Sets

For the first time, the Red Dwarf sets had four walls. Mel Bibby, for one, rejoiced - a more solid, realistic look was possible with the removal of the audience-based, open-plan set-up. This is not to say it made life any easier for the crew - who had to traipse through Starbug's corridors to get to each room to shoot the scenes!

The 'Bug itself was enlarged once again, the narrative reason being that dimensional anomalies had caused the shift... whatever that means! A new science room was added (actually also visible through a vent where the new 'fourth wall' was added) as well as more capacious sleeping quarters.

On location, a massive (60-feet in diameter!) wind tunnel outside Farnborough had dry-ice pumped in to double for the now-massive Starbug cargo area. The acoustics of the room proved so tempting to the crew that a notice banning the whistling of the X-Files theme was posted on the wall!

The same airbase was also able to provide the exteriors for Dallas in November 1963 - except for the Book Depository window. Having built and filmed in an interior set, the crew moved the entire room outdoors at Shepperton Studios to allow director of photography Peter Morgan to film the window sections in natural sunlight.

Nor was this the only set moved outdoors. The final episode, Duct Soup, required so much flooding that the duct sets were once again moved outdoors and, this time, shrouded over to hide the summer sun.

Meanwhile, back on yet more airbases, the crew visited RAF Northolt to shoot Stoke's Nazi sequence (holding off briefly to allow the Queen's jet to depart - the Palace has yet to comment on quite what her majesty made of the German's attacking on the ground as she left!). RAF Farnborough doubled for Idlewild airport, and a training lake in Hampshire was leant to the production for a certain 'exploding gazebo' sequence.