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Ian Atkins

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{{real world}}
 
{{real world}}
 
{{you may|Ian Atkins (writer)|n1=Big Finish writer/producer}}
 
{{you may|Ian Atkins (writer)|n1=Big Finish writer/producer}}
'''Ian Atkins''' was Controller of Programme Services for Television at the [[British Broadcasting Corporation]] in 1963. He was the person who allocated studio space to various programmes, and therefore was a key player in the fight to move ''[[Doctor Who]]'' from [[Lime Grove Studios]] to [[BBC Television Centre|Television Centre]] and [[Riverside Studios]]. In the dispute, he was firmly on the side of [[Rex Tucker]], [[Verity Lambert]], [[David Whitaker]] and [[Donald Wilson]]. At a meeting on 31 May 1963, he was minuted by [[Ayton Whitaker]] as having said that the "old fashioned lighting equipment" at Studio D made it "virtually the worst possible studio for such a project".
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'''Ian Atkins''' ([[22 January (people)|22 January]] [[1912 (people)|1912]]-[[1979 (people)|1979]]{{fact}}) was Controller of Programme Services for Television at the [[British Broadcasting Corporation]] in [[1963 (production)|1963]]. He was the person who allocated studio space to various programmes, and therefore was a key player in the fight to move ''[[Doctor Who]]'' from [[Lime Grove Studios]] to [[BBC Television Centre|Television Centre]] and [[Riverside Studios]]. In the dispute, he was firmly on the side of [[Rex Tucker]], [[Verity Lambert]], [[David Whitaker]] and [[Donald Wilson]]. At a meeting on [[31 May (production)|31 May]] [[1963 (production)|1963]], he was minuted by [[Ayton Whitaker]] as having said that the "old fashioned lighting equipment" at Studio D made it "virtually the worst possible studio for such a project".
   
 
He was, however, beholden to his — and virtually everyone else's — boss, [[Donald Baverstock]]. He effectively acted as the buffer between [[Sydney Newman]] — and all those under him in the drama department — and Baverstock, who was the overall chief of programmes. Baverstock was less inclined to believe it necessary for ''Doctor Who'' to get adequate studio space and equipment. Atkins sometimes had to relay bad news to Newman and [[Verity Lambert|Lambert]]'s team, but was nevertheless regularly taking up the production team's case with Baverstock.
 
He was, however, beholden to his — and virtually everyone else's — boss, [[Donald Baverstock]]. He effectively acted as the buffer between [[Sydney Newman]] — and all those under him in the drama department — and Baverstock, who was the overall chief of programmes. Baverstock was less inclined to believe it necessary for ''Doctor Who'' to get adequate studio space and equipment. Atkins sometimes had to relay bad news to Newman and [[Verity Lambert|Lambert]]'s team, but was nevertheless regularly taking up the production team's case with Baverstock.
 
[[File:Hartnell-tardis-interior.jpg|thumb|The hexagonal top light, seen prominently here, would disappear from the TARDIS interior because of Atkins' direct intervention. It would be later restored by [[Ed Thomas]] at the beginning of [[series 5 (Doctor Who)|the 2010 series]].]]
 
[[File:Hartnell-tardis-interior.jpg|thumb|The hexagonal top light, seen prominently here, would disappear from the TARDIS interior because of Atkins' direct intervention. It would be later restored by [[Ed Thomas]] at the beginning of [[series 5 (Doctor Who)|the 2010 series]].]]
On 1 November 1963, he intervened directly in an important question of [[designer (crew)|design]]. On that date he held a conference with [[Raymond Cusick]], his direct superior in the design department, the person who was in charge of seeing that sets got moved in a timely fashion. Atkins gave them all a direct order to do something about the design of [[the TARDIS]] interior. As designed by the then-departed [[Peter Brachacki]], it was simply too heavy and too complicated to erect. It was jeopardising the efficiency of the whole scenery department, who were spending entirely too much time on ''Doctor Who'' at the expense of other programmes. By 22 November, Cusick had redesigned and simplified the TARDIS interior. Chief amongst the things he omitted was the hexagonal top light that hung above the [[TARDIS console]]. Cusick's redesign was completed after the recording of "[[The Dead Planet]]", meaning that Brachacki's original design should have appeared in the second serial as well as the first. However, thanks to recording errors, "Planet" needed to be re-recorded. Therefore the new "Cusick interior" made its debut in ''The Mutants'' — the serial now known as ''[[The Daleks (TV story)|The Daleks]]''. ([[REF]]: ''[[The First Doctor Handbook]]'')
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On [[1 November (production)|1 November]] [[1963 (production)|1963]], he intervened directly in an important question of [[designer (crew)|design]]. On that date he held a conference with [[Raymond Cusick]], his direct superior in the design department, the person who was in charge of seeing that sets got moved in a timely fashion. Atkins gave them all a direct order to do something about the design of [[the TARDIS]] interior. As designed by the then-departed [[Peter Brachacki]], it was simply too heavy and too complicated to erect. It was jeopardising the efficiency of the whole scenery department, who were spending entirely too much time on ''Doctor Who'' at the expense of other programmes. By [[22 November (production)|22 November]], Cusick had redesigned and simplified the TARDIS interior. Chief amongst the things he omitted was the hexagonal top light that hung above the [[TARDIS console]]. Cusick's redesign was completed after the recording of "[[The Dead Planet]]", meaning that Brachacki's original design should have appeared in the second serial as well as the first. However, thanks to recording errors, "Planet" needed to be re-recorded. Therefore the new "Cusick interior" made its debut in ''The Mutants'' — the serial now known as ''[[The Daleks (TV story)|The Daleks]]''. ([[REF]]: ''[[The First Doctor Handbook]]'')
   
 
== Before becoming an exec ==
 
== Before becoming an exec ==
  Establishing interface with the TARDIS

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