Mike Jones Design – Portfolio Autumn 2016

Email: mike@mikejonesdesign.co.uk 

Mike Jones 

esign

Only Fools and Horses: The Peckham Archives 

BBC Books, 2016

mike@mikejonesdesign.co.uk


Thunderbirds The Vault 

Virgin Books, 2015



‘The M25’ 

Editorial concept, taking a full journey around the London orbital motorway in a 

unique ‘round-book’ format. Made from different paper stocks selected to echo 

the theme and featuring writing, photography and illustration. Broken down 

into ‘junctions’ each with a narrative relating to the real life location. 


Fitpro Magazine 

Print and digital publication, 2014


The X Files Official DVD Collection 

GE Fabbri Ltd, 2006-2007


QUALIFYING MATCH 1 

SWITZERLAND 

ENGLAND 

0 

2 

England enjoyed the perfect start to their Euro 2016 qualifying 

campaign, with a decisive win over top-seeds Switzerland. 

ENGLAND’S 

VICTORY IN 

THEIR FIRST 

MATCH WAS 

SECURED 

BY DANNY 

WELBECK. 

E 

ngland’s victory in their 

first match was secured 

by Danny Welbeck, who 

scored at the end of 

lightning-fast counterattacks 

after half time. 

These goals secured all three points in a 

game that, on paper, had presented Roy 

Hodgson’s side with the sternest challenge of 

all ten matches they were to face if they were 

to secure their place in the Euro 2016 Finals. 

Switzerland had reached the knockout 

stages of the World Cup in Brazil two months 

earlier, taking finalists Argentina to within two 

minutes of a penalty shoot-out in the last 16, 

and began the qualifying campaign ranked as 

the ninth-best side in the world. 

Hodgson set out to cope with their threat, 

and the absence of forward Daniel Sturridge, 

by employing Raheem Sterling behind 

Welbeck and skipper Wayne Rooney as the 

tip of a midfield diamond. Jack Wilshere 

was at its base and Fabian Delph made his 

full international debut alongside Jordan 

Henderson in the centre. 

Phil Jones was selected ahead of Phil 

Jagielka as Gary Cahill’s partner in the 

FEATURE BY MATT RAMSAY 

centre of defence, flanked by the Everton 

pairing of John Stones and Leighton Baines. 

Joe Hart was in goal. 

It was the pace of the front three that 

ultimately decided the match. They were 

central to the game’s first real chance 

just before the half-hour mark. Welbeck 

skipped away from Steve von Bergen on the 

right and sprinted into the box, only for his 

low cross to be just ahead of Sterling and 

behind Rooney. 

Opposite page: 

Danny Welbeck 

made a crucial 

contribution to 

England’s victory. 

Right: Wayne 

Rooney keeps his eye 

on the ball, under 

pressure from Steve 

von Bergen (left) and 

Gokhan Inler. 

Below: Preparing 

for battle – England 

and Switzerland 

walk on the pitch at 

St Jakob-Park on 8 

September 2014. 

Switzerland soon came close through 

Stephan Lichtsteiner, who ran onto a clearance 

following a corner and thrashed a powerful 

effort that was always rising after he shot 

from 25 yards. Joe Hart was called into action 

almost immediately afterwards for the first of 

two crucial saves he was to make to keep the 

game goalless. Phil Jones ceded to Xherdan 

Shaqiri in a dangerous position, allowing 

the playmaker to stride forward through the 

middle and angle a pass to Haris Seferović. 

14 

ENGLAND 

GOALS 

9. WELBECK 

6 ENGLAND: THE ROAD TO EUROPE ENGLAND: THE ROAD TO EUROPE 

7 

England: The Road To Europe 

Panini, 2015

SOME 

KIND 

OF DREAM 

“AS A STRIKER 

YOU CAN 

REALLY 

CHANGE THE 

COURSE OF 

THE GAME 

WITH YOUR 

ABILITY TO 

KEEP THE 

BALL AND 

PROTECT IT.” 

A newcomer to the senior team, Harry Kane made a huge 

impact in the Euro 2016 qualifying games and is fast becoming 

one of England’s most acclaimed players. 

H 

arry Kane went to Chingford 

Foundation School, the 

same establishment 

attended by fellow 

east ender and England 

legend David Beckham, so 

he definitely started out in the right place. He 

joined the Spurs academy in July 2009 before 

being sent out on loan to develop as a player. 

Kane spent time on loan at four clubs – Leyton 

Orient, Millwall (with Ryan Mason), Norwich and 

Leicester – between January 2011 and May 2013. 

During this period, he also made his first team 

debut for Spurs in August 2011 against Hearts 

in the Europa League. He was back with Spurs 

for good for the 2013-14 season, but it was in 

2014-15 that he really hit the heights with an 

astounding 31 goals in 51 appearances. 

This brings us back to the climax of Harry’s 

stunning 2014-15 season; the crowd chanting 

his name before he had even stepped onto the 

pitch and that incredible moment as he climbed 

highest at the back post in trademark style to 

meet Raheem Sterling’s pinpoint cross with the 

ball just crossing the line. Giedrius Arlauskis, the 

Lithuanian goalkeeper, couldn’t quite keep it out… 

Your debut was amazing. What do you 

remember of that night and in particular the 

goal? Could you believe what had just happened? 

“It’s really hard to put into words how it felt 

to be honest. To get my England call-up and 

make my senior debut was unbelievable. I was 

obviously nervous because there was a chance 

I’d be coming on in front of a sell-out Wembley 

crowd, but I was also really excited, so a mix of 

feelings. To then come on and score within a 

minute was like some kind of dream.” 

