The Making of Robot Wars

The Making ofRobot Wars
Title card
Series	The Second Wars
First Broadcast	31 December 1998
Original channel	BBC Two
TV Ratings	3.07 million
Preceded by	Heat G
Succeeded by	Heat H

"Welcome to London's Docklands, the home of Robot Wars! This is where all the metallic mayhem takes place. Now, if you're like me, and you've wondered how it all began, then you're in for a treat! Because in this very special programme, we get to see how the first series of Robot Wars got to the screen!"

— Craig Charles' introduction

The Making of Robot Wars was a special behind-the-scenes episode about the making of the first series of Robot Wars originally broadcast on BBC Two on 31 December 1998. It managed to attract 3.07 million viewers, and according to BARB, ranked eighth of the top thirty highest rated BBC Two broadcasts during 28 December-3 January.

Synopsis

An introductory shot of the swinging pendulum, about to be released by a crewmember

The episode began with Craig Charles walking through and introducing the London Docklands, the area where the first two UK Series were filmed. This cut to the full opening sequence, also shown in Robot Wars: The First Great War, beginning with a sped-up clip of a cameraman passing through a backstage area, into the studio and through a blackout curtain. Stuart McDonald is heard receiving confirmation that the arena is 'clear and safe for combat', as clips of camera rigs, the Shogun team and the pendulum being released are shown. McDonald welcomes the audience to the live recording, and relays a voiceover cue as a further montage is punctuated by the '3-2-1 Activate!' announcement. Upon 'Activate', the regular Series 2-4 opening sequence played.

UK Series Origins

Once the Making of Robot Wars logo variation was formed, footage of The Master vs Thor from the 1995 UK Open Competition began playing. Through one of many fade-in overlays, Series Producer Stephen Carsey gave a brief overview of the UK Open itself (referring to it as the 'British Open Robot Wars Competition'), where both American heavyweights and their compatriot La Machine served as 'ambassadors' for the fledging sport of robot combat. To provide opposition, Carsey and other UK roboteers 'hastily' built six robots of their own - including the otherwise unmentioned Grunt and Mouse. While the UK machines did not succeed, the 'showcase' helped the BBC to eventually commission the initial six-part series.

Team Video Diaries

"The teams that actually got involved in the first series came from a very diverse set of backgrounds. A handful of schools, quite a few universities, engineering companies, a few blue-chip companies..."

— Stephen Carsey, over footage from T.R.A.C.I.E.'s video diary

Following further directions by McDonald, Jeremy Clarkson's introduction from Series 1, Heat A was partially shown. This transitioned into a quick montage of still images from the series, and the episode's behind-the-scenes contents. Among these were two sets of video diaries recorded and submitted by competing teams: the first showcasing T.R.A.C.I.E., Roadblock and Shogun; the other showcasing Dreadnaut and Bodyhammer. The diaries themselves were presented similarly to those aired throughout Robot Wars Revealed, but more concisely and with Jonathan Pearce's audio of each competitor's Series 1 intros.

T.R.A.C.I.E.

Design sketches for a four-wheel drive T.R.A.C.I.E.

The T.R.A.C.I.E. diaries highlighted the KEGS School team, their partially-assembled heavyweight, and design sketches of a proposed four-wheel drive version. The latter showcased the robot with twin 'screw thread' spears and a very large chainsaw running across the entire length of its body. Sloped and flat sides were both considered at this early stage of its development. Measurements were carried out to one of T.R.A.C.I.E.'s chain-driven wheels (with integrated sprocket), before team discussions, further design drawings and a brisk montage of T.R.A.C.I.E.'s Series 1 run were shown.

Roadblock

Roadblock (originally named "Road Rage") pulls a car to showcase its drive power

Roadblock's diary footage mostly showcased its exceptional pulling power. Under its initial name Road Rage, the partially-finished robot was first seen towing Hender Blewett's car with ease inside a mostly empty car park.

A second set of diary clips highlighted improvements to 'Road Rage's' performance since initial tests, at the expense of control problems. To humorously emphasise this point, 'Road Rage' was seen pulling an unidentified classmate of Hender Blewett and Chris Kinsley across the pavement, to Blewett's disbelief. As this happens, "Firestarter" by The Prodigy briefly plays alongside the regular Robot Wars battle music, before cutting off ahead of the transition into Bodyhammer's diary.

