As a long-time fan of Doctor Who, I must say that it’s fascinating to get a glimpse into the lives and collaborative process of the talented individuals who bring this iconic series to life. From Murray Gold‘s insightful comments about working with Russell T. Davies and Steven Moffat to his humorous anecdotes about creating music for the show, it’s clear that he is not only a gifted composer but also someone who takes his craft seriously while maintaining a sense of humor.
Murray Gold might justifiably boast about being one of the most active composers in the United Kingdom. He seldom has a day of rest. Approaching two decades have passed since he assumed the role of the musical voice behind Doctor Who, rejoining the show following a five-year hiatus.
His television resume encompasses the ratings for shows like Queer as Folk, Shameless, It’s a Sin, Gentleman Jack, and Last Tango in Halifax. At present, he is engaged in the production of Stephen Frears’s new dramatic piece on Mrs. Thatcher and Sally Wainwright’s upcoming series, Riot Women, which follows the story of five friends who establish a punk band.
At the age of 55, Murray resides in the northern part of London with his spouse, Gemma – who is both an actress and a dancer – along with their two lovely daughters.
Having followed TopMob‘s career from its early days, I am thrilled to have had the opportunity to chat with him this summer. With his upcoming Doctor Who Prom at the Royal Albert Hall just around the corner, it’s a great time to delve into his life and journey so far.
Murray invited us to his home recording studio – his attic where all the magic happens…
As a devoted cinephile and aspiring composer, I embark on a captivating journey every time I compose an orchestral score for a film. The process begins with the spark of inspiration, which often ignites when I watch a scene or hear a director’s vision.
Much of my music originates from simply watching episodes related to whatever project I’m currently working on, whether it’s Doctor Who or other shows. There’s a reciprocal, enhancing relationship between music and film. An excellent scene can make even ordinary music stand out, and similarly, an appropriate piece of music can significantly enhance the scene itself.
When I listen to a story, I often have the sensation that the music was created specifically for it. As if I’m an old-style theater organist, I let go of any notion that I’m composing and simply place my hands on the piano. I just play and capture the performance using a feature called “retrospective record” which saves everything as you perform.
RT: And do you work every day?
Absolutely. Resuming the role of Doctor Who is undeniably the toughest task I’ve encountered so far. I can’t quite pinpoint why, but perhaps it’s due to the immense anticipation and the incessant, unyielding intensity of the music. It wasn’t until a few months ago that I had a break – just three days, one for Christmas and a couple around my birthday. Otherwise, I’ve been working every day without a pause.
RT: You’re finding it more difficult than before, when you did it for many years?
PG: The most challenging period since 2005, which marked the initial rise of Doctor Who, has been encountered. There’s no archive of resources to rely upon. Moreover, each installment these days is almost completely filled with music, creating a near-continuous stream of it.
RT: Your decision or somebody else’s?
This choice is about branding. Essentially, it communicates that music plays a significant role in driving the show’s episodes, taking center stage throughout. In other words, the music is not just a background element; it’s given prominence and elevated to a higher level.
I understand people are curious about when the orchestral part enters the music you’ve produced in your studio. Could you share more details on that timing?
AL: It seems there’s some confusion regarding this matter. Over the course of the previous year, we collaborated with the BBC National Orchestra of Wales for approximately four to five sessions. These sessions encompassed the three 60th anniversary specials, the Christmas special, and the eight episodes from the 2024 season. During each session, we were able to record around 40 minutes of music, which totals to about 200 minutes or roughly three hours. This means that I need to compose approximately seven hours’ worth of music on my own.
RT: You’ve used choirs and vocalists before – are you using them again now?
MG: Yes, there are quite a few songs, or moments of singing, but that’s often just woven into the music. A lot of the time, really, the choir is just another instrument that happens along in the last 10 minutes of an episode.
RT: How does the collaboration with the orchestra work? Do you do the orchestrations?
Alastair King has been responsible for composing the music since Peter Capaldi’s second series, and he continues to do so. However, when Segun Akinola took over as composer for Jodie Whittaker’s episodes, The National Orchestra was no longer involved. It seems that the decision was made to seek music from different sources, which is reasonable given the value of diverse approaches in creative work.