INTERVIEW BY MARTIN ROSS 

What are your personal ambitions with England? 

“I always put my ambitions at the highest level. 

I want to do my best for club and country and 

win trophies at both levels. If you aim for the 

highest, then you can never settle until you 

have achieved those aims. At which point you’ll 

want to do it all again. If I can help support 

the rest of the lads and bring a trophy back to 

England, it would be an unbelievable feeling.” 

How do you think the time you spent on 

loan helped your development as a player 

and a person? 

“I think going out on loan was vitally important 

for my development. At 18, I wanted to be 

playing competitive football so going to play in 

the Football League was perfect. Me and Ryan 

Mason both went to Millwall in 2011-12 

which was an amazing experience as we played 

a lot. I also won Young Player of the Season 

that year which was great! 2012-13 was an 

up-and-down season when I broke my 

metatarsal and then helped Leicester to get 

into the play-offs, but unfortunately we couldn’t 

make it to the Premier League. These sorts of 

experiences taught me the ups and downs of 

the game and how to deal with them.” 

What do you think are the best qualities you 

bring to the team? 

“I think it’s my never-say-die attitude. I won’t 

believe anything is over until the ref blows the 

final whistle, and I’ll always try and motivate 

the other players of the same. Sometimes it 

doesn’t go your way, but if you’ve tried your 

best for every minute of the game, then you 

know inside that if you keep doing that, then 

things will happen.” 

You’re still a young player – are there any 

parts of your game you’d like to improve? 

“I always want to do better and learn more, 

but I’d like to improve my ability to hold the 

ball when we’re up against it. As a striker 

you can really change the course of the game 

with your ability to keep the ball and protect 

it, so this, alongside continuing to score lots 

of goals, would be a good stepping stone.” 

Was playing for the England senior 

team massively different from playing for 

the Under-21s? 

“The only difference in that the global focus 

on the Under-21s isn’t as big. For us, it’s 

still a major tournament which is the final 

stepping stone before being able to make 

the move up to the seniors. The players 

that we face could well be the ones we 

face five years down the line in the FIFA 

World Cup, so to get that experience is 

hugely important. I enjoyed playing with the 

England Under-21s and the experience was 

key for my development.” 

Who or what do you think will be the main 

dangers to England in Euro 2016? 

“The big-name teams like the Germans, 

French, Spanish and Italians will be 

dangerous and there may be teams who 

have qualified for the first time who will have 

much less pressure so will carry a sense of 

freedom. We just need to focus on our own 

game and then it’s up to us on the day to 

make it happen.” 

lready capped by England at 

A Under-17, Under-19, Under-20 

and Under-21 level, Harry Kane 

actually returned to the Under-21 side to 

play in the Under-21 Euro 2015 tournament 

finals for England in the Czech Republic. 

But from now on, his eyes will be firmly 

on the senior side and the symbolism 

behind him replacing Wayne Rooney on 

his England debut won’t be lost on many. 

It certainly won’t be lost on the England 

captain himself, who in his dressing-room 

speech to the team after hitting 50 goals, 

noted that Harry is a player who could 

break his own record one day. There’s no 

higher praise than that. 

Opposite page: Harry Kane, pictured in action against 

Estonia, scored three goals in his five Euro 2016 qualifiers. 

Left: Kane shoots during England’s qualifier match with 

Estonia on 9 October 2015. 

70 

ENGLAND: THE ROAD TO EUROPE ENGLAND: THE ROAD TO EUROPE 

71 

PARK 

LIFE 

Achieving big ambitions requires 

vision on a grand scale. The Football 

Association demonstrated this with 

the creation of St George’s Park. 

FEATURE BY RUSS GREAVES 

T 

he long-held dream of 

England having a National 

Football Centre was finally 

realised in the summer 

of 2012. The £105 million 

facility now gives all 24 

representative sides a place to call home. 

Located in Burton, Staffordshire, the 

venue is in the heart of England and 

provides unrivalled opportunities for 

learning and development to coaches and 

players. There are echoes of the past, with 

the lobby adorned by images of England 

greats – from Bobby Moore to David 

Beckham – as a testament to the nation’s 

rich football history, and inspirational 

quotes from sporting legends emblazoned 

on the walls. 

But the primary focus at St George’s 

Park is on the future, on nurturing 

talent and creating an environment of 

achievement. State-of-the-art facilities 

cover every conceivable need for the 

thousands of people who utilise the 

complex. The list of apparatus available 

is breathtaking, from saunas and steam 

rooms to anti-gravity treadmills and 

altitude chambers. It’s not overstating 

the case to suggest that elements of St 

George’s Park are space-age. 

Indeed, the anti-gravity treadmills are 

based on technology developed by NASA, 

allowing users to experience running 

under conditions where their bodyweight 

is reduced by up to four-fifths, reducing 

THE GOALS OF 

THE NATIONAL 

FOOTBALL CENTRE 

ARE TO EDUCATE 

COACHES AND 

ENSURE THE 

FUTURE OF THE 

GAME IN ENGLAND 

IS IN GOOD HANDS. 

This picture: The indoor facilities at 

St George’s Park played host to the 

England v Norway Under-19 Women’s 

international in January 2014. 

Below: Training players build for 

England’s future at St George’s Park. 