Shogun

Shogun's team, in the process of fitting its partially-complete shell

One of Shogun's side-firing rams is tested

An establishing shot of the team's Rolls-Royce factory lead to a montage of Shogun being assembled and tested, complete with a view of its design diagrams. A physical template for the robot's logo was seen being measured against the partially-finished shell prior to its attachment. One of Shogun's side-firing spikes was tested, proving the hydraulically-actuated weapon to be one of the UK pioneers of retracting spears. Discussions concerning the Sumo Trial rounded out the first of these video diary montages.

Dreadnaut

Dreadnaut takes shape

The front of Dreadnaut's shell begins to be moulded

Dreadnaut's diary was brisk, comprising entirely of time-lapse footage of the robot's fibreglass shell being created.

Bodyhammer

Bodyhammer's chassis, electronics and copper-coloured shell were shown in various states of assembly, along with a list of tasks the Cold Fusion Team had to complete before filming. The latter revealed that the stainless steel sheets used for the outer layer were to be obtained from British Steel.

Building the House Robots

First Sequence

"We only had six and a half weeks to build everything and design everything. We were up against building four "fighting vehicle" robots capable of fighting against other robots and smashing bits off of them, and at the same time looking good as well."

— Chris Reynolds

Design sketch for Sergeant Bash, with a chainsaw instead of the rear disc

Visual Effects Designer Chris Reynolds was interviewed about the design and construction processes behind the original four House Robots – Shunt, Matilda, Sergeant Bash and Dead Metal. The process started with the creation of 'loose concept sketches' to fuel his team's imagination, and to gather ideas which would suit the tone of the Classic UK Series. A few of Tom Carney's sketches, including side-on drawings for 'Hammerhead/Happy Eater' and 'Power Mosh', were displayed behind Reynolds to illustrate his summary.

The covers are removed from the clay model of Matilda's headpiece

Reynolds' interview continued over a behind-the-scenes montage of the BBC Visual Effects crew putting the House Robots together. Greater emphasis was first placed on the creation of Matilda's fibreglass shell, which was sculpted by hand in order to achieve a more 'organic' look and character. About 'three or four' attempts were made to get the clay sculpting to appear exactly how Reynolds requested it to look; the accompanying clips showed the process in which the full-sized model for her headpiece was shaped.

Shunt's shell is fabricated

Reynolds next explained the process of creating and setting fibreglass moulds for the House Robot shells. Once the clay prototype was fully sculpted, a plaster mould would be taken and filled with fibreglass tissue. Demonstrating this process was the creation of a similar mould for Shunt's shell, with the axe already in place. Reynolds highlighted the key advantages of fibreglass as an armour material, being 'incredibly durable' for the time and 'very easy to work with.'

Second Sequence

Chris Reynolds explains the intended functionality of Sergeant Bash's flamethrower

The second House Robot sequence began with a clip of Jonathan Pearce recording his outro line for the Series 1 roll-call, as heard in Heat A. Matilda's chainsaw and tusks were explained and demonstrated inside the BBC Visual Effects facility. Meanwhile, Chris Reynolds explained the turret-mounted flamethrower of Sergeant Bash, which was also to be equipped with a 'petrol off-cut saw' at the back.

Shunt is showcased without his axe

Dead Metal's weapon layout is explained

A brief clip of Dead Metal being welded was followed by a section highlighting Shunt's design features. An extra panel was measured against Shunt's plough, and he was established as the House Robot best suited for Sumo. Notably, Shunt was fitted with an early version of his bodyshell without a cut-out for the axe weapon. This alternate shell was evidently intended to be temporary, as the finalised shell was already being cast with the axe in mind, and the Visual Effects crew had ideas to equip him with a larger one. Lastly, Dead Metal's weaponry was explained, combining an overhead cut-off saw with large pneumatic pincers. All of the aforementioned clips were interspersed with footage and Jonathan Pearce's voiceovers from each House Robot's introduction in Series 1, Heat A.

Final Preparations

"We built the House Robots the best we could within the six weeks we had to build them. But there was always that element of doubt in the back of your mind, that somebody might come along with something that's absolutely amazing and sort of trash us to bits!"