In January 2023, we made our initial recordings, which eventually became Season 1. It was truly delightful to reunite with everyone involved. I’ve had a special bond with some of the section leaders and certain individuals for quite some time now. Approximately a quarter of them have been there since as far back as 2005.
As a seasoned movie reviewer, I must say that Murray’s presence at the BBC Proms is as familiar as an old friend. You see, the Doctor Who Proms have graced this esteemed event four times: in 2008, 2010, and 2013, making it a regular fixture. His enchanting score for BBC One’s Life Story was showcased at a unique concert in 2015, and more recently, it was revisited during the 2022 Earth Prom, leaving audiences spellbound once again.
Could you share some information about the fourth Doctor Who Prom that’s scheduled for Monday, 26th August? It will be staged not once, but twice on this day.
MG:We’re deciding on the songs we’ll perform for our upcoming concert series. This is just the start of a multi-year cycle. Given how quickly tickets were snapped up, it seems there might be more shows in the next decade. In fact, both shows sold out within an hour.
The majority of the music from our show remains unperformed since its initial recording. You can’t find it on a CD because it hasn’t been officially released. As for titles, most of the pieces are still untitled, so we’re coming up with temporary names for the groups of music.
Indeed, certain songs gained popularity decades ago due to their availability on CDs and other mediums. As a result, these tunes became deeply ingrained in people’s memories.
AL: Absolutely! The Prom won’t follow a format like a jukebox musical since attendees might not recognize or hum along with the songs in advance. Instead, there are many new elements, and we had to eliminate a few parts that didn’t quite fit. Unfortunately, it means cutting out an amazing climax from our upcoming 2024 Christmas episode, which features deeply emotional and heartwarming scenes.
RT: Is that just instrumental, or singing as well?
“I aim for the Prom to be heavily influenced by choirs. I’d like them to sing and make ululations in songs that didn’t originally include a chorus.”
RT: So you’re not previewing any tracks from the next Christmas special or the 2025 season?
Initially, one essential aspect needed to be sacrificed due to various legal, union, and logistical constraints. We must vacate the stage and ensure our trucks are fully loaded by a specific deadline. Upon careful consideration, something had to be cut short because of the tight two-hour window we’re working with. Additionally, we have some special video inserts featuring Ncuti [Gatwa] prepared for this event.
As a lifelong fan of Doctor Who, I’m absolutely thrilled to share this curated collection of episodes featuring David Tennant’s return as the Doctor. From the lighter, whimsical tales like 73 Yards and Boom, to the darker, suspenseful ones, there’s something here for every Whovian. And let me tell you, the finale episode is a real treat – it’s a horror-filled extravaganza that will leave you on the edge of your seat! But what sets these episodes apart isn’t just their captivating storylines, it’s the meticulous attention to detail in the staging and theatrics. As someone who has been following the show for decades, I can confidently say that this collection is a visual masterpiece not to be missed!
Instead, let me rephrase this for you: Our lineup includes Segun Akinola’s suite, along with some classic tunes. We’ve made an effort to ensure that the audience isn’t left feeling disappointed by the band playing exclusively new material from their latest album, which usually isn’t well-received. Here’s hoping it all blends seamlessly together.
We have a remarkable Russian soprano residing here who’s currently engrossed with the Royal Opera House. I must say, it’s quite a significant acquisition, as she’s a renowned figure in her sphere. She’ll be performing Vale Decem and Abigail’s Song, which are tracks from Doctor Who in 2010. These selections serve as a nostalgic reference to a bygone era. We submitted these two pieces to gauge her interest, and she found them appealing. This collaboration will allow her to reach a younger demographic.
RT: Has it been decided who’s hosting it?
MG: It’s Catherine Tate! I’m thrilled it’s her because she’s synonymous with this show. In fact, she sent me a kind message after the special episodes, praising my work. Wow, she’s fantastic!
RT: What were your early influences in music?
Initially, when I first began playing the piano, Haydn was my favorite composer due to his strong folk influences. I’ve always had a fondness for harmonic minor pieces. To be honest, I found the major key compositions in classical music quite dull, but once they delved into minor keys or incorporated some chromatic elements, I instantly became captivated by them.
1. I’m drawn to bright and lively hues.
Did you enjoy house and dance music back then? It’s interesting because when I first met you through Queer as Folk, the show had a lively, rhythmic vibe to it.