The impressive facility was officially 

opened by the Duke and Duchess of 

Cambridge in 2012. 

stress on muscles and joints. Medical 

and rehabilitation needs are met to the 

highest standards and experts are on 

hand to analyse reams of data, enabling 

individuals to be provided with detailed 

and personalised recovery programmes 

tailored to their specific requirements. 

Footballers can be assessed in the 

Human Performance Lab on a mind-boggling 

array of machines that analyse movement, 

fitness, endurance, blood-oxygen levels and 

much more besides. The BATAK boards – 

grids of lights that activate in a randomised 

sequence and must be pressed – test 

reaction times and hand-eye co-ordination, 

while Wattbikes can ascertain power output. 

96 ENGLAND: THE ROAD TO EUROPE 

ENGLAND: THE ROAD TO EUROPE 

97 


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4730 


.7. 

DOCTOR WHO MAGAZINE SPECIAL EDITION 

ON 

LOCATION 

Taking Doctor Who 

beyond the studio 

DOCTOR WHO ON LOCATION 

THE DALEK 

INVASION OF EARTH 

Writer: Terry Nation Director: Richard Martin Producer: Verity Lambert Broadcast: 21 November – 26 December 1964 

T 

he future worlds of Doctor Who Doctor Who, and paid better. Nation had 

Noon, a 1950 thriller in which London was 

were originally constructed already written one feature film – What a 

threatened with destruction by means of 

indoors, in the electronic Whopper (1961), starring Adam Faith – but the a stolen nuclear warhead. 

studio. Nevertheless, at 

influence of The Saint is evident in The Dalek Director Richard Martin was an admirer 

the end of its first year 

Invasion of Earth. Nation suggests footage of of the science-fiction of John Wyndham and 

in production, the series Westminster Bridge, Nelson’s Column and Ray Bradbury, whose stories often concerned 

mounted a story in which location filming was other locations should be made by a ‘second the intrusion of the alien into human society. 

crucial in creating a convincing twenty-second unit’ when Doctor Who barely 

century Earth, conquered by Daleks. 

stretched to one film crew. 

Since conributing his first two Doctor Who Habituated by now to the use 

stories, The Mutants (aka The Daleks) (1963-64) of stock footage in film series, 

and The Keys of Marinus (1964), Terry Nation he also suggested that shots 

had begun to write for ITC’s film series The of a deserted London could 

Saint. This took up more of his time than be lifted from Seven Days to 

Martin’s treatment of Nation’s script is 

concerned from the start with the personal 

and social consequences of the invasion. The 

camera watches the suicide of a Roboman in 

the Thames from the river itself, as if from 

the vantage point of those already dead. 

The end of the Second World War was only 

19 years past when the serial was made, 

enabling Martin to take 

advantage of post-war 

dereliction. The world 

has collapsed as much 

as the floor through 

which Ian (William 

Russell) almost falls in 

the first episode. One 

of many low-angled 

shots looks through 

the narrow frame of 

a stairway towards 

an unwelcoming, 

implacable Roboman. 

The future of humanity 

is a choice: remain in the 

rubble or embrace mechanised servitude. 

Later locations indicate other alternatives. 

Barbara (Jacqueline Hill) and Jenny (Ann 

Davies) push Dortmun (Alan Judd) in his 

wheelchair under and around Dalek patrols, 

scurrying through subways or whizzing up 

Whitehall. The Daleks might have daubed 

alien script across monuments and make 

Nazi-like salutes from the Albert Memorial, 

but here their ownership of the city is 

based on exercising power from above, 

while humans can still control the ground. 

Barbara, Jenny and Dortmun end up at the 

‘Civic Transport Museum’, whose exterior 

is the Palace of Industry at Wembley. 

Dortmun faces his end in a contest with the 

unsportsmanlike Daleks in the shadow of an 

off-screen Wembley Stadium. 

The Dalek Invasion of Earth was shot by Peter 

Hamilton, one of the BBC’s most experienced 

LEAPING ABOARD 

Ann Davies, who played 

Jenny, remembers the 

location filming for The 

Dalek Invasion of Earth 

as both hard work and an 

enjoyable job. In 2003 she 

told the Future Memories 

documentary included 

on the Dalek Invasion of 

Earth DVD that she and 

Jacqueline Hill (playing 

Barbara) had to put a lot 

of effort into pushing Alan 

Judd (playing Dortmun) 

in his wheelchair across 

Westminster Bridge. 

Driving a dustcart away 

from the Civic Transport 

Museum – really the 

Palace of Industry at 

Wembley – was more 

exhilarating. The dustcart 

“was very old – it was old 

then. I think it must have 

been from the 1930s.” 

The Dalek Invasion 

of Earth was at 

the time a one-off. 

The programme’s 

ambitions remained, 

for the moment, in 

the studio. 

Jacqueline Hill found it 

very heavy to drive. “She 

said, ‘You do realise I can’t 

absolutely slow down? Do 

you think you’ll be able to 

jump on?’ I thought she 

was splendid, the 

way she drove 

this heavy old 

dustcart, and 

I leapt on and it 

all went well. I 

rather enjoyed it. 

It was 

great fun.” 

film cameramen. Richard Martin remembers 

Hamilton, a former Second World War 

pilot, choosing his camera angles from the 

cliff edge at John’s Hole Quarry. The 

programme’s view of John’s Hole combines 

the vision of a pilot and a combatant. The 

few seconds we see it are memorable: the 

deep gully leading to the dark cave mouth, 

the slave labourers 

in tattered and dirty 

clothes hauling a 

waggon along the 

railway track, and their 

eventual elated escape, 

Dalek held aloft like 

a captured weapon. 

