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Doctor Who season 2’s second episode, Lux, sees the Doctor’s quest to get Belinda home taking the Tardis to Miami in 1952, where an abandoned cinema is hiding a terrifying secret.
Can the Doctor uncover Lux’s power? And what can we expect from the episode?
Alan Cumming and director Amanda Brotchie explain all…
Alan Cumming (Mr Ring-A-Ding)
You have already appeared in an episode of Doctor Who, as King James I alongside the Thirteenth Doctor (Jodie Whittaker). What made you want to return to the Whoniverse?
As a little boy who grew up with Doctor Who, anytime it’s mentioned for me to be in it, the little boy in me jumps. Also, last time I was on the show, it was on location in a muddy forest in Wales in February, and I was wearing a very itchy wig and beard, so doing a voice where I could stay warm and wear what I like was a great boon!
What was it like working with Ncuti Gatwa and Varada Sethu? Did you get to meet them, despite it being a voice role?
It was lovely to work with them both. They are the most giving and playful scene partners. Actually, I’ve never met either of them, and I only acted to them on a screen from the other side of the world!
If you had to describe the episode in one word or phrase, what would it be?
Art Deco menace.
Do you enjoy playing more menacing and villainous characters like Mr Ring-A-Ding?
It is a truism that villains always get the best line, and are always much more juicy to play. I guess my favourite kind of villains are the ones that are misunderstood while Mr Ring-A-Ding does not have any redeeming qualities, he does start out quite fun and endearing, so there is an arc to him that I enjoyed.
How did you find out about the part? Did Russell reach out to you directly?
Yes, it was an email from Russell via my agent. I’ve been trying to work with him for years and it always just misses, so I’m really glad this worked out.
Amanda Brotchie (Director)
What can audiences expect to see from Lux?
Audiences can expect to see the signature mix of sci-fi, action and humour that I love about Doctor Who. And a genuine rapport developing between Belinda and the Doctor, as she wraps her head around what it is to travel through time and space. They’ll see an episode that plays with the rules of narrative and genre in unexpected ways.
What was your reaction when you first heard the idea for this episode?
I was given the script to read when it was already pretty much as you’ll see it on screen. I’m a huge cinephile, so I immediately loved the setting, the nostalgia for celluloid. I loved Raymond Queneau’s Flight of Icarus, that mingling of art and life. But to have an animated character step out of the screen was something new and the character is so mercurial and commanding — I’d never read anything like it.
I loved the humour and wit in the episode, and the huge heart and the monumental imagination of the genius who wrote it (Russell T Davies). It’s the perfect episode. I grew up on Warner Brothers cartoons and reading Carl Barks’ comics, so all the elements just came together for me.
What was it like bringing Miami in the 1950s to life, the iconic setting for this episode?
It would have been much easier to bring 1950s Miami to life if we were in Miami [laughs]. Doing it in Penarth was way more challenging. Especially when shooting in early January during two named storms at Penarth pier. But the incredible production design team, costumes, hair & make up, lighting and photography, and visual effects helped create a tropical, balmy atmosphere. I felt for Ncuti and Varada though, who had to look warm in zero degrees Celsius and a stiff wind.
Was it difficult to direct an episode featuring an animated character?
I treated the animated character like any other villain, using moves and angles that fitted the character and story beat. We used a Mr Ring-a-Ding standee to get our focus points. It was much harder for the cast, who had to look as though they all were looking at the same point where Mr Ring-a-Ding was supposed to be. And I was very fortunate to be able work with the crew at Framestore who brought Mr Ring-a-Ding to life. They were meticulous in creating a cartoon and character from the Fleischer era, and giving him such mischievous expressiveness. Some of the animators even worked on Roger Rabbit. Animation royalty.
The costumes in this episode are so fun. What can you tell us about them?
The costume department, including Pam Downe and Raissa Hans – like all the departments – have a great eye and attention to detail. The colours, design and choice of fabrics came together pretty quickly. We loved bright colours, a sheen for the Doctor’s suit and Belinda’s flared skirt for the fun and nostalgia of 50s America.
This episode takes place almost entirely at night, so we needed the colours to pop. And I liked the idea of primary colours — blue, yellow and red cinema interior, which is where they spend most of the episode.
If you could travel in the TARDIS to any time and place in the universe, where would you go?
I’m a bit of a history buff, so I’d probably be boring and choose somewhere in the past. Somewhere cushy and cultured where I can interact with the locals with no drama whatsoever. Like late 1920s Paris. Hang out with Lee Miller and the gang.
If you had to describe the episode in one word or phrase, what would it be?
Fab-tastic and about 1000 exclamation marks.
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