If you agree, we’ll also use cookies to complement your shopping experience across the Amazon stores as described in our Cookie Notice. We also use these cookies to understand how customers use our services (for example, by measuring site visits) so we can make improvements. I love that man.”ĭoctor Who Series 14 will debut in December 2023 on BBC One and BBC iPlayer in the UK and on Disney+ internationally.We use cookies and similar tools that are necessary to enable you to make purchases, to enhance your shopping experiences and to provide our services, as detailed in our Cookie Notice. ‘And apparently Russell has entrusted all of it to me.’ And actually that’s quite an honour. Then it started to dawn on me: ‘There’s an awful lot of music in this series, isn’t there, Murray?’ I was speaking to myself now, not realising, of course, that my consciousness is just a fantasy. Have you looked at it?’ Then another director. I was like, ‘What can he possibly want?’ And then Ben, who’s directing episode two… this was January 26th and he says, ‘I’m directing this episode and it seems to have a lot of music in it. “People started saying, ‘We really need to speak to Murray,’” Gold tells Doctor Who Magazine in its upcoming June issue: In an interview after leaving the show, Gold revealed that he was looking forward, like many Nu Who alumni, to doing work that didn’t have such punishing time constraints:īut as any of the Doctor’s companions will tell you, you can leave the TARDIS, do other things, and try and live a life of your own, but it’s only a matter of time before you turn a corner and see a police box where there isn’t usually a police box. Maybe there are only so many corridor chase scenes one man can compose for. After all, the man has scored almost double the number of Doctor Who stories of his nearest competitor (Dudley Simpson, who scored 62 stories from First Doctor William Hartnell’s ‘The Planet of the Giants’ to Fourth Doctor Tom Baker’s ‘Horns of Nimon’). Perhaps it’s not surprising that after 12 years, Murray Gold was ready for a new challenge. Throughout the episode, the score harks back to every theme, refrain and motif Gold has ever used. Aurally, this Special is the equivalent of that bit in ‘The Day of the Doctor’ where all 13 incarnations turn up at once to save Gallifrey. But the real star of the show is Gold’s score. Indeed,’ Twice Upon a Time‘ is the swan song for Capaldi’s Doctor and Moffat’s tenure on the show. But Murray Gold stayed on, and so even as the TARDIS itself transformed, Gold’s distinctive sound wove a thread from Eccleston all the way to Capaldi, before Segun Akinola took over the role for Series 11. When Russell T Davies and David Tennant handed in their TARDIS keys after ‘The End of Time’ it marked the end of an era, and when Matt Smith poked his head out of an upturned TARDIS in Amelia Pond’s garden it was almost a pilot for a brand new TV show. These three concerts featured actors and monsters from the show, but the main feature was always the music, from triumphant tunes like season 5’s “I Am The Doctor” to more melancholic (but still stirring and Murray Gold’s contributions to Doctor Who were such that he got his very own show – in 2008, 20 the BBC held three “ Doctor Who at the Proms” events at the Royal Albert Hall. Gold wasn’t universally popular – sometimes his scores were accused of being intrusive, and you could be forgiven for thinking that he lacked subtlety, but then when you’re behind the steering wheel of the Titanic in a tuxedo desperately trying to stop it from flying into Buckingham Palace, subtlety isn’t really what anyone is looking for. For the very first time, Doctor Who sounded like a blockbuster movie, whether delivering great big crash-banging alien invasion sequences, or huge swelling emotional cues for the tear-jerker moments.
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