Quotes of All Topics . Occasions . Authors
I love a 'Doctor Who' cliffhanger.
I have no issue with my boys looking up to women.
I mean, I'm always happy to be compared with Scorsese!
The great thing about 'Camelot' is that it is an adult drama.
I love 'Doctor Who' as a big, popular, mainstream, accessible show.
I'm incredibly grateful and humbled by the response 'Broadchurch' got.
Torchwood''s never going to be as heavy an effects show as 'Doctor Who.'
Doctor Who' is such a broad show. It's got the whole universe to explore.
If you can do something exciting and unusual, you might as well give it a go.
I think you always need to take new, big risks from a storytelling point of view.
I think you can tell different types of stories within a 'Doctor Who' two-parter.
Drama is not a literal portrayal of events. It's a depiction, it's impressionistic.
If we lose the BBC it would be a disaster for the entire country. I genuinely believe that.
I think when you're writing anything you should never be thinking about hardcore genre fans.
Broadchurch' has been a life-changing experience for me, but all good stories come to an end.
At every point in 'Broadchurch' you're continually told and pulled back into the emotional cost.
I've come from theatre and you have different productions of a text in theatre. It's not unusual.
I think sometimes actors who have predominately done comedy get a little typecast by some people.
Having made other shows, the thing with 'Doctor Who' is that you're doing everything, all at once.
It is a fact of broadcasting that you've got to get the big audiences for the channel that you're on.
Born And Bred' is pure escapism, and where we film is one of the most beautiful places in the country.
One of your jobs as a writer is to cut out the noise. All you have is your instincts and your process.
There's something very interesting about world leaders promising hope and then carrying through on that.
Normally the lightbulb moments only happen after 16-hour days, lots of cups of tea and a bit of weeping.
Honestly, I could talk to you for seven hours and not run out of great things to say about David Tennant.
That's what I love about 'Doctor Who' - it takes you back to being the age you were when you first saw it.
As a programme-maker you've got a responsibility to examine your choices and how they play in the wider world.
Doctor Who' is the best show to write for, because of the actors and the scale of imagination that it demands.
I think 'Doctor Who' is the greatest idea television has ever had, and our job is to convince the rest of the world.
I think my job is to deliver the best, most cinematic, rich, exciting, surprising and emotional version of 'Camelot.'
The range of 'Doctor Who' is, I would argue, bigger than the range of any other television program or movie franchise.
If ever there was a character that was never defined by gender, it's the Doctor. The Doctor is gender fluid in that sense.
The north-west coast of America is that mixture of beauty and savagery, which I felt was very similar to the Dorset coast.
Broadchurch' was all about shades of grey, both in characters and storytelling, and I wanted to see that through to the end.
The papers feed the public interest but then the public interest demands more in the press and speculation can look like fact.
In an ideal world, 'Doctor Who' makes the whole nation eight years old, with that excitement and engagement and wide-eyedness.
I think women were gradually becoming more independent - the feminist movement of the Sixties didn't just spring out of nowhere.
The mood of the country is set by its leaders and they are failing us by not setting a compassionate moral tone in a complex time.
Every writer has compressed time and procedure, and used clarifying dialogue. That's not a scandal: it's a legitimate dramatic technique.
I don't think any of the journalists in 'Broadchurch' are villainous. I think they're all trying to do their jobs under difficult circumstances.
You do your best to tell your own story, in the most specific way, and then you hope that that travels well, when it's done with heart and honesty.
There is very much a sense of different versions of storytelling within our 'Camelot' - who tells those stories, who creates them, who shifts them.
Broadchurch' is shot through with the fear of being a parent: what's the most horrific loss you can imagine and how could you go on living afterwards?
It's a 'Doctor Who' budget. A BBC budget, although a very good one. But you know you can't do dinosaurs endlessly for 45 minutes, so there has to be a big 'other' story going on.
What I didn't want to come in with is 'Camelot' in all its pomp and glory. Instead we're looking at how you build a society, how you build a world that people believe in, and how hard it is.
Often as a writer, you get your first draft out, and then you look and think, 'Now, what have I got here.' You're really just throwing mud at the wall and then going, 'Oh, there's a pattern there.'
As if we didn't have enough fabulous actresses, it's a thrill to be joined by Wales's finest, Eve Myles. Having worked together on 'Torchwood,' it's a joy to be able to welcome her to 'Broadchurch.'
That kind of 'Lord of the Flies' brutality of being 11, it's a tough time. You're trying to figure out who you are, and who your friends are, and what your alliances are, and kids fall out all the time.
So actually, for me, 'Doctor Who,' you want it to be the show with all the emotions and all the feels, really, and that you've had a good emotional workout, from laughter to tears to fear and excitement.
You should always think about the mainstream audience first and foremost, because frankly they are the people who are going to get the show recommissioned. There are not enough genre fans to support shows.