience. It was an utter disgrace and I have no intention of watching any of your programming until a full apology and assurance that nothing of a similar nature will happen again.”
- Extract from a letter of complaint to the BBC regarding 'Vengeance on Varos', one of tens of thousands the BBC would receive in the days after the serial ended
“I feel we were going in the right direction, after the general light heartedness of the seventeenth series, I feel our audience was mature enough to handle more difficult issues, despite the questions others raised. 'Vengeance on Varos' was a daring move to make and certainly turned heads. We were expecting to make similar progress with the nineteenth series as Terry Nation was going over scripts to maintain the tone we were looking to set. Unfortunately, elements in society at the time simply weren't willing to give the show the chance it needed. Sadly, John thought he could put things right in his own... Special way only for it to backfire and wind up damaging the show itself.”
- Extract from interview with John Nathan-Turner, 1989
“Do I think the episode went too far? If I'm gonna be honest, yes. A show like that really shouldn't have such imagery. It was too much, especially since children were watching. I think for next season, we'll manage to get things back on track though.”
- Extract from interview with John Denver, April, 1981
“F***!”
- Alleged reaction many in the BBC had to said interview, 1981
“When the main cast member of such a programme agrees with the majority that such scenes are unsuitable for viewing, the question must be asked as to whether or not it should continue in its present format.”
- Extract from a speech by Mary Whitehouse to NVALA members, April, 1981 (3)
The aftermath of the of the serial, as well as Denver's own interview led to a huge fallout backstage, just before filming was supposed to begin. Nathan-Turner accused Denver of deliberately trying to damage the show by making it nothing more than 'children's stuff'. After a furious argument, Denver left the set, promising not to return. It was a repeat of what had happened with Tom Baker two years earlier, only much worse. No filming had taken place and the show had been damaged in the eyes of core fans due to the light hearted nature of the seventeenth series, while the grim nature of the eighteenth series turned away many more casual fans. By now, many of the higher ups in the BBC saw Doctor Who as a damaged brand with public backlash and backstage problems at an all time high. Denver walking off set, despite later relenting in his decision to stay away, was the breaking point. Production was cut completely as the decision of what to do with the show next was taken. Until then, Doctor Who was on 'indefinite hiatus'.
- Extract from ‘Doctor Who: The Backstage Story’, 2008
“I've still got mixed feelings on it, even now. But coming back here has let me know I've been part of something special, even if I didn't want to acknowledge that for ten years. I suppose what really embittered me on it was a few days after the episodes aired and I went out down to the shops. I was going down one of the aisles when this little boy noticed me. The look on his face was frightful and he ran, screaming, from the building, saying that I was going to kill everyone. It was disheartening to know that'd be the reaction I'd be getting for a long while and was grateful for the opportunity John gave me by giving me some of his contacts in the States. My time on Broadway was a much needed boost to my career and time away from the UK.”
- Extract from interview with Peter Postlethwaite, 1994
“The episode was dark and the scene between Romana and the Master was disturbing to see. Although claims of outright rape were overdone, it's easy to see why no one but Nathan-Turner wanted to go through with it. It depicts Romana being all but destroyed mentally on screen as the Master used technology to drain her of her regenerations, a series of haunting scenes with Postlethwaite putting in an honestly chilling performance as a deranged Master. But the outrage was real and with the show being put on indefinite hiatus was used as damage control as public controversy and backstage problems meant that progressing with filming was going to be too difficult. As the year went on with no question as to what was going to happen to Doctor Who. For a while, it seemed as if the entire series might have been abandoned until fan pressure had an effect and the series found an unlikely saviour in the form of Michael Grade who was soon hearing of openings in the BBC after the fallout from the hiatus and the general feel that new blood and new ideas were needed.”
- Extract from 'Cancelled!' An overview of the series' cancellation by SFDebris, 2013
1: For this role, imagine an Obidiah Hakeswill that can keep it together slightly better. A very disturbing role that was performed really well by
2: OTL's 'Stuffed in The Refrigerator' trope.
3: The National Viewer's And Listener's Association
“I will not answer questions about that.”
