It's a fun episode, different from the others
cos it's about tension and building suspense.
SCREAMING
Crazy, eerie dolls creeping along, moving malevolently.
The demonic dolls are playing a spooky game of house.
So join us as we take a sneaky peek at how they were created.
And a crazy dolls' house that has over-sized scissors,
and mops, and batteries and strange things.
And we get down and dirty in a vat of slime.
I'm the Doctor getting to have a bit of a double act with someone's dad.
We can't open the cupboard! No, no, we mustn't.
But it all hinges on the emotions of a little boy.
Doctor Who is scary, but this is the scariest of all time.
MUSIC: "Summertime" by DJ Jazzy Jeff and The Fresh Prince
Ooooh! Yo!
That's Youth TV Confidential. Let's do it.
I like it. Yo, this is Arthur.
This is... Don't know if I can do this. Gosh, it's Karen.
All right, anyway, here we are at Durham Park.
What are we doing here, Arthur? Which isn't in Durham.
No. Durham. We are filming a dolls' house. Yes.
We're filming an episode about a dolls' house.
Amazing place.
It was very nice because it was sunny
and we got to sit outside in the garden.
That was rather glorious.
I travelled around South Wales,
photographing all the Georgian houses,
but this one was quite fine
with a lovely staircase and the archetypal
black and white checked floor which we didn't see anywhere else.
It felt very dark and magical so that's why we came here.
The crew have found the perfect location.
And it's now down to that all-important final detail.
In our story we have a dolls' house
which is based on this facade.
Our dolls' house is about this size.
And we are dressing the interior of this house to replicate
the inside of the dolls' house. Let's go in and have a look.
What are we doing today?
Today, we're filming a scene where we are being chased
by these crazy, big-headed dolls.
SHE PANTS
It's the first day of action stuff.
There's all these lovely rooms here
which we've stripped out all of the antiquities from.
All the expensive items.
We're trying to simplify them down
to make them look more childlike so they look
like a dolls' house, really.
This room looked lovely this morning,
lovely leather panelling on the walls.
We've taken out all of the nice furniture
and we're bringing in all of our tatty,
what would be the equivalent of children's toy furniture.
I do this... Which is my favourite part of the scene.
Ready?
You can't just do it in real life.
Sorry, I'm really sorry. That's not funny.
We're going to dress it like children leave their toys sometimes,
with chairs on the side and elements that have been left
as though they've been played with.
In here, we'll have an out of scale
wooden candelabra which is just sitting on the floor.
Big light bulbs flickering on it to illuminate this lovely stairwell.
I got a bit of a head rush earlier, actually.
I didn't tell anyone.
You didn't pass out. I didn't faint. So that was good.
We're going to put a giant sideboard here which is all out of scale
with very simple handles on it
and the graining on it is slightly over-sized.
In here, there's a sequence where they go to try the handle.
Argh! What is it? No doorknob.
But we've made a cover for the handle,
a box which comes out here.
This whole sequence takes place at night
and we've taken all the lights out
so there's no form of lighting in here at all.
With this kitchen, we're going to take out a lot of this detail.
So we'll just leave maybe some of the larger plates.
One or two of the larger saucepans.
We're going to bring this ham over
because it looks like a piece of model ham anyway.
And we've made a saucepan which is about this size...
That's wood.
..and is obviously made of wood to start the audience thinking
there's something not quite right.
That's basically what we're doing here.
Turning a real house into a dolls' house.
So, hopefully it will look nice when we've finished.
We need Arthur in. Sorry.
Oh, Arthur's got to go. Definitely. Bye.
So, anyway... Let's talk about Arthur. I'm joking.
We've had a problem with access here, obviously there are
lots of visitors coming and it's got deer and cows roaming.
We've had to have a special route in and out of the house.
The art department came in the wrong way.
They got stopped by a herd of cows.
Cut. Good. Do it with... Out of focus.
And then I want to do one where we pull backwards and forwards. Sure.
The milk and...
I had very little practical lights,
very few lights on the walls or anything.
There shouldn't really be lights there that are mains powered.
It's mainly so Rory's... Darkness, but Rory has a torch for instance
so that's quite effective.
Amy has, for a bit, her lantern, so that's quite useful.
'Rory and I get separated from the Doctor
'and we have to run around and figure out where we are.
'we don't know it's a dolls' house.'
Then these freaky looking dolls chase us around,
and they are freaky.
They've got these big heads.
RORY AND AMY SCREAM
AMY PANTS
It's is a dummy. It is just a dummy.
'I've always been frightened of dolls,'
particularly China-faced, Victorian ones with their hair missing
and those holes where the hair's punched in.
Those terrible glass eyes.
"Have you ever seen a shark's eyes, like a doll's eyes? Black, lifeless."
All that.
MUSIC: "Doll Parts" by Hole
HE SCREAMS
No, no, no, no, no.
