Moffat stays for season 10

[Lonemagpie]

Unless he was lying last night, of course.

http://blogtorwho.blogspot.co.uk/2015/05/steven-moffat-on-board-for-doctor-who.html

 

[Emperor-Tiberius]

 

[Allyn Gibson]

I am starting to feel that the BBC is going to have to cancel Doctor Who to get Moffat out of the chair.

 

[StCoop]

So if Capaldi does three series, Moffat will then end up staying one more year after that to usher in the female Doctor and then... Jesus, he's never going to go is he?

 

[Timelord79 (he/him)]

He'll keep at it till his dying day... And then he regenerates into the next showrunner.

 

[davejames]

Fine by me. His style may not feel quite as fresh and unique as it did early on, but his episodes still tend to be my favorites.

 

[Lonemagpie]

I am starting to feel that the BBC is going to have to cancel Doctor Who to get Moffat out of the chair.

Well, that worked with JNT, of course...

 

[Allyn Gibson]

I am starting to feel that the BBC is going to have to cancel Doctor Who to get Moffat out of the chair.

Well, that worked with JNT, of course...

And Paramount did the same with Rick Berman. Enterprise went off the air, and they waited out his contract.

 

[starsuperion]

I seriously doubt there will ever be a female doctor.

 

[Candlelight]

RTD did five years. This will be Moffat's fifth year. Hopefully he follows the pattern.

 

[The Wormhole]

RTD did five years. This will be Moffat's fifth year. Hopefully he follows the pattern.

Moffat has already surpassed RTD for length of term as showrunner. Even if we just use the airdates for measuring their terms, RTD's era was March 26, 2005 to January 1, 2010. That's roughly 4 years, 9 months. Moffat's era began April 3, 2010, 5 years, 1 month ago. With it now confirmed he's doing season 10, and assuming this will include the 2016 Christmas special, then that's nearly 6 years, 9 months. Pretty much two years longer exactly than RTD.

Also, this year will be Moffat's sixth Christmas special, if does 2016 than that's his seventh. RTD only did five Christmas specials.

 

[Kelso]

Excellent.

 

[K'Toska]

Unnnnnnnngh.

 

[Lakenheath 72]

Moffat said something recently that worries me.

I know I get in trouble all the time for saying this but you cannot make a show about a man who sort of doesn’t really change, apart from his face and a dark personality, who sort of has no interior life, who is unimpressed by everything, you have to make it about the person he has the relationship with.

http://www.themarysue.com/steven-moffat-bafta-doctor-who/

Syd Fields says that the first thing to do when trying to get to know your characters is to consider their interior and the exterior lives. Fields says that the interior life of a character takes place from birth until the moment that your film begins. The interior life is a process that forms character - that motivates character. The exterior life, on the other hand, takes place from the moment that the film begins, and ends when you end the story. The exterior life reveals character.

To develop a character's interior life, you'll want to consider your character's psychology and how it got that way. To start, divide your understanding of the interior life into two sectors: those that are immediately relevant, and those that are historically relevant. In other words, what is the character feeling or thinking now, and how did he come to feel/think that way? Ask yourself questions like:

What does your character need? and What is the history of this need?
What is your character afraid of? and What is the history of that fear?
What does your character want? and What is the history of that desire?
Again, this interior world will be more vivid, more moving, if you're specific. For example, if you ask, "What does my character need?" You might answer, "Redemption." But you need to push further. What is the history of this need for redemption? In what ways has this need haunted him all his life? What form will redemption come in when it finally appears? Why this form?

When you have a strong sense of the interior and exterior lives of your character, you're ready to think about the ways in which the two lives collide. For in this collision of the interior and the exterior is the germ of your story. Characters have needs (interior), but they encounter obstacles (exterior). They have fears (interior) that are exacerbated by events (exterior). They have desires (interior) that are met or denied by others (exterior). In the simplest terms, story occurs when conflict arises between a character's interior and exterior lives.

http://www.dartmouth.edu/~shortflm/process/characters.html

Syd Field was a screenwriting "guru", according to Wikipedia.

http://en.wikipedia.org/wiki/Syd_Field

If the Doctor has no motivation, for he has little or no interior life, why does he do the things he does? With no interior life, there is no conflict in the Doctor between his exterior and interior life. What exactly is the role of the Doctor in the story?

If the Doctor is unimpressed by everything, why does he travel in time and space?

I am going on a tangent - I watched Mad Max: Fury Road. Though the film is osteniably about Max, it soon becomes evident that Furious is the heroine of the piece and Max is there to help her towards her goal. Yet, I never felt that Max was not a character. He had an interior and exterior life. The dynamic between the two characters is far better than the Clara Oswald and Doctor dynamic.

I hope the next show runner, if there is one, has a different belief about the Doctor. The Doctor is capable of change, he is a morally ambivalent character, and he has both an interior and an exterior life.

 

[Skywalker]

Awesome.

 

[Ithekro]

I hope the next show runner, if there is one, has a different belief about the Doctor. The Doctor is capable of change, he is a morally ambivalent character, and he has both an interior and an exterior life.

I believe that is called the "Valeyard".

