| 7 – "The Schrödinger Effect" | |
|---|---|
| The Projection Room episode | |
 The DVD cover of The Schrödinger Effect | |
| Cast | |
| Doctor • Chris Hoyle (The Doctor) • David Hobson (The Doctor) | |
| Companions • Emma Bone (Charlotte McLeod) | |
| Others • Paul Walker – Kayn • Simon Wellings – The Sentinel • Colin Baker – The Voice | |
| Production | |
| Writer | Kit Steels |
| Director | Chris Hoyle |
| Producer | TBA |
| Production code | 1.7 |
| Series | The Projection Room |
| Length | 31 minutes |
| Originally broadcast | April 2008 |
| Chronology | |
| ← Preceded by | Followed by → |
| – | – |
"The Schrödinger Effect" is a single-episode story in a Doctor Who fan series by The Projection Room.
Story[]
Synopsis[]
The Doctor (Chris Hoyle) is, for once, traveling alone and takes the opportunity to visit Charlotte (Emma Bone) who he hasn't seen for several years and who is living in a small English country village.
But shortly after arriving in Howbury it seems that the Doctor is under attack by an invisible force. A sinister, cloaked figure is homing in on him, dark storm-clouds are biulding over the village, and a future Doctor (Dave Hobson) and Charlotte also seem to be ensnared in a bleak, distant and hostile wilderness far removed from the rural tranquility of Howbury...Or is it...?
Continuity[]
Being a two-Doctor story, this adventure needs placing in both Chris Hoyle's and David Hobson's chronology. For Chris Hoyle's Doctor, this story falls sometime between The Deadly Alliance and Masterplan. For Dave Hobson's Doctor this story falls sometime before A Stitch in Time, although being set in a parallel universe it is debatable whether this can be said with any degree of conviction.
Production[]
Back in 2002 a forum-thread was set up by Harry Hayfield with the aim of producing a 40th Anniversary story featuring different fan-Doctors (much like "Pudsai" did 5 years later). The project got as far as a number of parties showing interest - including The Projection Room - and a basic story-outline being suggested by Chris Hoyle, before the discussion went very quiet indeed. Whether this was due to most parties losing interest due to the premise, the suggested plot or some other factor could never be established but one group - the Brisbane-based 'BTR' group - maintained their interest and the project looked like going ahead as a collaboration between the two companies.
A script was produced and emailed to 'BTR', and The Projection Room made a start recording their location material up Saddleworth Moor in December 2002 (enduring horrific, cold weather) and the village of Thorner, which doubled as 'Howbury' (a name chosen as an anagram of Who-Ruby; a 40th anniversary being a Ruby anniversary). Early in 2003 TARDIS interior sequences were shot using the basement of Paul Walker's house on St.John's Road, Headingley as the studio. At this point the recently-enrolled CGI animator who had offered his services for the production dropped out, citing problems with the location material being shot. The 'BTR' group also seemed to be struggling with coordinating the recording of their material. Unable to do much else without GCI support or the Brisbane material, the production was put on hold, amidst fears that it may be shelved - something Chris Hoyle was vehemently against, given the way The Deadly Alliance had to be wrapped-up.
As it was, the stand-alone production Gene Genius got underway, meaning that the subsequent 18 months were spent on that story instead. It also meant that there was less urgency for 'BTR' to get their material recorded, and a chance that a new CGI animator may be found.
Salvation came in the form of Graham Quince, and 'Shivering Cactus Studios'; he had seen Gene Genius and Masterplan and was interested in getting involved with the group in some way. Having looked through the script he agreed to handle the effects work for the piece and, following a reappraisal of the footage already shot, Chris Hoyle realised that there were only a handful of UK shots left to do. It seemed clear now that 'BTR' were not going to be able to deliver their scenes, but fortunately the script had been written such that it could still work in such an eventuality.
As a result, work recommenced on the production late in 2005, with Tony Gallichan coming on-board to provide the closing credit music, and the final edit was screened to an audience of approximately 80 guests in April 2008.