Conception and writing Outgoing
story editor Dennis Spooner was commissioned by producer
Verity Lambert to write a story introducing new companion Steven Taylor; as story editors commissioning themselves was discouraged, Lambert justified his involvement to head of serials
Donald Wilson, citing complications with contracts and budgets, and insufficient time to brief an uninvolved writer, as none of the regular writers were available. Spooner was approved to write the serial on 15 March 1965. Spooner wanted the show to move away from "pure" historical stories like
The Reign of Terror (1964) and
The Romans (1965), instead hoping to blend them with the show's more futuristic serials.
The Time Meddler was the first serial under new story editor
Donald Tosh, having been offered to work on either
199 Park Lane or
Doctor Who after the cancellation of
Compact. He joined the show in April 1965, and was provided with a document titled
The History of Doctor Who, outlining the show's story to date (including some upcoming). Tosh enjoyed Spooner's idea of blending historical and futuristic stories. He edited little of Spooner's work. The serial's working title was
Doctor Who and the Monk; the title of
The Time Meddler was not final until early June 1965. Production assistant
David Maloney joked that the story was referred to as
The Vikings during production until the realisation that it had more Saxon extras, upon which it was called
The Saxons. The first episode was originally called "The Paradox", changed to "The Watcher" on 20 May. The serial was produced at a low cost to offset the expense of the previous serial,
The Chase (1965).
Douglas Camfield was assigned as director in April, having recently finished work on
The Crusade (1965); he was pleased with Spooner's scripts, finding them among his best. Due to the limited expenses allocated to the serial, Camfield forwent an
incidental score, instead opting for percussive drumbeats played by Charles Botterill, who had previously played percussion on
Tristram Cary's score for
Marco Polo (1964). Botterill recorded eight minutes of music for the second through fourth episodes at
Lime Grove Studios in Studio R on 9 June. The remainder of the score was sourced from
stock music. Set designer Barry Newbery constructed the Saxon's hut in the style of a
cruck, painting the studio floor black to resemble ox blood.
Casting and characters Spooner studied the background of the Doctor as originally stated in the writers' guide developed for the programme in 1963 by
Sydney Newman,
Donald Wilson, and
C. E. Webber, and created the Monk as the antithesis of the Doctor; while the Doctor was serious about interfering with the past, the Monk finds it amusing. He envisaged the characters as a schoolboy prankster from the
Billy Bunter books; in the script, he was described as "mischievous, sly and cunning ... with a 'naughty boy' look". Lambert suggested the casting of Butterworth as the Monk, having seen his previous work; he was enjoyed by the cast and crew on set, and was friendly with Hartnell. Anderson was hired to choreograph the forest battle in the second episode, and to portray a Viking named Sven; he was previously noted by Camfield for his work as an extra on
Marco Polo, and had returned to work on
The Aztecs and star in
The Crusade. Cast as Ulf, Hartley was an old friend of Camfield's.
The Time Meddler was the first serial to feature Steven Taylor as a full companion. The role of Steven—originally named Michael in the scripts—had not been filled by 13 May, the month before filming began. After witnessing Purves's role as Morton Dill in the recording of
The Chase the following day, Lambert and Spooner approached him and offered him the role. Purves accepted the role within days. On 21 May, he was contracted for three stories (13 episodes), with an option for a further 20 episodes by 10 September and another 26 by 4 February 1966. He grew a beard for his role as Steven in the final episode of
The Chase, but he wore a fake beard for the first episode of
The Time Meddler as Steven becomes cleanshaven partway through. His role as a companion on the show was announced on 18 June 1965. Purves quickly bonded with Hartnell and O'Brien, and they would occasionally have dinner together after rehearsals. Purves was pleased with Spooner's scripts and the development of Steven's character, though O'Brien was unimpressed.
Filming The minimal filming required for
The Time Meddler allowed additional allocation of production for
The Chase. Early
35mm filming took place on 10 May at
Ealing Studios on Stages 3A/B, depicting the TARDIS materialising and dematerialising in the first and final episodes, respectively. The remaining film was acquired from
stock footage, sourced from the
BBC and
Pinewood Studios. Recording on the serial was due to take place at
Riverside Studios until late May, when it was decided to switch back to
Television Centre. Rehearsals for the first episode began on 7 June. By this time, incoming producer
John Wiles—set to replace Lambert in the coming months—joined the production. Hartnell found the change unsettling and threw fake tantrums to scare the production team to obey him; he later admitted to other cast members that he was only joking. Weekly recording of the serial began on 11 June in Television Centre Studio 4; recording of the first episode overran by seven minutes as it was discovered that one of the scenes contained more music than had been
cleared for use, requiring it to be re-recorded. Camfield was greatly upset by the production overrunning. For the second episode, Hartnell recorded voice clips on 26 June, as he was on holiday during its recording. Footage of the Viking ship in the second episode was sourced from a 1949 BBC Newsreel titled
The Land of the Vikings. For the third episode, Butterworth
ad-libbed a comment about converting kilometres to miles. The final episode was recorded on 2 July 1965. == Reception ==