- Extract from interview with Peter Postlethwaite after being asked as his time as the Master, 1984
The creative direction had been chosen for the eighteenth series while John Denver was doing publicity work in the US. Douglas Adams, although forced to leave, was happy to move onto other projects and kept in touch with Denver over the upcoming months of filming. Upon returning to the set, Denver found the atmosphere changed as the scripts were brought to him, the show reflecting a much darker take than before. Nathan-Turner’s insistence that the creative direction be much darker, along with some of the more hostile fan reaction to Denver’s time on the show, dampened his enthusiasm to continue. Despite the hostility from fans and his own questions regarding the material, questions which only increased in frequency as time went on, Denver stuck with the show although correspondence with friends and family at the time showed he was having second thoughts about returning for a third series if he was invited back to it. There was some good news as the casting of Matthew Waterhouse as Adric allowing a new companion to the show as a potential protégé of the Doctor.
- Extract from ‘Doctor Who: The Backstage Story’, 2008
The decision to bring back the Master came with the choice to darken the tone of the show in response to the light hearted feel of the seventeenth series of Doctor Who. The idea would be that the Master could provide a dark reflection of the Doctor himself, more so than ever and be able to provide a balance to the series. Casting calls went out and the role eventually went to a then unknown Peter Postlethwaite. Considering it a big break for his career, Postlethwaite would be remembered as one of the more memorable people to take on the role, although for reasons he would come to regret.
- Extract from ‘Doctor Who: The Backstage Story’, 2008 (1)
“I don’t want to talk about that. Next question please.”
- Extract from interview with Peter Postlethwaite after being asked about his role as the Master, 1986
“It was of great disappointment me personally to see the way in which the series had changed in just one year. The casting of John Denver had led to the show being much more suitable for children, despite some questionable elements remaining. I had thought that good sense and decency was starting to return to the BBC, only for such images of horror and depravity to be shown that something had to be done.”
- Private correspondence from Mary Whitehouse, 1991
“I’m really not liking this Nathan. I don’t think this stuff’s suitable for kids.”
“If you want kids’ stuff John, go on bloody Tiswas!”
- Alleged conversation between John Denver and Nathan-Turner during the filming of series eighteen of Doctor Who
Disagreements over the direction of Doctor Who started as soon as the cast started to read the scripts for the show. John Denver in particular voiced his unhappiness to Nathan-Turner over the direction the show was taking but reluctantly went along with it, generally due to an idea of doing ‘damage control’. The tension was ramped up by Turner taking full control over the creative direction where possible, causing complaints among the script writers as their ideas were sent back or edited thoroughly. This led to the eighteenth series of Doctor Who being the darkest of the entire shows run as deaths were common place and no one was safe, not even the Doctor’s companions as ‘Vengeance on Varos’ was soon to show.
- Extract from ‘Doctor Who: The Backstage Story’, 2008
“I thankfully wasn’t alone when it came to protesting what was going to happen on ‘Vengeance on Varos’. John, Peter and others all spoke out against it but something in Nathan just spurred him on. Any time John tried to get him to make things less bleak, he just got blanked or snapped at and that began to wear him down. When it came to filming, Peter was very nervous, it was his big break into acting and the scene we had to do towards the end made him question whether or not he’d remain a bankable star. We could all see the controversy that was going to come up because of it and I hated the thought of possibly being written out of the show that way. John did his best, trying to smooth things over and actually introduced Peter to some American agents to perhaps get some work in the States if he felt like it. It’s a good thing he did as it at least allowed Peter to get away from Mary Whitehouse and her mob until things smoothed over.”
- Extract from interview with Lalla Ward, 1996
‘Motivational Death’, formerly known as ‘Raped by The Master’
- Extract from TV Tropes, 2011 (2)
Vengeance on Varos:
The final serial of Doctor Who’s eighteenth series started off with the Doctor, Adric and Romana touching down on Varos. The loss of K-9 to the Cybermen in previous adventures lead them to try and find some way to relax and Varos is regarded as an idyllic location. While on there, the Doctor gets involved with an archaeological dig that manages to unearth a TARDIS, having laid dormant for thousands of years. Ignoring the warnings of the Doctor, the lead archaeologist manages to break into the TARDIS, amazed by the potential of his discovery. Before he can enjoy it though, his attempts to reactivate the console panel sees the heart of the TARDIS activate and send a course of energy through him, merging him with the Master, who had hid his essence in the heart of the TARDIS to escape death before waiting for a chance to gain a new life and new regenerations. Realising that the Doctor is on Varos, the Master decides to take his revenge, having become much more deranged in the years he was trapped as pure energy. He manages to lure Romana into the TARDIS, escaping and having the Doctor and Adric pursue him to rescue their friend. On board his TARDIS, the Master subjects Romana to a series of tortures that allow him to claim her regenerations as his own. The final torture all but destroys Romana’s mind and the Master goes to kill her, only for the Doctor’s TARDIS to finally catch up, the Doctor boarding the Master’s TARDIS and beginning a struggle with him while the pressure from two TARDIS’ being so close together and in such conflict threatens to tear a hole in space. Eventually, the Doctor accidentally throws the Master into a rip in space, sending him careening into the void before he and Adric pull Romana to safety. The serial ends with Romana recovering, but without most of her regenerations and the Master potentially alive and able to return at some point in the near future.