Complementary 

set design helps 

tremendously. The 

camera in Riverside 

Studio 1 is less subtle 

than Hamilton’s 

location filming, but 

the contrast between 

the Kew Bridge set and the location barely 

jars, and much of that credit should be 

shared between the camera crew and designer 

Spencer Chapman. 

For all its effectiveness The Dalek Invasion 

of Earth was at the time a one-off. The 

programme’s ambitions remained, for the 

moment, in the studio. It wasn’t until 

mid-1966 that the programme returned to 

a quarry, in The Savages, and then to location 

footage of robotic antagonists in central 

London in The War Machines. Once Doctor 

Who had shaken off its inhibitions about 

contemporary settings, The Dalek Invasion 

of Earth’s influence became stronger. When 

today’s Doctor Who shows Daleks on urban 

streets or shatters London landmarks, this 

1964 serial remains the bar at which the 

programme makers have to aim. 

MATTHEW KILBURN 

LOCATION CHECKLIST 

Under the bridge 

The location for the Roboman 

throwing himself into the 

river and where the TARDIS 

materialises at the start of the 

first episode, World’s End, is 

beneath the north side of Kew 

Bridge in west London. The 

Dalek emerges from the river 

at the end of the episode by 

the north side of Hammersmith 

Bridge, a few miles east of 

Kew Bridge and not far from 

Riverside Studios, where the 

serial’s videotaping took place. 

Civic Transport 

Museum 

Terry Nation’s draft script 

suggested this was in 

Knightsbridge, but the location 

was actually the Palace of 

Industry at Engineers Way in 

Wembley, one of the buildings 

surviving from the British 

Empire Exhibition of 1924-25. 

The exhibition was presented as 

part of Britain’s reconstruction 

after the First World War, 

foreshadowing the hoped-for 

victory in the story. 

London riverside 

Ian suggests this is by the docks. 

When he and the Doctor explore, 

they pass machinery at Irongate 

Wharf and enter a warehouse 

in St Katherine Docks in East 

London. However, the main shot 

of the warehouse exterior was at 

Butler’s Wharf on the opposite 

(south) side of the river. 

Deserted dockland 

When Barbara explores another 

part of overgrown dockland, the 

location was really Wood Lane 

Underground Station on the 

Central Line, closed in 1947 and 

replaced by White City. The site 

was familiar to BBC staff as it 

was opposite Television Centre. 

Central 

mining area, 

Bedfordshire 

This is the mysterious heart 

of Dalek operations. The first 

draft of the script envisaged 

yet greater destruction, 

suggesting the Daleks had 

destroyed the entire city of 

Manchester as part of their 

scheme. In the event the more 

rural location of Bedfordshire 

was chosen. The site itself was 

John’s Hole Quarry, near Stone 

in Kent, not far from London 

and equipped with a railway 

line and tunnel under the A226. 

.6. DOCTOR WHO MAGAZINE 


Doctor Who Magazine ‘On Location’ special 

Panini, 2016

.68. DOCTOR WHO MAGAZINE .69. 

OUTSIDE 

THE SPACESHIP 

Doctor Who’s location shoots have been both restricted and enabled by 

the technology available to producers, directors and camera operators. 

FEATURE BY PAUL HAYES 

O 

ne of the characteristics of 

vintage Doctor Who is a distinct 

difference in picture quality 

when actors venture beyond 

the television studio. In many 

episodes, the crisp, electronic 

image familiar from interior scenes gives way 

to a grainier, more organic representation of 

outdoor scenes. So why did this happen? 

The answer lies with the way in which 

television evolved. When the BBC began 

its television service in 1932, cameras were 

cumbersome objects that needed to be attached 

to umbilical cables. For the most part, this 

meant they stayed firmly within the studio. 

There was no reliable way of recording 

television programmes, so almost all of them 

went out live. Dramas were produced in a 

similar manner to stage plays – rehearsed by 

the actors and then performed all the way 

through, live in the studio. Several cameras 

would manoeuvre around the action to capture 

it all, with the director mixing from camera to 

camera, live through the production. 

In the 1950s it became increasingly common 

for dramas to include some material from 

outside the television studio. This was done 

using film, a long-established medium that 

had been the source of big-screen movies for 

decades. Outside broadcasts with television 

cameras were close to impossible for dramas; 

shooting on film was much simpler. Film 

cameras were lighter, more easily transportable, 

and rather more durable than their early 

television counterparts. Using them was more 

time-consuming and expensive, however, which 

is why there was only a limited amount of film 

material available for any given production. 

Exterior scenes could be shot in advance and 

played into the live dramas as needed. 

By the time Doctor Who arrived in 1963, 

almost all British television drama was 

being pre-recorded on videotape rather than 

transmitted live. However, most of it was still 

made using electronic video cameras, as with 

the live shows, in relatively confined studios 

with actors who had rehearsed and then 

performed the whole thing, or at least large 

chunks of it, in one go. Any film sections shot 

on location in advance could then be played 

into the recording session as required. 

This technique of using videotape for 

studio scenes and film for location dominated 

British television production – both drama 

and comedy – right up to the 1980s, and 

didn’t finally disappear until the last Only Fools 

and Horses special was screened in 2003. 

Film and videotape create their pictures 

in very different ways – film is a mechanical 

process, whereas videotape is electronic. The 

result is pictures that look quite different in 

terms of texture, depth and contrast. That’s why 

it’s so noticeable in Doctor Who, and so much 

archive British television, when a character 

steps out of an interior scene on videotape 

into an outside scene shot on film. When the 

programme is in colour, the contrast between 

the two formats is even more pronounced. 

