"Doctor Who" Vincent and the Doctor (TV Episode ) - IMDb
Sep 6, /r/allVan Gogh's scene on Doctor Who is the most beautiful thing i've ever .. Vincent takes the Doctor and Amy's hands at the end of the episode, and .. than I ever have over any death or relationship breakup in my own life. The Doctor and Amy travel back in time to meet Vincent Van Gough and face an invisible Here, the amount of heart in the ending of this episode is stunning. "Doctor Who" Vincent and the Doctor (TV Episode ) on IMDb: Movies, TV, but the story telling and the poignant ending are first class as is the acting.
Writing the script… Loving Vincent first entered development inoriginally conceived as a short film by Dorota Kobiela. Since then the script has gone through several major drafts and changes in direction before settling on the final version, which tells the story from the point of view of Armand Roulin.
Here are few words from writer-director duo Dorota Kobiela and Hugh Welchman at various points in the journey.
Hugh Welchman and Dorota Kobiela Dorota Kobiela - the early drafts By far the hardest challenge was re-writing the script as an 80 minute film. I see myself as a director, not a writer. I would often write scenes that I thought were beautiful and moved the story forward, and then realise they were too removed from the paintings. Kirk Douglas as Van Gogh in Lust for Life I wrote the first draft in Polish, based on my various short scripts, and using character monologues we had commissioned from a Polish novelist, Jacek Dehnal.
I wrote the second draft in Polish as well, and it was so time consuming getting it translated, and getting notes in English, so, seeing as we were going to shoot the film in English, I decided I would write future drafts in English.
So at this point I drafted in the help of Hugh and co-opted him as my co-writer. Over the next 2 and a half years we produced 5 full new drafts, and many minor revisions to those 5 drafts, and we had two complete changes of direction during this time.
I wrote many stories: But the first concrete script that emerged was set during his last days. This resonated, and also I loved the paintings involved, and the fact they included paintings of people who he had regular contact with at the end: Hugh Welchman and Dorota Kobiela working on a draft of the script in Amsterdam.
Hugh Welchman on developing the story We had read around 40 different publications about Vincent: Over 4 years we visited 19 museums in 6 countries to view around Van Gogh paintings. We also watched the major feature film and documentary productions about his life and interviewed experts at the Van Gogh Museum.
The demands of writing a script on Vincent were tough. We took as our mantra his words in one of his last letters: So we showed only what we see in his paintings. With that restriction we had many paths to follow: For us it was very clear that Vincent was not insane. But we also had to deal with the widely held perception that he was some tortured mad suffering artist. Vincent in the final film New directions - Dorota A major change of direction was the change from a mockumentary to a regular dramatic story.
We also made the stylistic choice to have two different visual styles in the film- the interviews would be in Vincent style, and the recollections of the people being interviewed would be in black and white.
One draft had Postman Roulin and his son narrating events to a third party, the painter Edvard Munch. An early test painting with the Roulins and Edvard Munch. We felt this was still too removed and we needed to identify more closely with the emotional journey of the main characters.
So then we shifted to setting the investigation in the present, and made Armand Roulin the hero, interviewing people in Auvers, Paris and Arles. From various tests with computer animation we concluded that it was very important to actually, like Vincent van Gogh, paint with oils on canvas. Each frame of the film is an oil painting, based on or inspired by his paintings.
Few things on TV move me like this episode has. The Doctor giving Van Gogh a glimpse of his legacy was just emotionally jarring in a good way. A friend of mine suffered much the same condition as Van Gogh. He had been able to pull out of his sways, which initially were just mood sways, but then as he sought treatment, became real emotions about real abuse he was suffering at the hands of the very doctors trying to help him.
His tale is yet to end. But here the Doctor and his Scottish companion visit the legendary painter and tackle a giant outer space turkey bent on wreaking havoc in the rural country painting getaway that is Van Gogh's home.
I have to say, as far as monsters go, I think the production team didn't go the whole nine yards for this episode. They had a budget to meet, so probably grabbed the first thing that came into their head and said "that's our monster" I'll bet one of the writers was eating a chicken sandwich at the time they were brainstorming the plot.
Which they usually aren't. Because other creatures can't see them. And that's why we are in a unique position today, my friend, to end this reign of terror. So, feeling like painting the church today? What about the monster? Take my word for it. If you paint it, he will come. I'll get my things. In your own time.
And I promise you, we'll be out of your hair by this time tomorrow. Vincent goes into the other room. Well, think about it. This is the middle of Vincent Van Gogh's greatest year of painting.
If we're not careful, the net result of our pleasant little trip will be the brutal murder of the greatest artist who ever lived. And it will be our fault. Vincent is lying face down on his little bed, crying. Vincent, can I help? It's so clear you cannot help. And when you leave, and everyone always leaves, I will be left once more with an empty heart and no hope.
Loving Vincent - the world’s first fully painted feature film!
My experience is that there is, you know, surprisingly, always hope. Then your experience is incomplete. I know how it will end. And it will not end well.
Come on, let's go outside. What are you doing here? Everyone knows he's a delicate man. Just months from now he'll, he'll take his own life. We have to do this on our own. Go to the church at the right time and hope the monster still turns up.
I'm sorry you're so sad.
- Vincent van Gogh: myths, madness and a new way of painting
- Watch Actors Transform Into Living Van Gogh Paintings Before Your Eyes
- Auberge Ravoux
Sometimes these moods torture me for weeks, for months. But I'm good now. I'm not soldiering on. I hear the song of your sadness. You've lost someone, I think. They why are you crying? I'm not sure I do. So, now, we must have a plan. Then we shall fight him again.
But last night we were lucky. Amy could have been killed. So this time, for a start, we have to make sure I can see him too. And how are we meant to do that, suddenly? The answer's in this box. I had an excellent, if smelly, godmother.
They meet a funeral procession coming the other way. Oh no, it's that poor girl from the village. They stand aside respectfully as the coffin is carried past, with a bouquet of sunflowers on it. You do have a plan, don't you? It's like a plan, but with more greatness. And you'll be sure to tell me if you see any, you know, monsters. While I may be mad, I'm not stupid. And, to be honest, I'm not sure about mad either.
I remember watching Michelangelo painting the Sistine Chapel. I kept saying to him, look, if you're scared of heights, you shouldn't have taken the job then. What a ghastly old goat.
Vincent and the Doctor
I kept telling him, concentrate, Pablo. It's one eye, either side of the face. Later, an owl hoots. The picture is almost finished. Is this how time normally passes? In the right order. If there's one thing I can't stand, it's an unpunctual alien attack. You seem a bit, if I didn't know you better, I'd say nervous. Yes, there's something not right and I can't quite put my finger on it.
He's at the window. There, on the right.