— Chris Reynolds

Sergeant Bash's flamethrower is tested in the Visual Effects workshop

Matilda's chainsaw is tested, in one of many clips also shown in The First Great War

The remaining House Robot sections focused on the final assembly and testing of each original build. Chris Reynolds admitted doubts concerning their durability against competitors which could potentially challenge and break them, as well as safety concerns regarding the possible development of flamethrowers by competing teams. A particular struggle for Reynolds and his team was getting Sergeant Bash's saw to start up; earlier attempts to do so caused petrol to leak over their workshop floor. Footage of Matilda being welded and tested suggests that she was initially painted glossy black upon completion.

Sergeant Bash gains his stripes

All four House Robots would arrive at the set prior to the start of filming, with Matilda gaining her familiar purple colour scheme by this time. Even at this stage, the Visual Effects crew had not yet made final decisions on other aspects of their presentation, including the paint colours that Sergeant Bash would adopt. The latter would not be settled until the morning of the first recording session, when the robot himself was already bearing his signature camouflage green scheme. With the Visual Effects team unable to find answers concerning the correct look of American "Sergeant" stripes, they decided to go with a stylised interpretation of the equivalent British-style stripes instead. Chris Reynolds was seen applying the signature stripes himself with yellow spray paint.

Building the Arena

Steve Clark draws the 'ground plan' for the Series 1 arena

The partially-finished model for the original Series 1 arena

The Series 1 arena model in its Gauntlet dressing

A shot of two trains crossing over and under each other transitioned to another of Set Designer Steve Clark, working on a ground plan for the Series 1 arena. The drawing - depicting the planned Gauntlet configuration - was followed by the creation of a scale model of the planned set, showing an arena with an entrance bridge, scrap metal sculpture boards and exposed seating areas for the audience. Once fully assembled and decorated, it would be used to demonstrate the Gauntlet layout. Major differences over the arena as built included a closer proximity between the arena floor, outer walls and audience seating. The seating areas themselves were also set much lower, giving this model a closer resemblance to the original 1994-1997 US arena. Clark explained that the ground plan formed the layout of the set as envisioned for the televised series; the scale model gave the production crew an impression of how his team’s ideas would look in a physical 3D space.

"I enjoy going to scrapyards and looking for things... it's great. You uncover all sorts of gems that you don't expect to find."

— Steve Clark

Clips of Clark and his colleagues visiting a scrapyard would be interspersed in between more House Robot and competitor diary footage. He and his team emphasised the need to find larger objects and materials with 'interesting' and 'more unusual shapes', with the intent of creating sculptures to be attached to mesh façade panels. An important consideration was that the objects still needed to be light enough for collection, transportation and eventual display. The process of assembling the entire Series 1 set took three days, with a total of thirty people being involved. Despite the apprehension brought on by the limited timescale to complete the task, Clark stated that he 'enjoyed' the challenge. Clark would also be left satisfied with the scrap sculptures, citing low costs and the ease in which his crew could enhance the look of the individual parts with neon lighting and silver spray paint.

The Series 1 arena floor begins to be assembled

Work is concentrated on putting together the balcony steps

A scrap sculpture, in the process of being welded together

A painted scrap sculpture

Blue neon lighting is tested for one of the scrap sculptures

The base for the turntable is formed

The arena façade and entry/exit doors take shape

Shogun is positioned in between the wooden arena doors

Crewmembers test the rotation of the turntable mechanism

On multiple occasions, Clark and Carsey were seen discussing various aspects of the set design and direction. Some of these included the rotation of the Gauntlet turntable and the presentation of the arena entrance sequence. The turntable itself posed last-minute problems, as one of its motors burnt out on the first day of filming.

The Audition

"About four weeks before the recording of the series, we basically gathered all the robots together, which... I suppose in traditional TV terms could be described as an audition."

— Stephen Carsey

Following the second scrapyard sequence, the episode showed exclusive footage from the audition held four weeks prior to filming. This was to allow all competing robots to be scrutineered, as well as teams to showcase and test them in front of production and technical crews. Technical Consultants Mat Irvine and Derek Foxwell were also on hand to provide teams with advice and feedback on their builds.

