As well as Sugar Puffs ("The honeyest cereal of them all!") many other real-life companies and brand-names can be seen in both 1966 and 2150. These include Castrol Oil, Thomas Cook's travel, Player's and Bristol Brand cigarettes, Lyon's Maid ice cream, Heinz soup, Baron Otard cognac, Harp lager, Del Monte tinned foods, BOAC, Air India and newspapers "Daily Sketch" and "Evening News".
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Peter Cushing supposedly only agreed to do this film if Roberta Tovey returned as his grand-daughter alongside him, having built up a rapport on the previous film.
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The rebel hideout in 2150 is prominently identified as Embankment station on the London Underground's Bakerloo and Northern Lines. There had actually been a station called Embankment once, but it was renamed in 1914; thus this was a suitable name for a fictional station. However, in 1976, 10 years after the movie was released, reality conformed to fiction when the station, now served by the Bakerloo and Northern Lines among others, was given back its original name of Embankment.
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This film was part-financed by the Quaker Oats Company, then-makers of the "Sugar Puffs" cereal, in return for an exclusive merchandising deal. Quaker combined with the film team in a £50,000 campaign which included 3½ million boxes of "Sugar Puffs" advertising the film, and a competition to win toy Louis Marx Daleks or the top prize, a full-size Dalek prop. Several posters for "Sugar Puffs" cereal are visible during the movie, an early (for a British film) example of product placement. Two special screenings for grocery traders were also arranged via the deal with executive producer Joe Vegoda. The equivalent cereal in the U.S. would be Kellogg's Honey Smacks (formerly Sugar Smacks).
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During shooting in March 1966 Peter Cushing fell ill, necessitating a two week break in filming.
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The 1960s street where the opening robbery takes place is the same one on which Wyler and Susan encounter a Dalek patrol over 180 years later (the unchanged Mitchell Real Estate premises and Harris & Son shop are prominent in both sequences). In reality this was part of the backlot at Shepperton. Constructed for The Counterfeit Constable (1964), it was also used - after various redressings - in The Amorous Adventures of Moll Flanders (1965), Promise Her Anything (1966), Blood Beast from Outer Space (1965), A Study in Terror (1965), and The Great St. Trinian's Train Robbery (1966) before this film lensed, as well as TV episodes like Secret Agent: A Very Dangerous Game (1965).
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This sequel to Dr. Who and the Daleks (1965) was to have been followed by a third film, to be based on the 1965 TV story "The Chase." This was never made due to disappointing box office results of the first two films and the producers thinking that "The Chase" wouldn't have made a very good movie.
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A remake of the 1964 Doctor Who (1963) serial "The Dalek Invasion of Earth".
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André Morell was offered the role of Wyler, but could not accept because he had signed to star in the four-part Doctor Who (1963) serial, "The Massacre" with William Hartnell, which clashed with the filming dates. The role of Wyler went to Andrew Keir. Coincidentally, Morell played Professor Bernard Quatermass in the original television version of Quatermass and the Pit (1958) while Keir played him in the film remake Quatermass and the Pit (1967).
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Although Milton Subotsky reported some slight misgivings over the film, believing the public's desire to see the Daleks in colour was now sated, he would come to view this as the better of the two films, attributing much of their success to art director Bill Constable.
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Bernard Cribbins returned to the Doctor Who franchise in 2007, starring as a recurring character, Wilfred Mott, in the fourth season of Doctor Who (2005). (However, the two Cushing movies are not considered part of the same canon as the BBC TV series.)
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Despite bearing the credit "An AARU Production", this film (and its forerunner Dr. Who and the Daleks (1965)) was made entirely by Amicus. AARU received the sole production credit as part of a co-finance deal with Amicus, which felt it couldn't afford to make a movie of this scale by itself.
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The film's trailer curiously contained no direct reference to either the Daleks, Doctor Who or the TARDIS.
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Stuntman Eddie Powell broke his ankle in a fall through an awning. He returned from hospital that afternoon with a cast on his leg and finished the scene. (His brother, Joe Powell, who was also doing stunt work on the film, pulled off the Black Dalek's claw during a fight scene when he was playing one of the Robomen and gets himself thrown down the bomb hole near the end of the movie. The claw magically reappeared in the next shot.)
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Philip Madoc (Brockley) went on to appear in the parent TV series. He played 4 different characters in "The Krotons", "The War Games", "The Brain of Morbius" and "The Power of Kroll".
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Dr. Who and the Daleks (1965) co-stars Roy Castle and Jennie Linden were both unavailable when the film was green-lit, hence Ian and Barbara become Tom and Louise.
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The original trailer for this film describes Ray Brooks as "The boy with the knack". Brooks starred in The Knack... and How to Get It (1965).
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The Dalek saucer model resurfaced in Tigon's The Body Stealers (1969)
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Two Daleks have very noticeable differences when compared to the other drones with either the suction cup or claw: one has what appears to be a silver suction cup and another a vastly different claw resembling scissors minus the handles. Both casings, along with three others in the movie, were in fact made for another production - the "Curse of the Daleks" stage play which had a month-long run at London's Wyndham's Theatre from December 1965 - and so were made to resemble their TV counterparts more closely. These two props were scripted for the piece to have different appendages (a pincer and a blow torch); this also accounts for their guns which are TV versions compared to the bulkier movie variations required to shoot jets of CO2.
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By sheer coincidence the "rels counter" 'clockface' from the Dalek control room can be glimpsed in the parent TV series, in both the third edition of 1966's "The War Machines" and the fourth of "The Underwater Menace" the following year. Control panels from the saucer were also used in these stories, whilst the 'Total Power' prop from the robotising room was utilised in "The Space Museum".
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Tom's surname originated when Subotsky adapted Terry Nation's original scripts, which feature a character called David Campbell. This is why Ray Brooks' character has no surname.
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The film takes place in 1966 and 2150.
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Keith Marsh, playing Conway, only appears in the film after Wells actor Roger Avon had to leave the production and his character therefore had to be replaced.
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As of 2022, both of the Peter Cushing "Dr. Who"/Dalek feature films are part of the StudioCanal film catalogue, whom in turn have restored and re-issued the films both on DVD, blu-ray and streaming on-demand services.
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Early drafts of the script featured a Purple Dalek before it was replaced by a Black Dalek.
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Again, this film utilised whatever exterior sets were currently then standing on the Shepperton Studios lot.
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This film's budget was £106,000 more that its predecessor - Dr. Who and the Daleks (1965) - just a year earlier.
The red van in the film is a 1959 Morris JB. In 2150 it would be over 190 years old.
Dr. Who announces he is going to Bedfordshire, which is a walk of over 50 miles (80.5 km) from central London. Meanwhile, his granddaughter has gone off to Watford, which is only about 20 miles (32.2 km) away.
While the Daleks in the first film could not negotiate a one inch lip on an elevator floor, the ones here can seemingly easily get around the rubble-strewn streets of London without difficulty.
All female extras were asked to vacate the area before the violent uprising against the Daleks was filmed.
Kent's Newfeld Bendy Toy factory, used as the location for Dr. Who and Tom's early investigation, were manufacturers of a flexible Dalek toy which retailed at 10s 6d. They had previously featured in a 3-minute British Pathé newsreel entitled "Rubber Toys", released to cinemas in January 1957.
In one outdoor scene, there is a poster on a wall advertising a fight between Tony Mancelli and Johnny Yearsley, who were wrestler active in the UK in the 1960's.