User:Stifle/Design and production of The Crystal Maze

The Crystal Maze was one of the most critically acclaimed and commercially successful British TV game shows of all time. A substantial part of this success was due to the unusually ambitious and elaborate design of the show, which created a number of production challenges. This article provides more detailed information about the design and production of the show.

The zones

• Aztec (Series 1–6) The Zone housed 22 tons of sand, and over half the plants were real. After Series 1, the move of studios meant that Aztec had more 'breathing space' and the zone could expand giving it more open space and the painted 'rainforest' diorama more distance from the main set. It was also accompanied by the Forest River (not shown on the map — see 'Entering the Maze').
• Industrial (Series 1–3) This zone gave cameramen much more freedom compared to other zones, as a slip with a camera could result in seeing the roof of the hangar in other zones, yet in Industrial it didn't matter, and fitted in with the theme of the zone. The sweeping camera jib was also greatly used in this zone, predominantly for the scenes of running upstairs (to or from Medieval Zone). The zone changed slightly from Series 1 to Series 2 with the greater 'spread', due to more available space, and the painted skyline Diorama, and also Industrial was, at the time, the only zone to have two proper floors.
• Ocean (Series 4–6) The Boiler Room section of Ocean Zone generally reused materials from Industrial zone. In Series 5, the illuminated chandeliers were scrapped to make the ship look more abandoned, however it seemed to make the Saloon appear much more dull.
• Medieval (Series 1–6) The zone went through many slight changes through the six series, including the addition of O'Brien's dining table. One episode included fictitious portraits of the O'Brien family, 'Daddy's' armour also featured, as a way of releasing the crystal from the Excalibur game. A live bird of prey was introduced for Tudor-Pole's time in the maze and the entrance to the maze was also changed greatly, with the addition of gravestones, statues and a rarely seen painted diorama, glimpsed in a few episodes of Series 3.
• Futuristic (Series 1–6) The zone contained two sections, the main Computer Room, and then the longer Observatory corridor at the back end of the zone. Both were originally connected by one corridor and then during Series 2 and 3 a secondary corridor was introduced from the Aztec Lift back to the Computer Room (however this was not shown until the map was renewed in Series 4). The zone had few changes, other than the bright blue floor in the Console Room in Series 3, and the loss of 'half of planet Earth' as a section of the painted diorama was removed from the outer wall (often showing up badly in many episodes after Series 2).

The Crystal Maze Map

A computerised diagram of the Crystal Maze was produced and displayed as the team travelled around the maze. The diagram was a copy of the actual production design and floor plan of the set. Two versions were created, one for series 1–3 and one for series 4–6: the change being required for the new Ocean Zone. In both cases, the map zoomed in for each Zone.

File:Map zone 1 379x229.jpg

Map used during series 1–3

Series 1–3: The diagram consisted of a black background with Zones formed from coloured lines:

• Industrial was purple
• Aztec was yellow
• Futuristic was blue
• Medieval was green
• The Crystal Dome was white

The current location of the team in the maze was shown by a single red dot, which could be positioned in numerous places on the map, including different areas in the Zones, the obstacles between the Zones or even outside the map once or twice in the case of the Aztec Zone. Occasionally, no dot at all was shown for the Aztec Zone. The Crystal Dome had no dot and just zoomed in after a few seconds. Also, the map could sometimes be shown twice for the same Zone, the first showing the obstacle and the second the Zone. The map could zoom in at any time however.

File:Map zone 2 379x229.jpg

Map used during series 4–6

Series 4–6: The Diagram consisted of a multi-coloured background with Zones formed from filled coloured areas:

• Ocean was blue
• Aztec was yellow
• Futuristic was grey
• Medieval was green
• The Crystal Dome was white with blue water

The location of the team around the maze was shown by a radar-like positioning system. Unlike the series 1–3 map, the locator had fixed positions in the Zones and did not venture into the obstacles. The Crystal Dome also had this type of locator.

In both cases, the map zoomed in on each individual Zone and the Dome. The angle used to zoom in on each Zone was different: some just panned down, others did a full 180 degree angled sweep to show the Zone from the back. Whenever the map zoomed in, all other Zones and the Dome drifted away so that the individual cells and obstacles could be seen more clearly. The Dome was different. Its zoom showed it from the very front, a very steep pan down being required for this.

In series 6 and the 1992 Kids Christmas Special, the zoom in on Zones included a sound effect. In addition, the 1992 Special used the second map for the first time, so different zooming angles were used, and the Ocean Zone was also seen for the first time.