During Doctor Who’s early years, the standard 

practice at the BBC was to shoot location 

material for drama programmes on 35mm film, 

the same gauge used for feature film production. 

This has enabled some of the surviving bits of 

Doctor Who location material from the era, such 

as shots from The War Machines (1966), to be 

Not all location material would be 

shot on film, and not all studio material 

would be recorded on videotape. 

restored in stunning clarity when re-transferred 

using modern methods. Sadly, the location film 

material was usually disposed of once it had 

been used in a programme, so in most cases we 

have only the lower-quality versions ‘locked in’ 

to the edits of these episodes. For the surviving 

black-and-white episodes, these bits of film – 

having been transferred to videotape during the 

making of the episode, then onto 16mm film 

for sale overseas – have been transferred into a 

modern format for us to watch now. 

Not all location material in an episode 

would necessarily be shot on film, and not all 

studio material would necessarily be recorded 

on videotape. The Doctor Who production 

team occasionally took advantage of the BBC’s 

television film studios at Ealing to complete 

shots which were particularly technically 

challenging; in the final episode of 100,000 BC 

(aka An Unearthly Child, 1963) there is a fight 

sequence on film. The advantage of using film 

for such sections was that it was much more 

manageable; instead of video cameras moving 

around the actors to capture their continuous 

performance, the sequence was shot on film 

with a single camera. Each shot was specially 

set up and individually lit. The gradual nature 

of this process added to the schedule, and the 

budget, of an episode. 

In 1969 colour was introduced to Doctor 

Who. By this time, 35mm was no longer 

the BBC’s standard for television drama. 

Improvements in the quality of 16mm film, 

which was more economical, led to it being 

more widely adopted. Doctor Who never used 

35mm for location filming on a regular basis 

in the colour era, but the format was often 

used for visual effects miniatures – and would 

make a comeback for certain shots in the early 

years of the twenty-first century. 

Doctor Who’s first colour story, Spearhead 

from Space (broadcast in 1970), is unique 

Opposite page: 

David Tennant (as 

the Doctor) on 

location for Planet 

of the Dead (2009) 

in Dubai. This was 

the first story to be 

entirely recorded in 

high definition. 

Above: Jon Pertwee, 

pictured during 

the filming of 

Spearhead from 

Space in Ealing on 

19 September 1969. 

Below left: An 

inquisitive bobby 

on the streets of 

Westminster during 

the making of The 

War Machines on 

22 May 1966. 

Below right: A 

typical BBC studio 

camera featured 

on the cover of this 

1957 brochure. 

DOCTOR WHO ON LOCATION .31. 

PLANET OF THE DEAD 

Writers: Russell T Davies and Gareth Roberts Director: James Strong Executive producers: Russell T Davies, Julie Gardner Broadcast: 11 April 2009 

T 

he confident deployment of look entirely authentic, but the pace of the reminds viewers of the exhilaration and danger 

locations in Planet of the Dead action sweeps us along with the narrative’s of time-space travel. For the passengers, the 

– ranging from Cardiff and internal logic. 

routine urban experience of driving through 

Newport to the United Arab The use of the interior of the National 

a tunnel is converted into a journey to an alien 

Emirates – helped to usher in Museum of Wales is based on a simple idea – world, paralleled on Earth by an occupation of 

a new era of Doctor Who. 

that the dome of a building, or part of it, might the site by UNIT at its most ruthless. 

The episode begins with a pre-credits 

be lifted off like a lid. This enables Christina 

The planet San Helios is introduced with a 

sequence that’s an exemplar of location-rich (Michelle Ryan) to perform the first of her two pull back from the damaged bus to a wide shot 

storytelling. A wide aerial shot of London – homages to Tom Cruise’s cable drop in Mission: of a vast sandy landscape. This is no quarry in 

specifically Westminster – is followed by a closeup 

of the ‘International Gallery’. While the star, situation and building. 

High-definition cameras show us grains of 

Impossible (1996) in a way that shows off guest the Home Counties but an authentic desert. 

neo-classical portico of the National Museum Another playful analogy sees a road tunnel sand in greater clarity than Doctor Who had 

of Wales wouldn’t look out of place in central act as a space-time wormhole. The ‘Gladwell ever previously managed. And this isn’t normal 

London, the homelier architecture seen in the Road Tunnel’ doesn’t look like the Doctor Who sand, but the powdered remains of the San 

middle distance definitely would. 

title sequence, but the wormhole nevertheless Helios inhabitants. 

In modern Doctor Who London is often 

‘played’ by Cardiff, largely because the show’s 

production base is in the Welsh capital. 

Invoking London is an accessible way to 

represent urban edginess, along with fast 

cutting and adventurous camera angles. The 

London bus we first see in this sequence doesn’t 

DESERT STORM 

Planet of the Dead was the first Doctor Who story 

David Tennant recorded after spending several 

months playing Hamlet for the Royal Shakespeare 

Company. He went from treading the boards to 

fighting through a desert, as the planned first day 

of recording in Dubai – Thursday 11 February 2009 

– was wrecked by a sandstorm. 

David told Doctor Who Confidential that the 

wind was “whipping up all the time. Sand in 

your face, all day. Which was pretty grim, to be 

honest, and fairly relentless.” Conditions meant 

that the Tenth Doctor – whose successor, Matt 

Smith, had already been announced – changed his 

appearance prematurely. “Apparently, I’ve gone 

rather blond. And I’m fairly caked with sand on 

my face.” 