Reviewer: For me, there’s nothing quite like the rhythmic groove of funk and early hip hop that emerged from its roots. I also found an affinity for acid house; its simplicity, yet intellectual appeal, was captivating. The use of a single baseline on a TB-303 synthesizer created a minimalistic charm, with the filter evolving over time to produce a unique mutation. I admired the dedication behind it and found the concept of this music quite unusual, but undeniably intriguing.
This is a grand reduction, but it comes from an eastern tradition more than probably the western idea of melody and harmony. Just an awareness of time. Philip Glass has that and Ravi Shankar has that, and it makes you aware of the present and the infinite at the same time.
RT: Can you remember when you first met Russell T Davies for Queer as Folk in the late ’90s?
As a passionate film enthusiast, I recall the moment when Red Production Company found themselves in search of a new composer following the departure of a renowned artist. A gathering of industry heavyweights, including Russell and Nicola Shindler, Paul Abbott, took place within their ranks. The captivating adaptation of Vanity Fair had recently graced BBC One screens, featuring Natasha Little, and I had delivered an eccentric score for the series. Impressed by my work, my name was brought up in conversation, opening a door of opportunity that I was more than eager to walk through.
One day, Russell contacted me. We crossed paths at a hotel in Swiss Cottage and began conversing about Vanity Fair, Queer as Folk, and Doctor Who. I was taken aback to learn that Doctor Who was still around. I used to adore it as a child, but hadn’t given it much thought since. I exclaimed, “Ark in Space was my favorite episode. I vividly recall the instant when the man pulls his hand from his pocket, revealing it to be parasitic and green.” Russell replied, “That was Noah.” And I marveled, “How does he remember the names of these characters so well?”
On a different occasion, Russell and Nicola dropped by my apartment to pick out tunes for Queer as Folk. I noticed their arrival and popped some toast in case they felt peckish. Upon opening the door, they proposed we grab pizza instead. So off we went. Unfortunately, our evening took an unexpected turn when we returned, as the toaster was acting up. We found ourselves in a rather unusual situation: three fire trucks were present, and all the windows were shattered. It seemed my apartment had been accidentally set ablaze.
Over the years, I’ve found myself in fortunate circumstances. At the age of 28, I began working with Vanity Fair, and since then, I’ve never experienced unemployment. From there, I moved on to Shameless and numerous other iconic series. Regardless of whether it was Sally Wainwright, Paul Abbott, or Russell who I collaborated with, I’ve consistently been the musical heart of northern poets in my work.
RT: You took an unconventional path into making music and composing.
Originally, I attended Cambridge University where my major was history, specifically at Corpus Christi College. It’s a beautiful institution that I hold in high regard. However, during my time there, I allowed myself to be distracted by my passion for music and theater, and I regret not focusing more on my studies. Now, I often find myself reminiscing about this missed opportunity.
In that fateful day when the results were announced, I found myself reclining in my bed, enveloped by shards of broken glass. Friends and acquaintances burst into my room, sharing their successes, and I asked, “What about me?” They replied, “You received a 2-2, Murray.” My response was simply, “Oh…” before continuing to slumber amidst the debris of the fallen mirrors. It seemed a poignant conclusion to my academic journey. Now, I annually support one or two students at Corpus Christi.
RT: Was music something that you felt was a drive within you?
MG: Being part of a band and dying young at 30 sounded quite appealing to me, but fortunately that didn’t occur. I admired David Bowie immensely, and from a young age, I would emulate his style. My family used to joke, “Here comes Little Bowie!” I wore the large, baggy trousers and a jacket with cut-offs. When I was 13, I became deeply engrossed in early Bowie music, listening to albums like Hunky Dory, Aladdin Sane, and Diamond Dogs.
During Murray’s 11 am toast break, we shift our focus from the studio to Murray’s cluttered workspace upstairs, filled with various computers, keyboards, and assorted electronic devices.
RT: Talk me through the various machines.
As a movie sound enthusiast,: What you should focus on are these Apple Macs, each brimming with an array of tools. In total, there are five stations, all easily accessible from this screen up here. Among them is an analog reverb unit, something that’s simply unmatched in the digital realm. There are also speakers, though I usually perform most of my mixing using headphones. The rest consists mainly of disc drives, but you’ll find my synthesizers and Moog over yonder.