"We had to check out the robots to make sure that they conformed to all the Health and Safety rules. We also wanted to meet the actual teams and the people behind the robots to make sure they knew what they were letting themselves in for."

— Stephen Carsey explains the purpose of the Series 1 'audition'

A very early version of Nemesis is tested during the Series 1 'audition'

An announcement concerning a transmitter control check was followed by speaking pieces from Peter Redmond and Rex Garrod concerning their entries for the series. While Redmond correctly assured that Nemesis would look very different to its form at the audition - which he likened to 'a big Quality Street tin' - Garrod explained that the virtually finished Recyclopse used recyclable parts and batteries recovered from a skip.

Included in this sequence was a shot of the pre-televised Nemesis being tested. With Peter Redmond sitting on its top panel, it was spun in between an unpainted ball and some chalk markings, which were later revealed to represent a prototype of the planned Labyrinth course. Redmond confirmed that the radio transmitter was Nemesis' most expensive component; the robot as a whole cost a total of £200 to build.

"It was one of our rare opportunities to actually test out some of the games we were devising for the robots. We drew out a maze on the floor, along the lines of the plans we were developing on the drawing board."

— Stephen Carsey

As explained by Carsey, a 'maze' was drawn on the studio floor in chalk. Jeremy Clarkson's intro for the actual Labyrinth Trial from Heat E was interspersed with a briefing on the subsequent practice run, featuring an unpainted Wedgehog and Clarkson observing from the top of the improvised balcony.

Clips of Killertron and an unidentified two-wheeled robot being scrutineered were shown, while Carsey highlighted the types of weapons outlawed under the Robot Wars rules. Prohibited weapons mentioned included:

• Untethered projectiles.
• Explosives.
• Corrosives.
• 'Acidic' weapons.
• Liquid weapons.
• Interference (e.g. 'electrical jamming')

A cameraman follows Matilda around the partially-finished Series 1 arena

"We're gonna have an exciting time looking at it from a television point of view. What's really interesting is how close we can get [our] cameras. What I really want to do is get cameramen into the arena. But, with a pickaxe and with a chainsaw, I might not be over-confident to try and do that. Trouble is with these things is that... they're two or three feet long. The arena's big. We really want to get an exciting view of some of these, which could run at you at thirty miles an hour. That's the other reason – most cameramen can't run at thirty miles an hour!"

— Stuart McDonald

The partially-assembled Mortis, as it appeared in the Series 1 audition

Mike Onslow with Plunderbird 1, itself featuring a novelty 'missile' weapon pod

Director Stuart McDonald highlighted his ambition to obtain close-up views of the competing robots, in ways which would be both safe and comfortable for his camera crews. Footage was shown of a cameraman recording a mobile Matilda in the arena - at a considerable distance - and of another setting up inside a polycarbonate-shielded cabin. Chris Reynolds shared his early admiration for Mortis, which attended the audition in a partially-finished state, and Plunderbird 1, complete with an unused missile-themed weapon pod. When interviewed, Derek Foxwell and Mat Irvine were equally 'very impressed' with all robots they had seen on the day.

Final Preparations

"By the time we actually got to the finished set, the set had been built, the cameras were there, the special effects were in place. All the teams were there with their robots, dressed in their uniforms. It was actually very, very rewarding. It was... essentially the end of three years of development on my path."

— Stephen Carsey

As work on the finished set drew to a close, the show transitioned to behind-the-scenes footage of camera and electrical equipment being set up. Stephen Carsey took the opportunity to show Jeremy Clarkson the House Robots, with Clarkson being particularly impressed by Shunt and Matilda's weaponry.

"Robot Wars, which basically... is a war... between robots. Or, it's robots... fighting."

Meanwhile, the check-in process for competing teams was underway, with a handful already settling in The Pits to carry out last-minute work. T.R.A.C.I.E., Uglybot and Roadblock were among the robots already stationed. Some teams reported major technical issues, including malfunctioning power switches. Arthur Chilcott was seen using a bench clamp to adjust the mounting point for Mortis' back spike, while Clarkson was seen again at a producers' meeting. Clarkson's attempt to summarise the concept of Robot Wars appeared to influence the lines and delivery of his introduction for Heat A. The conclusion of said intro was twice shown; the first clip being of an alternate take not used in the broadcast episode. In one of his few appearances in televised Robot Wars media, fellow Series Producer Tom Gutteridge reiterated Clarkson's responsibility to introduce Philippa Forrester alongside the competing teams.