The Dubai desert might be a long way 

from Cardiff, but it’s an environment that 

the production controls just as tightly. One 

example is the realisation of the bus driver’s 

fatal return through the wormhole, an effect 

realised with the aid of a portable green screen. 

The sand is captured in shades of red and gold. 

The wide expanses serve as a contrast to the 

confined space of the bus interior, the tunnel 

and the UNIT mobile control room. And they 

provide the background for one of the most 

audacious digitally composed sequences ever 

seen in the series – the swarm of alien stingrays. 

What lingers, though, is not the novelty 

but the familiarity. Some of this is domestic: 

Nathan (David Ames) digs out the bus wheels 

with Christina’s cat-burglar shovel like 

someone more used to making sandcastles. 

Another factor is the reuse of locations. The 

Doctor (David Tennant) remembers being 

called ‘spaceman’ by former companion 

This is no quarry in the 

Home Counties but an 

authentic desert. 

Donna as Christina descends through part of 

a steelworks previously used in Donna’s last 

episode, Journey’s End (2008). Queens’ Gate 

Tunnel is in the shadow of a car park that 

played a substantial role in the first episode 

of Torchwood (2006). 

All these sequences build towards the 

conclusion, as Carmen (Ellen Thomas) 

prophesies that this Doctor’s song is ending. 

An era was drawing to a close, but the technical 

innovations in Planet of the Dead pointed to 

an exciting future. 

MATTHEW KILBURN 

LOCATION CHECKLIST 

International 

Gallery, London 

An imposing museum hosting 

the tenth-century Cup of 

Athelstan as a special exhibit. 

Both exterior and interior 

were provided by the National 

Museum of Wales in Gorsedd 

Gardens Road, Cardiff. 

Busy shopping 

street, London 

Christina runs along a busy 

shopping street to evade arrest. 

This was described as Oxford 

Street by director James Strong 

in Doctor Who Confidential 

but isn’t named as such in the 

shooting script. The location 

was St Mary’s Street in Cardiff, 

previously used to show a 

London street in Rose (2005) 

and The Runaway Bride (2006). 

Gladwell Road 

Tunnel, London 

A plan seen in the episode 

suggests this tunnel is on 

Victoria Embankment in central 

London. In reality, the Queen’s 

Gate Tunnel forms part of 

the A4232 Cardiff Peripheral 

Distributor Road, and is also 

known as the Butetown Tunnel. 

The UNIT blockade is established 

at the east end of the tunnel, 

overlooked by Pierhead Street 

Multi-storey Car Park. 

San Helios 

The planet San Helios, in 

the Scorpion Nebula, was 

represented by a stretch 

of desert about 30 miles 

outside the city of Dubai, in 

the United Arab Emirates. The 

location was near a road and not 

far from the international border 

with Oman. 

Tritovore spaceship 

The sets for what Christina calls a “really well-designed 

spaceship” were built within the Mir Steel works on Corporation 

Road, Newport. Formerly known as Alpha Steel, it was also used 

as the location for the Dalek test area in Journey’s End (2008). 

In 2015 the company and works were renamed Liberty Steel. 

.78. DOCTOR WHO MAGAZINE 

DOCTOR WHO ON LOCATION .79. 

OUT OF THIS WORLD 

Centre: Brad Kelly, 

general manager 

of the Doctor Who 

Experience. 

Below left: 

‘Doctor Disco’ (Peter 

Capaldi) checks his 

phone in a scene 

from The Zygon 

Invasion (2015). 

Below right: 

Billie Piper, Noel 

Clarke and John 

Barrowman 

outside the Wales 

Millennium Centre 

in Cardiff during the 

recording of Boom 

Town (2005). 

TOURS 

Forget Devil’s Dyke and the English Civil War – sightseers are 

increasingly drawn to the likes of the Satan Pit and the Time War. 

We meet the people behind the booming Doctor Who tourism industry. 

T 

he Canal Park children’s 

playground in Cardiff 

might not be a name to 

rival Versailles, Vienna 

or Potsdam. But it was 

here, in 2015, that a peace 

conference took place on which hung the fate 

of the entire world. Specifically, it took place 

on the swings and the monkey bars, between 

the mysterious agent known as Doctor Disco 

and the joint Zygon High Command – aka 

schoolgirls Jemima and Claudette. 

Nine years earlier, that very Doctor – albeit 

with a different face – had rigged a trap to 

catch the ghost of a Cyberman in the same 

park, while the year before that, the words 

Bad Wolf graffitied on the wall of its basketball 

court had helped Rose Tyler save the planet 

and quite possibly the universe. Clearly, some 

sort of blue plaque is long overdue. 

Cardiff has been Doctor Who’s home – and 

provided the lion’s share of its recording 

locations – since production on the first BBC 

Wales series began in 2004. So spend 

FEATURE BY PAUL KIRKLEY 

even a short amount of time wandering the 

streets of the Welsh capital, and it’s virtually 

impossible not to stray into the scene of one 

of the Doctor’s adventures. 

Better still, you could forego aimless 

wandering in favour of one of 

the city’s dedicated Doctor Who 

location tours; currently, 

customers can choose between 

an official tour, provided by 

BBC Worldwide as an adjunct 

to the Doctor Who Experience, 

or one of several run by Brit 

Movie Tours, a private concern 

specialising in trips to the filming 

locations of everything from Game of 

Thrones and James Bond to Downton Abbey 

and Emmerdale. Between them, these tour 

operators are the reason you will often 

find Canal Park filled with grown men and 

women taking pictures of the 

children’s play equipment. 