Entering the maze

When a team started the "Crystal Maze", they had to overcome an obstacle to enter their first Zone. The hosts would suggest that failure to complete the challenge would result in the team not being able to access the maze at all. Occasionally, they would jest that injury or death from unseen threats would affect "unfortunate" team members, e.g. rival tribes would eat anyone who failed to reach the Aztec zone. But the teams were given sufficient time and unlimited chances to complete the entry task. The host would even assist them by giving direct instructions. No participant has ever failed in these opening challenges. In every case, the entire group would reconvene in the centre of the zone. These challenges were:

• Aztec: Row across a river in two canoes, The captain and vice captain went in separate boats, in case one of the boats 'sank', and Richard/Ed followed usually in the boat with the Vice Captain. The teams were expected to untie the boats from one jetty, and then tie them to the other, as instructed by the host. One rare occasion, the host would offer genuine assistance.
• Medieval: Open the large doors and then open or climb over a portcullis. Regularly after Series 1 and 2 they climbed. Sometimes, the portcullis would lower or not move at all when the chains were used. If it moved, it would always become 'stuck', forcing the team to climb under or over the gate. It was unknown whether the portcullis had broken or if the Producer had made a decision to leave the chains as a red herring.
• Futuristic: Answer a question set by the computer. The question was usually a mathematical equation, but could sometimes be about historical events or general knowledge. If the team got the question wrong, the computer would supply another question.
• Industrial (series 1–3): Climb over oil barrels and wire mesh into a gap above a door, and/or open the gates or door with a key
• Ocean (replacing Industrial from series 4–6): Tie up (or in later series, remove) a metal grille and climb down a net ladder

Each episode of series 1–4 started with Richard O'Brien blowing his whistle. In series 5–6, Ed Tudor Pole used a different whistle, but the episode would sometimes start with a distinct sound; he would ring a bell in Medieval, blow a conch in Aztec, set off an alarm in Futuristic (after the question was answered), and sound a foghorn in Ocean.

Moving from one zone to another

When a team finished their games in a zone, they had to overcome an obstacle to travel to their next zone. The transition was shown during the second zone change in each episode, with advert breaks taking place during other zone changes. Zone transitions were normally accompanied by a remix of the main theme music.

The transitions were:

• Aztec to/from Industrial:

Crawl through a long and winding Z shaped tunnel.

Note: Contestants often took a long time getting from one end to the other. Also, the tunnel forked into two at one point, with the other fork leading to a dead end, which occasionally caught the contestants out. The Tunnel was also blocked off at ground level in some parts so short arched segments were made so contestants would have to climb up then slide back down.

• Aztec to Ocean:

Walk across Stepping Stones, up a cave tunnel, down a short ladder into what seemed to be a room full of SS Atlantis equipment, crawl through a tunnel then push out grille.

• Industrial to Medieval:

Climb up a ladder or ascend stairs then

Series 1:- Walk across a chasm (either over a thin 'plank' or the rolling log famously seen in Aztec Zone games)

Series 2–3:- Swing across a chasm over which was a netted floor, which sometime contestants would walk across.

then descend stairs.

• Ocean to Medieval:

Climb a ladder, crawl through a small hatch then through a tunnel, then descend stairs

• Medieval to/from Futuristic:

Series 1:- Cross a bubbling swamp

Series 2:- Walk across a spider web type bridge

Series 3–4:- Walk along a balance beam

Series 5–6:- Walk along a rope(cable) while balancing by holding on to a second parallel cable above head height

• Futuristic to/from Aztec:

Go up in a scissor lift, (once a ladder in one episode, as the lift was not functioning) then

Series 1:- Climb down a stepped wall

Series 2–6:- Climb down a stepped wall using vines (obviously thanks to the greater amount of space after the change from Shepperton to Aces High studios)

Contestants could only move clockwise or anti-clockwise to one of the two Zones either side of their current location. They could not venture diagonally across the map because the Crystal Dome was in the centre (see map).

Game Rooms

The recurring features of the design of game rooms in each zone were as follows:

• Aztec: The rooms had wooden doors which were held shut with pieces of rope tied around a peg in the stone block wall. Each door had a rectangular panel cut out of it, covered with sackcloth. Other team members could move the sackcloth to see inside. Other rooms, had square holes in high up positions. Other team members could easily climb to these holes and look inside the room. But the gaps would be too high up for the contestant inside the room to reach. The timer was a glass jug with a line marked on it. Water would trickle into the jug until the line was reached, indicating that the allotted time had expired.
• Industrial/Ocean: The industrial zone had steel doors which were locked with bar latches. The Ocean zone would have mahogany doors which were neatly decorated, but their appearance would be affected by their positioning around the ship. These would be locked with golden latches. There were no windows, so teammates would have to watch a television monitor placed in the centre of the zone. Each timer was a decimal clock which worked like a stop watch.
• Medieval: The large metal doors were actually made of wood and then painted black. Most have a panel which can be opened by contestants, revealing fencing that allowed them to see inside the room. The rooms usually had windows with metal bars, allowing teammates to see inside. The doors used a bar latch. The timer was an hour glass which sat in a purpose built holder in the wall. It could be removed.
• Futuristic: These doors were metal with no handles or windows. They would be activated by a number panel. The host would enter a unique code into the number panel, thus unlocking the door. However, the host only needed to press one button to allow the contestant back out. Occasionally, the host would enter the code again to lock the room when the challenge was completed. Like Industrial, teammates can see the contestant through a monitor. The timer was a digital countdown timer (#:##).

