On any TV drama, deadlines and shedules mean everything. Time really does equal money and on a series that sees complicated shoot days with stunts and prosthetics and greenscreen filming, and a post-production schedule designed like a military campaign on multi-colored paper, everyone needs to march on. You never, ever stop

One morning, during the filming and post production of Season 2, my mobile rang with an incoming text at 7am. It was from composer Murray Gold, eager for me to call hin. He hadn't slept. Murray, as well as beeing an extraordinary composer, never misses a deadline for a final mix (the day when we pull together all our sound effects and music score). He works hard with passion and skill. Today was no exception. Murray had indeed composed an episode of DOCTOR WHO in good time for that week's mix. But there was one problem. He'd written the music for the wrong episode.

Julie Gardner, Executive Producer bei der BBC, erzählt diese Anekdote im Booklet, das der Box mit den letzten vier Seasons von Doctor Who beiliegt. Sie schreibt den Text nachts in der Eisenbahn auf allerletztem Drücker - sie war zwar der Meinung, diese Aufgabe längst erledigt zu haben und hat auch bereits eine Einführung geschrieben, bloß, wie sich herausstellt, für die falsche Serie, Torchwood, an der sie ebenfalls beteiligt war.