“Film tourism is on the up in the UK,” says 

Brad Kelly, general manager of the Doctor Who 

Experience. “Not just Doctor Who but things 

like Harry Potter as well. It’s a big thing now.” 

The BBC’s offering is a two-mile walking 

tour, largely confined to the Cardiff 

Bay area, that runs throughout 

August and September. It starts 

at the Experience – a bona fide 

location itself, used most notably 

when John Hurt, David Tennant 

and Matt Smith recorded on the 

standing set of the Tenth Doctor’s 

TARDIS for the 50th anniversary 

special, The Day of the Doctor (2013). 

Prior to the attraction’s construction, 

the waste ground it stands on was used for 

the final scene of the 2007 Christmas special 

Voyage of the Damned – an example of how 

even fairly recent Doctor Who history is already 

disappearing beneath a new landscape. 

The tour also takes in Richard Rogers’ 

beautiful Senedd Building, home of the 

Welsh National Assembly, the main location 

for 2007’s The Lazarus Experiment, Roald 

Dahl Plass, as featured in Boom Town 

(2005), Utopia (2007) and, most extensively, 

Torchwood, and the stunning Wales 

Millennium Centre (2006’s New Earth, 2007’s 

The Sound of Drums) before moving into the 

back streets of Cardiff. 

Highlights here include the Coal Exchange, 

which was once the thriving hub of Cardiff’s 

nineteenth-century coal industry but is 

now a condemned building that, behind 

its impressive Victorian façade, has become 

seriously dilapidated. A definite hard hat 

area, then? 

“We don’t go inside,” stresses Brad. 

“The only building we go in is the Wales 

Millennium Centre, because it’s a public 

access building. We try to steer away from 

private locations, particularly residential ones. 

Amy Pond’s house isn’t too far away, but we 

tend not to go down there, because it isn’t 

very fair on the people who live there!” 

Spend a short time wandering the 

streets of the Welsh capital, and it’s 

virtually impossible not to stray into the 

scene of one of the Doctor’s adventures. 

Brit Movie Tours offer year-round Doctor 

Who location packages in both London 

and Wales. In addition to their own Cardiff 

walking tour, they run bus trips taking in 

such further afield locations as Gladstone 

Primary School, which doubles as Coal Hill 

School, Llandaff, aka Amy’s home village of 

Leadworth, and St Fagans, the museum 

of Welsh living history used as the village of 

Farringham in Human Nature/The Family 

of Blood (2007). 

Both the official and unofficial tours 

regularly update their itineraries to reflect 

the Doctor’s latest adventures. “It’s a 

constant process of regeneration, if you 

like,” says Dewi Evans, one of Brit Movie 

Tours’ most experienced guides. “For 

example, we recently added in the park from 

The Zygon Invasion [2015], and people are 

loving that at the minute, because it’s so 

fresh in their memories.” 

Far left: Fans on one 

of the Brit Movie 

tours recreate The 

Eleventh Hour (2010) 

in LLandaff. 

Photo © Dewi Evans. 

Left: Matt Smith as 

the Doctor, recording 

a scene for The 

Eleventh Hour in 

Llandaff in 2009. 

Below left: 

Treberfydd House 

was the location for 

Farringham School 

in Human Nature / 

The Family of 

Blood (2007). 

Below right: David 

Tennant as John 

Smith, outside 

Treberfydd House in 

Human Nature. 

Toy photos © Helen Solomon. 



DX ‘Despatches’ Magazine 

Internal publication, 2015


Poker Weekender 

64 page magazine given away free in The Sun national newspaper.

GX Magazine 

USA edition of the lifestyle and betting publication. 


The DAD’s Army DVD Collection, 

GE Fabbri Ltd, 2006-2007


Spooks DVD Collection 

DVD Part-work based upon the series of the same name, this project 

had a refreshingly contemporary feel to the usual DVD collection format. 

Student ‘Moneymanual’ 

2013

Redbrick Property Management, Logo design and Brochure 

‘Paul and Ian’ 

Private commission. 


Thunderbirds A Complete Guide ‘Bookazine’ 

Panini, 2015


Fanderson – The Official Gerry Anderson Appreciation Society 

‘FAB’ Magazine and other merchandise design, based upon the vintage television properties. 


LISTEN... THERE’S AN 

ALIEN... HE’S BACK 

THERE... HE SAVED MY 

LIFE... HE’S A FRIEND. 

PAUL FOSTER 

A LONE ALIEN WALKS THE LUNAR SURFACE 

AND CAUSES A DEADLY DECOMPRESSION ON 

MOONBASE... PAUL FOSTER INVESTIGATES AND 

COMES FACE TO FACE WITH THE UNEXPECTED. 

Written by: Tony Barwick / Directed by: Alan Perry 

Original Airdate: Wednesday, 6th January 1971 (ATV, Anglia) 

A 

C 

Tina Duval 

Suzan Farmer 

B 

D 

Bill Grant 

Robert Swann 

As Alec Freeman is in command of SHADO HQ, 

it would appear that Survival is set some time after 

The Responsibility Seat, in which Straker hands 

command over to Freeman for the first time. 

The meeting in Straker’s office before he leaves 

for Moonbase takes place at approximately 3pm. 

This means he and Foster have 23 hours until liftoff 

the following day, scheduled at 1400 hrs. 

In several scenes set on the surface of the Moon, 

the painted lunar backdrop is clearly at odds with 

the perspective of the shot (A). 