The Cold Fusion Team film their Pit intro for Bodyhammer

Forrester's first appearance in the special highlighted a goof on the first day of filming, where stickers of the Robot Wars logo were mistakenly placed upside-down on her microphone. An audio clip of her lamenting Prince of Darkness' change of appearance (initially televised in Heat F) played during an alternate cut of her Heat A intro, transitioning into an interview with Team Nemesis.

During another meeting between production crewmembers, Carsey outlined his plan to structure and present the teams' Pit introductions. The directing process was illustrated with an extended intro for Bodyhammer, including alternative angles not seen in its original episode. The Pit intros for T.R.A.C.I.E. and Nemesis were also shown as originally televised.

Filming

The Gauntlet course is assembled

The cameras film an untelevised Gauntlet demo by Sergeant Bash

While a montage played of audience members entering the studio lot, Gauntlet preparations, a demo run by Sergeant Bash and an Arena audience warm-up, Stephen Carsey shared his gratitude for the competitors in attendance. The start of Philippa Forrester's introduction from Heat A was played, fading into a reprisal of the episode's main introduction sequence with a clip of the KEGS school team.

Stuart McDonald shares his thoughts on Nemesis' Sumo run before it begins

Emphasis was next placed on the directorial duties of Stuart McDonald and his colleagues. This was first demonstrated through a behind-the-scenes cut of Nemesis' Sumo run (Heat A), which McDonald predicted: "Could be all over in seconds." The ensuing sequence combined televised footage and commentary with additional shots and audio from within the control room, the latter mainly emphasising directions given by McDonald to his colleagues. Footage of the VT screens provided glimpses of additional camera angles not utilised in the televised cut; one example being an over-the-shoulder shot of Peter Redmond adjusting Nemesis' controls.

Chris Reynolds assists with on-site repairs to Sergeant Bash

Following this was an extract of Philippa Forrester's interviews with the Nemesis and Roadblock teams, then a rapidly-cut recap of the Heat F Gauntlet runs (The Blob, Elvis, T.R.A.C.I.E., Eubank the Mouse). Another behind-the-scenes clip showed Chris Reynolds helping to reassemble Sergeant Bash in the arena. A second quick recap of Heat F was shown, emphasising the Heat Final (T.R.A.C.I.E. vs Skarab) and Grand Final competitor intros.

"Ladies and gentlemen, please clear the arena for the Grand Melee!"

— Stuart McDonald's announcement prior to the Series 1 Final

Another clip of Stuart McDonald from the control room was shown, this time of him issuing instructions to 'clear the arena' ahead of the Grand Final match itself. After a behind-the-scenes variation of Forrester's link for the Final, a further montage from the control room highlighted further crew directions and safety announcements from McDonald. Once the Grand Final began, televised footage and commentary was again intercut with scenes from the control room and of other roboteers cheering on from The Pits.

After 'Cease' was called, McDonald was seen informing Jeremy Clarkson about the Judges' decision being made, leading into the televised announcement of Roadblock's championship victory. As the end credits rolled, further behind-the-scenes clips from The Pits highlighted applause for the Bodmin Community College team, who were seen posing with Roadblock and the Series 1 trophy. A final sign-off from Craig Charles informed viewers to contact Robot Wars directly should they wish to enter a robot into a future series; in the original BBC Two broadcast, this transitioned into the standard promo for the Robot Wars Club.

"So there you have it! If this look behind the scenes has inspired you to build your own robot, then please, contact us first! Details are comin' right up. Thanks for watchin', and remember... you've seen the flamethrowers and the circular saws. Now you've seen the making, of Robot Wars!"

— Craig Charles' sign-off

Trivia

• This was the first of two special episodes broadcast during the run of Series 2 with a focus away from robot combat, instead presenting an insight into the show's behind-the-scenes elements.
• Some of the footage seen in this special would later be used for the video release Robot Wars: The First Great War, along with the Dutch special Robot Wars: The Kick-Off.
• In the original BBC Two broadcast, the episode opened with a brief introduction by television presenter Mark Lamarr leading into Craig Charles' full introduction.