- Synopsis of ‘Vengeance on Varos’, aired 28th February – 21st March, 1981
“Dear sir,
I am writing to you in order to complain about the content of last night's episode of Doctor Who. It was one of the most disgraceful things I have ever seen on television designed for family viewing. My grandchildren were present for what I can only describe as on-screen rape, something I felt was completely unsuitable for the time slot it was shown on and for the intended audience. It was an utter disgrace and I have no intention of watching any of your programming until a full apology and assurance that nothing of a similar nature will happen again.”
- Extract from a letter of complaint to the BBC regarding 'Vengeance on Varos', one of tens of thousands the BBC would receive in the days after the serial ended
“I feel we were going in the right direction, after the general light heartedness of the seventeenth series, I feel our audience was mature enough to handle more difficult issues, despite the questions others raised. 'Vengeance on Varos' was a daring move to make and certainly turned heads. We were expecting to make similar progress with the nineteenth series as Terry Nation was going over scripts to maintain the tone we were looking to set. Unfortunately, elements in society at the time simply weren't willing to give the show the chance it needed. Sadly, John thought he could put things right in his own... Special way only for it to backfire and wind up damaging the show itself.”
- Extract from interview with John Nathan-Turner, 1989
“Do I think the episode went too far? If I'm gonna be honest, yes. A show like that really shouldn't have such imagery. It was too much, especially since children were watching. I think for next season, we'll manage to get things back on track though.”
- Extract from interview with John Denver, April, 1981
“F***!”
- Alleged reaction many in the BBC had to said interview, 1981
“When the main cast member of such a programme agrees with the majority that such scenes are unsuitable for viewing, the question must be asked as to whether or not it should continue in its present format.”
- Extract from a speech by Mary Whitehouse to NVALA members, April, 1981 (3)
The aftermath of the of the serial, as well as Denver's own interview led to a huge fallout backstage, just before filming was supposed to begin. Nathan-Turner accused Denver of deliberately trying to damage the show by making it nothing more than 'children's stuff'. After a furious argument, Denver left the set, promising not to return. It was a repeat of what had happened with Tom Baker two years earlier, only much worse. No filming had taken place and the show had been damaged in the eyes of core fans due to the light hearted nature of the seventeenth series, while the grim nature of the eighteenth series turned away many more casual fans. By now, many of the higher ups in the BBC saw Doctor Who as a damaged brand with public backlash and backstage problems at an all time high. Denver walking off set, despite later relenting in his decision to stay away, was the breaking point. Production was cut completely as the decision of what to do with the show next was taken. Until then, Doctor Who was on 'indefinite hiatus'.
- Extract from ‘Doctor Who: The Backstage Story’, 2008
“I've still got mixed feelings on it, even now. But coming back here has let me know I've been part of something special, even if I didn't want to acknowledge that for ten years. I suppose what really embittered me on it was a few days after the episodes aired and I went out down to the shops. I was going down one of the aisles when this little boy noticed me. The look on his face was frightful and he ran, screaming, from the building, saying that I was going to kill everyone. It was disheartening to know that'd be the reaction I'd be getting for a long while and was grateful for the opportunity John gave me by giving me some of his contacts in the States. My time on Broadway was a much needed boost to my career and time away from the UK.”
