Location scouting is often an overlooked, yet crucial element in film and television production. Imagine the thrill of searching for the perfect backdrop – from dramatic clifftops to serene beaches – to bring a story to life. Sometimes, the requests are more grounded: a specific type of road for a commercial, a vacant factory for a photoshoot, or a typical suburban house. But beyond aesthetics, the practicalities are immense: accessibility for trucks, parking, noise levels, neighborly concerns, daylight hours, and even the proximity of a decent pub. Finding that ideal location is like completing a complex puzzle, a satisfying victory when all elements align and the creative team approves. A truly versatile location earns the coveted praise: “It could be anywhere,” a testament to its adaptability, ironically contrasting with the initially hyper-specific search criteria. This experience gives one a keen eye for detail, forever changing how you watch TV, often pointing out locations and reminiscing about past shoots, much to the amusement (or perhaps annoyance) of those around.
A sweeping crane shot in Dubai showcases the vast desert landscape for Doctor Who’s “Planet of the Dead” episode.
“Planet of the Dead,” the Doctor Who Easter special from 2009, exemplifies the power of location. The episode’s most striking feature is undoubtedly the breathtaking desert scenery of Dubai, UAE. The opening crane shot, revealing the bus arriving on the supposed alien planet of San Helios, immediately establishes this. Starting low and ascending to unveil the immense, undulating sand dunes against a vibrant blue sky, the visual impact is both heroic and awe-inspiring. The message is clear from the outset: this is a departure from the familiar streets of Cardiff.
Escaping Cardiff visually was a significant move in 2009, and it’s become increasingly vital for Doctor Who since. Having been based in Wales for over a decade, with over a hundred episodes filmed, the sheer volume of location requirements becomes challenging. While Wales is undeniably diverse and beautiful, the limitations of finding everything within a two-hour radius of Cardiff become apparent. This constraint inevitably leads to location fatigue, with familiar spots being redressed and reused. The Temple of Peace and Health, Millennium Stadium’s corridors, and Caerphilly Castle are just a few examples of locations that have become Doctor Who staples, perhaps a little too familiar for dedicated viewers. Over-reliance on the same locations can, unfortunately, lend a sense of staleness to a long-running show.
This is why criticisms of Classic Doctor Who’s occasional forays into international locations, often on a budget, seem somewhat misplaced. “The Two Doctors,” for instance, is sometimes targeted for its Spanish setting, deemed unnecessary to the plot. However, foregoing such opportunities means reverting to yet another story set in a generic country manor, a scenario Doctor Who had explored countless times. While “The Two Doctors” might not have required Spain, Doctor Who as a series certainly benefited from the visual novelty and excitement it provided. Even the clever New York recreation in Cardiff for “The Return of Doctor Mysterio” cannot fully replicate the authenticity of filming in a truly distinct environment.
The expansive desert dunes of Dubai served as the alien landscape of San Helios in “Planet of the Dead,” showcasing the series’ ambition.
Doctor Who’s previous overseas venture, the Cinecitta Studios in Rome for “The Fires of Pompeii,” was arguably more pragmatic, utilizing existing Roman sets. A Roman city could have been constructed in the UK (and parts of “Fires of Pompeii” were indeed filmed at the Temple of Peace). However, choosing Dubai for “Planet of the Dead” was a distinct aesthetic decision. Writers Russell T Davies and Gareth Roberts intentionally crafted a narrative that demanded an overseas shoot. Deserts, unlike forests readily available in Wales, are not easily found closer to home. Similarly, jungles and sun-drenched beaches present location challenges within the UK.
Director James Strong and Director of Photography Rory Taylor masterfully captured the grandeur of Dubai, emphasizing the scale of the dunes and employing sweeping shots that harmonized effectively with the CGI elements, particularly the Swarm. The CGI bus, however, hasn’t aged as gracefully. One wonders if drone technology, readily available today, would have allowed for even more dynamic aerial perspectives across the desert plains in 2009, perhaps even offering a Swarm’s-eye view.
Behind the scenes, as documented in Doctor Who Confidential and Doctor Who Magazine set reports, the Dubai shoot was far from easy. The extreme heat, remote locations, and ubiquitous sand posed significant challenges. Since “Planet of the Dead,” Doctor Who has continued to film abroad in Spain, Croatia, the US, and Lanzarote, each time achieving visually impressive results. However, the complexities of the Dubai experience, including the infamous damaged bus incident, might have subtly influenced subsequent overseas location choices, perhaps prioritizing logistical ease alongside scenic appeal.
The real-world complications of the Dubai shoot even seeped into the fictional narrative. Characters Carmen and Lou, the commuters, humorously remain on the bus even after arriving on San Helios, a different planet entirely. Even psychic pronouncements from the deceased couldn’t entice them to disembark, a humorous nod to British stoicism in the face of the extraordinary. Later, inside the Tritovore spaceship, a line about “photofine steel” causing cold breath is inserted to explain the actors’ visible breath in the chilly Welsh conditions, a classic example of on-the-fly explanations for production realities. The return of the bus to Earth involved considerable effort to avoid showing its Dubai-damaged state, including reportedly shutting down a highway tunnel for filming – further location-related logistical hurdles.
Ultimately, these efforts are worthwhile to escape the overused quarries that are so synonymous with classic Doctor Who. Ironically, the very next story, “The Waters of Mars,” returns to a quarry, albeit redressed as the Martian surface. This familiar location, the Cemex quarry, has served as Mount Vesuvius, the Oodsphere, House, and even Skaro over the years. It’s likely that someone, during a location scout for that quarry long ago, uttered the words: “It could be anywhere.”
With thanks to the invaluable resource: http://www.doctorwholocations.net/