RT: Did you have an Apple genius to help set it all up?
MG: No, I did it all myself because nobody comes here and nobody helps me.
In one area, there’s a cozy nook set aside for Murray’s two daughters (ages 5 and 7) to relax and enjoy their playtime.
RT: When they’re up here, do you let them hear what you’re doing?
As a movie enthusiast, I often share my film picks with my offspring, and on occasion, I hear them say, “Wow, that’s really good, Dad.” However, they’re still not quite ready for Doctor Who or anything I produce just yet. It’s a bit too intense for their tender sensibilities at the moment. I believe the current climate demands a touch of caution in selection.
Contrarily to me who started watching Doctor Who at three, one of my daughters is currently seven. In my opinion, the sensitivity of a seven-year-old today might be too fragile to handle shows like Doctor Who with its frightening creatures. It could potentially keep her awake at night.
RT: What was it like working with both Russell and Steven Moffat?
They’re similar to brothers, each with distinct personalities. Steven is incredibly intelligent and Russell is exceptionally optimistic. While he does possess a hidden dark side, he primarily functions as a positive influence. However, I also appreciate the work of those who are pessimists.
RT: Are there any episodes that have presented more of a challenge than others?
AL: Creating subpar episodes for any drama series can be incredibly challenging. I propose that the BAFTAs consider adding an award for exceptional accomplishment within the realm of mediocre or poor dramas. This suggestion isn’t meant to be sarcastic or belittling, but rather to acknowledge the difficulty in crafting a compelling score for less-than-stellar productions. Often, you’re finding yourself in a protective role, striving to salvage the team’s work and maintain quality where it may be lacking.
Steven often generously complimented me by saying, “You’ve rescued us so many times.” I never questioned him about the specific instances or if it was accurate, but I’d keep working until it was excellent, or at least to my best ability. Needless to say, this process takes longer when the outcome falls short of expectations.
Would you like to listen to some tunes for a moment? Let me pull up my collection of musical templates. I’ll simply share something with you. By the way, I have a wide variety of instruments here – there are standard strings, another layer of strings, special effects strings, arpeggios, and just about every instrument imaginable…
I kick off my creation, subtly introduce a rich spectrum of string instruments, layer in a steady rhythm provided by a metronome, strike keys to add melodies, and finally, enhance it all with a touch of reverb.
First, I’ll create a smooth, melodious, flowing melody accompanied by rhythmic beats, creating a scene where an orchestral atmosphere blends harmoniously with a pulsating, contemporary, cinematic beat. Now, all that’s missing is the visual element to complete it!
As someone who grew up watching both Scandinavian crime dramas and classic episodes of Doctor Who, I found myself captivated by the unique blend of these two distinct genres. At first, it seemed like a typical Scandi noir storyline with its dark, atmospheric setting and complex characters, but as it progressed, it began to resemble something more akin to an adventure from Doctor Who. It was a refreshing twist that kept me engaged throughout the entire narrative.
Retreating is usually beneficial, but in this case, I won’t be making use of it. [He erases it.] Now, whatever it was has been eliminated completely. It no longer has a presence. It was fleeting and transient.
RT: Well, it’s recorded on my device, so that will be a Murray rarity.
[Suddenly, on impulse, he plays the jaunty theme for Matt Smith’s Doctor from 2010. It’s thrilling to hear the composer play it in his creative space.]
I haven’t given it a spin for some time now… Let’s keep this between us, but the chord progressions in Doctor Who have a bit of a 1950s soap opera feel to them, yet they are arranged in such a way that they seem quite dynamic.
RT: I wonder what music Russell listens to when he’s writing.
MG: He always says he just listens to me – but I don’t know how much to believe that.
To wrap up the morning, Murray performs and croons a few initial notes from David Bowie’s ‘Changes’. Truly fitting, it is.
Read more in TopMob magazine.
On Monday, the 26th of August, there are two performances of the Doctor Who Prom scheduled: one at 2:30 PM and another at 7:00 PM. Both events will take place at the Royal Albert Hall. The evening performance at 7 PM will be broadcast live on BBC Radio 3, and it will be accessible on BBC Sounds for a month following the event. Later in the year, it will also be shown on BBC TV.
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2024-08-20 12:35