- Extract from interview with Peter Postlethwaite, 1994
“The episode was dark and the scene between Romana and the Master was disturbing to see. Although claims of outright rape were overdone, it's easy to see why no one but Nathan-Turner wanted to go through with it. It depicts Romana being all but destroyed mentally on screen as the Master used technology to drain her of her regenerations, a series of haunting scenes with Postlethwaite putting in an honestly chilling performance as a deranged Master. But the outrage was real and with the show being put on indefinite hiatus was used as damage control as public controversy and backstage problems meant that progressing with filming was going to be too difficult. As the year went on with no question as to what was going to happen to Doctor Who. For a while, it seemed as if the entire series might have been abandoned until fan pressure had an effect and the series found an unlikely saviour in the form of Michael Grade who was soon hearing of openings in the BBC after the fallout from the hiatus and the general feel that new blood and new ideas were needed.”
- Extract from 'Cancelled!' An overview of the series' cancellation by SFDebris, 2013
1: For this role, imagine an Obidiah Hakeswill that can keep it together slightly better. A very disturbing role that was performed really well by
2: OTL's 'Stuffed in The Refrigerator' trope.
3: The National Viewer's And Listener's Association
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Hell, this is an Old Shame for everyone involved... (BTW, have you seen Pete Postlethwaite in the Usual Suspects and In the Name of the Father? Good roles in both.)
Giving Mary Whitehouse ammo?!? What were you thinking, Mr. Turner? I wonder if this will lead to theories that Turner was working for Whitehouse in TTL.
Michael Grade, of all people, trying to save Dr. Who?!? Wonder if he will be knighted (OTL, he is the only BBC Controller not to be knighted by the Queen, who is reportedly a Dr. Who fan) in TTL?
Keep this up!!!
Giving Mary Whitehouse ammo?!? What were you thinking, Mr. Turner? I wonder if this will lead to theories that Turner was working for Whitehouse in TTL.
Michael Grade, of all people, trying to save Dr. Who?!? Wonder if he will be knighted (OTL, he is the only BBC Controller not to be knighted by the Queen, who is reportedly a Dr. Who fan) in TTL?
Keep this up!!!
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Well not intentionally...
Haven't seen those films but I really enjoyed Pastlethwaite in Sharpe, something which made him a good fit for what I had in mind for TTL. The serial is a bit of an old shame for all concerned but Denver still has fond memories of his time on Doctor Who and just thinks the show went in the wrong direction.
Generally, Vengeance on Varos was born out of Turner's frustration with how Denver had taken the previous series and over-compensated as a result. At least the title actually fits the serial this time around...
Oh, he won't be trying to save it. Much like Leo and Max never tried to make a successful Hitler musical...
Stolengood
Banned
JNT would never say anything like that; he was much more of a passive-aggressive, soft-spoken person. He was subtle in his venom; he hid it behind a pleasant facade, and he was very publicity conscious, even after the programme wrapped, so he'd never bitch about anything, in any interview, much less to the extent you portray above.
Have to rewrite that bit then, damn. I was sort of amping it up slightly as at this point TTL, he does kinda have a good reason to be angry with Denver and bitter with later events but I'll concede the point. I'll get onto that right now.
I don't know, he was big on trying to push blame off of himself for anything, and defend the things that were exlicitly his fault (the coat) as obviously good. Also, things ended much better for him on Who OTL. Further, given the kinds of things he did OTL, I'm not putting a lot past him.
Stolengood
Banned
Fair enough. That's part of why his tenure was so damaging; he seemed nice, but he was a terror to work with, and, as he'd never worked in a creative capacity before becoming producer on Who, had either no ideas or terrible ideas.
The man also took slight at the slightest provocation; for proof, look no further than the professional fate of Peter Grimwade, the best director JNT had in his tenure (before Graeme Harper and Matthew Robinson got slots, of course).
Need more evidence? PJ Hammond (yes, that PJ Hammond) was contracted as a replacement author on the Trial season; personally contracted by Eric Saward, who liked Hammond's work on Sapphire & Steel and wanted at least most of the season to have quality writers.
JNT took one look at Hammond in the writers' room and decided he didn't like how he looked, so he rejected Hammond's story completely. Saward, in response to this, finally quit his script editor position in disgust. This was at the relative last minute before production was to commence, and so Hammond's slot was eventually filled by those masters of fast-writing... Pip and Jane Baker.
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Further, given how the man gossiped and talked harshly in more casual setting and behind the camera, how the "interview" was conducted could easily effect what he said.
I like the format and I didn't even disagree with the interview. It sounds like the kind've thing JNT would say "casually" IOTL, so I can see him saying it in an interview in the right context ITTL.