Filming

In the early series, the captain's choice of game (from the options of Mental, Skill, Physical or Mystery) and contestant to play the game was genuine. However in later series, it was not a free choice and was 'imposed' on the team by the production team, sometimes with some discussion between the producers and the entire team before the contest began. This allowed the production team to match games to people most suitable to play them, rather than risking the Captain selecting an inappropriate person to play a game and making the resulting game dull or uninteresting for viewers.

Although not visible in the show, after the first series there was in fact a lengthy delay (15 minutes or more) between a player being sent into one of the puzzle chambers and them actually beginning to play the puzzle. This occurred because the show was filmed using only two mobile cameras; as soon as the outside scene of the player jumping into the chamber was filmed, filming had to stop for one of the cameras had to be set up on a rig inside the chamber. In the first series shots inside the game chambers were run as set-ups on a second day of filming so that on the first day games were played with little delay. On the first series other contestants remained in the game area, however on later series contestants were sometimes sent to "the green room" (a hospitality area) during the process.[1] Shots where the player looked directly into the camera during the puzzle also had to be edited from the show.

The time that it took a contestant to travel back through the maze to 'buy out' a locked-in contestant from a previous zone was very short compared to the camera setup delays between the games (and locked-in contestants would likely be waiting in the green room rather than actually inside the chamber). Therefore the in-game time that such rescues appeared to take was purely scripted. It was claimed that if the contestants did not rejoin the team in time, they would both be excluded from the Crystal Dome finalé: a danger that was stated in several episodes, but did not actually exist.

Moving from the final Zone to the Dome

Although the team's transition from the final Zone to the Crystal Dome was never shown in full on screen, the team would always leave a given Zone by a specific route, despite these routes having little or no geographical proximity to the Dome (in most cases, they actually led off the edge of the map.) In earlier series of the show, the exit to the dome wasn't specific and varied depending on what zone the team were in. However in later series, the exit usually remained the same.

• Aztec: The team would exit by running past the column and towards the river which was used to enter the Crystal Maze from the Aztec Zone.
• Industrial: In Series 1, the team would exit by going up the stairs towards the Medieval Zone. In Series 2 & 3, the team would exit past the tunnel portal leading to the Aztec Zone and out. This is the only time the night sky (in reality, a painted cyclorama backdrop on the wall of the stage) could be seen from the Industrial Zone.
• Ocean: In Series 4 & 5, the route the team exited to the dome varied. Sometimes it was by using the stairs in the boiler room and at other times it was by going up the stairs in the main saloon. In Series 6, the team would exit via a panel in the boiler room, near the cylindrical cell. Again, this door had bright light and fog coming from behind it. This route was one of the two which could in theory have geographically led to anywhere near the Dome.
• Medieval: During Series 1–4, the team would exit in most cases by the Medieval Zone entrance and only on some occasions would they leave by the door near to the Futuristic Zone, behind which was fog and bright lights. In Series 5 & 6, the team would always exit through the door.
• Futuristic: In series 1–4, the team would leave through the door which teams enter the zone. In Series 5–6, the team left through a door placed in the new corridor built on the other side of the lift. The new corridor first appeared in series 3. The team exited into bright light and fog.

The Crystal Dome

For the first series, it was originally planned to offer a 'double-or-nothing' Gamble Game to teams winning 50–99 gold tokens. This consisted of a small 'wire-frame' model of the Crystal Dome with some pieces removed, which the team (if they accepted the Gamble) would have to re-assemble within a time limit. However, the Gamble Game idea was dropped shortly before the first series was filmed.

After much experimentation with samples of dozens of different foils, the production team found only one which worked properly in the Dome without either falling to the floor and staying there, blowing straight to the top of the Dome and staying there, or 'sticking' to the wall panels. Unfortunately, this foil-like material was only manufactured in silver, so the gold tokens were actually silver ones which were sprayed with gold paint by the production crew.

The ratio of silver to gold tokens within the Dome was five to four (625 silver and 500 gold), and the gold tokens were very difficult to tell from silver ones when blowing around inside the Dome, especially since the paint on the 'gold' tokens tended to flake off, although neither of these details were obvious to the viewer. The shape and size of the Dome meant that every sound within it (including a contestant's own voice) appeared to come from a single point roughly ten feet above the Dome's mesh floor, and directly above its centre. This could be disorientating to the contestants.