The main reason Moffet thinks that is because we have had this character around for 50 years and we stil don't know his name, nor a lot of his backstory. We get pieces here and there. What we know about him and his motivations is all the years Doctor Who was on TV with his many different faces. He's had all the motivations and done seemingly everything in his thousands of years traveling the universe(s). The writers now want to tell the story through the eyes of the companion, so the Doctor lives his life through them for our purposes. The Companion becomes the story, the Doctor is there to make it possible.

 

[Mage]

I'm not that big of a Moffat hater as some. I do think this show needs a breath of fresh air, and a new showrunner could do that. But yeah, fans will be fans and hate all the time. I'm gonna see what he does with season 9 before I'm gonna form any kind of opinion on wether or not Moffat is still capable enough to do more Who.

 

[Lonemagpie]

TBH, I think the main thing this actually tells us is that there's little chance of Cumberbatch and Freeman being available to do more Sherlock after the set they're filming this year, and Moffat likes having a steady income....

 

[Allyn Gibson]

TBH, I think the main thing this actually tells us is that there's little chance of Cumberbatch and Freeman being available to do more Sherlock after the set they're filming this year, and Moffat likes having a steady income....

They're not filming any more Sherlock this year; series 4 filming has been pushed off to spring 2016.

 

[starsuperion]

Moffat said something recently that worries me.

I know I get in trouble all the time for saying this but you cannot make a show about a man who sort of doesn’t really change, apart from his face and a dark personality, who sort of has no interior life, who is unimpressed by everything, you have to make it about the person he has the relationship with.

http://www.themarysue.com/steven-moffat-bafta-doctor-who/

Syd Fields says that the first thing to do when trying to get to know your characters is to consider their interior and the exterior lives. Fields says that the interior life of a character takes place from birth until the moment that your film begins. The interior life is a process that forms character - that motivates character. The exterior life, on the other hand, takes place from the moment that the film begins, and ends when you end the story. The exterior life reveals character.

To develop a character's interior life, you'll want to consider your character's psychology and how it got that way. To start, divide your understanding of the interior life into two sectors: those that are immediately relevant, and those that are historically relevant. In other words, what is the character feeling or thinking now, and how did he come to feel/think that way? Ask yourself questions like:

What does your character need? and What is the history of this need?
What is your character afraid of? and What is the history of that fear?
What does your character want? and What is the history of that desire?
Again, this interior world will be more vivid, more moving, if you're specific. For example, if you ask, "What does my character need?" You might answer, "Redemption." But you need to push further. What is the history of this need for redemption? In what ways has this need haunted him all his life? What form will redemption come in when it finally appears? Why this form?

When you have a strong sense of the interior and exterior lives of your character, you're ready to think about the ways in which the two lives collide. For in this collision of the interior and the exterior is the germ of your story. Characters have needs (interior), but they encounter obstacles (exterior). They have fears (interior) that are exacerbated by events (exterior). They have desires (interior) that are met or denied by others (exterior). In the simplest terms, story occurs when conflict arises between a character's interior and exterior lives.

http://www.dartmouth.edu/~shortflm/process/characters.html

Syd Field was a screenwriting "guru", according to Wikipedia.

http://en.wikipedia.org/wiki/Syd_Field

If the Doctor has no motivation, for he has little or no interior life, why does he do the things he does? With no interior life, there is no conflict in the Doctor between his exterior and interior life. What exactly is the role of the Doctor in the story?

If the Doctor is unimpressed by everything, why does he travel in time and space?

I am going on a tangent - I watched Mad Max: Fury Road. Though the film is osteniably about Max, it soon becomes evident that Furious is the heroine of the piece and Max is there to help her towards her goal. Yet, I never felt that Max was not a character. He had an interior and exterior life. The dynamic between the two characters is far better than the Clara Oswald and Doctor dynamic.

I hope the next show runner, if there is one, has a different belief about the Doctor. The Doctor is capable of change, he is a morally ambivalent character, and he has both an interior and an exterior life.

Well, the crux of the situation is the that Moffat thinks the Doctor is an empty suit.. the fundamental Question is, if you have a very long life span, a ship you can now control and go anywhere in space and time, and you are just letting events or companions direct you..then what Moffat is describing is essentially an Eternal..they need humans or people to have a purpose and exist as siphons off their emotions and actions.

before Moffat each Doctor had their own motivations. take for example Hartnell, he was stuck in trying to figure out how to pilot his ship, and to also explore Earth history, and generally have fun. Troughton's Doctor, well he was more or less a hobo, just wanting to bumb around the universe, and in some cases worked for the CIA, Pertwee was stuck in exile, and pretty much worked for UNIT as a job while getting parts to fix his TARDIS. and so on and so on.. they all had their own motivations, and not necessarily were directed by companions.

now Moffat has set up the idea of the Doctor hunting down and finding Gallifrey.. that is the core motivator, how to make the universe safe for his people again, and how to bring them back..

but to say the doctor is essentially an empty suit, and needs companions for motivation is like suggesting he is the Children of the library planet.. when a companion leaves, he just sort of stops.. ludicrous rational IMHO..

The Doctor should have his own motivations, and not just being the on coming storm, or universal SAVIOR or Messiah..

I for one would like to see the "reputation" disappear for the doctor and make him more of the under dog again.. instead of this universal Legendary figure...