Straker tells Nina Barry that he has told her father 

she is settling in well. However, as we learn 

in Confetti Check A-OK that Barry was one of 

SHADO’s initial recruits, so perhaps in this instance 

Straker was referring to her posting on Moonbase. 

While in the Moonmobile, Foster’s space suit 

has a silver dial missing on the yellow shoulder 

box (B). Later in the episode, when he is on 

the Moon’s surface, the dial has re-appeared. 

Alien 

Gito Santana 

Rescue 1 

Ray Armstrong 

The map of the lunar surface 

(right) appears to place 

Moonbase in the Moon’s 

Mare Imbrium region. 

As there were only three space suit 

helmets available (two re-used 

‘ribbed’ props from Doppelgänger, 

and one smooth-topped version 

made for UFO) we never see all 

four members of the Moonmobile 

investigation team in the same shot (C). 

During the decompression scene in Moonbase, 

Foster appears to be ‘face on’ to the wind, 

when the air should be rushing out from 

behind him. We learn that the date of this 

decompression was 12th April 1981. 

Rescue 2 

David Weston 

Tina Duval must enjoy a glass of a 

Portuguese medium-sweet rosé 

wine, as she has a bottle of Mateus 

Rosé on a shelf in her flat (D). 

POSITIVE TRACK 

Funeral rocket // The ‘funeral’ 

capsule makes its only appearance 

in Survival. The capsule echoes the 

look of the Moonbase Interceptor 

missile. A simple design, the 

casket comprises a cylindrical 

container mounted on a separate 

rocket booster unit. After leaving 

the Moon’s gravitational field the 

casket’s four small rockets propel it 

out to the depths of space. 

Moonmobiles // 1 

SHADO’s versatile 

Moon transport 

craft, designed for 

transporting personnel 

across the surface of 

the Moon. Moonbase houses several identical units, 

featuring a designated number on the side of the 

craft, we see units 1, 2, 3, 4 and 5 in operation during 

the series. The design of the SHADO Moonmobile 

was based on a vehicle created for Captain Scarlet 

and the Mysterons episode Lunarville 7 (1). In that 

series however, the Moonmobile is seen to ‘hop’ 

with its legs moving accordingly, rather than glide 

above the surface like the version seen in UFO. 

13 

YOU’RE OUT OF 

YOUR LEAGUE 

STRAKER... 

I CAN PLAY 

TIME LIKE A 

TRUMPET NOW! 

TURNER 

STRAKER AND LAKE RETURN TO SHADO HQ 

TO FIND THE COMPLEX FROZEN IN A 

‘TIMELOCK’ INSTIGATED BY THE ALIENS WITH 

THE HELP OF THEIR TRAITOROUS NEW ALLY. 

Written by: Terence Feely / Directed by: Cyril Frankel 

Original Airdate: Wednesday, 17th February 1971 (ATV, Anglia) 

The ‘Molly’ used by Straker to shoot down the 

UFO (A) was previously used in by Paul Roper 

in the episode Flight Path (B). 

F 

B 

C 

D 

A 

Patrick Allen would later play 

the Lunar Commision Chairman 

in additional footage for the 

Space:1999 feature compilation 

release Alien Attack. 

Straker’s stunt double during the SHADO HQ 

fight scenes and SHADO jeep and buggy chase 

can be clearly recognised in Timelash. 

When Straker and Lake first venture above 

ground in search of Turner, they walk past what 

appears to be the set of a SHADO Interceptor 

cockpit outside a studio building (C). 

The UFO miniature used during the ‘time-freeze’ 

effect as Straker and Lake return to the studio, 

is far less detailed than others that appear in the 

series (and at the end of Timelash), featuring a 

cylindrical ring instead of paddles (D). 

E 

As Straker and Lake return to the 

studio, a neatly framed shot shows 

their SHADO car under a green sign 

with the words ‘STUDIOS’ on (E). This is the 

lower part of the Pinewood Studios logo in 

use in 1970. 

As Straker speeds away with the ‘Molly’ 

key taken from the dead Turner, the final 

shot of Turner has been flipped, with the 

‘HS’ logo on the buggy and SHADO 

badge reversed (F). 

The red leather dress worn by the 

actress is also seen worn by Anne 

Stone in The Sound Of Silence and 

Linda Simmons in The Psychobombs. 

POSITIVE TRACK 

Pinewood // Most 

of this episode was 

filmed on the backlot 

at Pinewood Studios, 

where the final nine 

episodes of UFO 

were filmed. We see 

various sets from other film and TV 

productions of the time, including 

a giant white hand seen in The 

Persuaders! episode Five Miles To 

Midnight, and a beautifully recreated Baker Street 

set built for the 1970 feature film The Private Life Of 

Sherlock Holmes. In the studio prop store, the mask 

of Oddbod from the 1968 film Carry On Screaming 

can also be seen. 

Turner 

Patrick Allen 

Casting Agent 

Ron Pember 

Actor 

Jean Vladon 

Actress 

Kirsten Lindholm 

SHADO 

Maintenance 

Engineer 

Douglas Nottage 

Studio Guard 

John Lyons 

Studio 

Security Man 

John C. Carney 

Mini-cars driven by Turner and Straker // 

The Harlington-Straker studio buggies 

driven by Straker and Turner were 

Tom Barnard sports cars. Only a 

very small number were 

made, many of which 

were famously sent to 

Monaco for the 1970 

Grand Prix. 

53 




T: 07734152026

Mike Jones Design – Portfolio Autumn 2016

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