Come on!
Amy, come on!
Rory!
There's a doll of me. Which looks a bit like you.
It's got the same shaped face. No, it doesn't. It does.
Apparently, I've got a moon head. Do I have a moon head?
If you shine a light on Karen's face, she looks like the moon. Shut up.
Stop it. I've got a really nice-shaped face.
Yeah, moons are all right. Are they? They're all right.
Not craters though, yeah?
It was always a balance between
making them credibly look like dolls,
but also making them scary.
That was a trial and error approach with the clay.
They'd make new clay models and send through photos.
Small things changed quite quickly,
but we noticed we wanted the features to feel slightly wrong.
The ones I've always found the most sinister,
are things that are slightly artless.
Not so finely detailed.
If you've got something which is meant to be a peg doll,
and someone has painted the face like that, and obviously
when they get big in the process of that, something gets even cruder.
There's just something brilliant about...
They feel like they've been carved with a knife
and there's something a bit cracked about them.
The hair's like wool. It's just a primal fear, I think.
We wanted them to be painted wood,
but imagine they were very old so the paint has flaked off.
We wanted cracks and stuff.
It was a matter of putting the cracks or peeling paint
in places that made the face almost distort a bit.
And then wiry, straw hair that was slightly wrong.
It's making them right, but wrong.
The dolls' mischievous movement
lies in the hands of Doctor Who choreographer Ailsa Berk.
Go up and literally take your one, and push against her.
And keep your legs straight
as you're pushing her back. OK?
When we first came up with the dolls, they were peg dolls.
They had their wooden heads and solid little bodies
and their arms that could just move a bit.
We thought, OK, nice idea would be to keep stiffness
in the lower part of the body
and let the arms just have their own momentum
taking from the forward motion of the dolls.
In your own time, take off.
MUSIC: "Baby Doll" by N.E.R.D
We've got a fabulous team of people performing these dolls.
Many of whom have worked together before.
We had fun trying out the walk, trying out the arms,
how it would work with it,
going up and down stairs, getting used to it.
Because they have very little vision. This is your turn.
Their vision is straight out.
What we had to do,
because we knew there was stairs involved in the script,
we put on little masks like that with two pinholes for practising.
We practised down at the studios, going up and down stairs,
counting everything out. Well done.
I think they're going to be very nicely spooky.
We've had a few creatures that have been really spooky,
I think this will be quite high up on the list.
I think they'll be a real hit, actually.
Well done, Mark. It's brilliantly designed,
they have great colour and life to them.
The way they move,
and the way they slowly turn their heads is really creepy and eerie.
At a bit like the clockwork robots can, you know,
they have that slow, malevolent sort of feel to them.
Mark Gatiss has now written four episodes of Doctor Who.
And is known for his love of the gruesome and ghostly.
But what is it like penning episodes for three different Doctors?
Join us as we take a look at this dark dramatist.
'What Mark brings, particularly to Doctor Who,
'is a love of the macabre.'
He actually loves it. He revels in it.
Although it's always quite dark, twisted and sinister,
his love for the material, and his joy in it shines through.
It feels quite - nice is the wrong word -
but it feels enjoyable. You're aware of the fun
the writer is having in it and that shoots through all his work.
What happened to the lift? We were in a lift, weren't we?
Yes, I remember getting in.
RORY SIGHS What?
We're dead, aren't we?
Eh?
The lift fell and we're dead. Shut up. We're dead, again.
Oh, shut up, let's find out where we are.
'It's terrifying and scary, maybe even a little sick,'
but you can't help but hear him chuckling as he makes it up.
That makes him perfect for Doctor Who,
because Doctor Who must both be dark and funny.
Which is Mark.
After a long absence, 2003 brought the welcomed announcement
that Doctor Who would be returning to our screens,
under head writer Russell T Davies.
I knew Russell very slightly, I had met him at a couple of things.
It was the most amazing Christmas present to be asked to do it.
Ready for this?
Here we go. History.
What's so weird now, with the show being back and so successful,
but also, being not four, is that you realise
that Christopher Eccleston is like William Hartnell to some kids.
It's a sort of comparable time ago. Ten years is nothing now.
Actually, if you look back, the difference between
Doctor Who's beginning and then 1973, it's like a lifetime.
Mark's dark humour
was first called upon in the days of Doctor number nine,
when Russell T Davies asked him to write The Unquiet Dead.
It was called The Name's Dickens, Charles Dickens.
It was about Victorian mediums
and the medium had invented this machine
which drew gas out of the wall. And my story developed out of that.
There's directness in The Unquiet Dead.
Chris is very, very plain.
Ghosts that are not ghosts, but beings from another world
who could only exist in our realm by inhabiting cadavers.
Good system, it might work.
Rose can't stand the idea that they are going
to occupy the bodies of the dead because it's unseemly.
The doctor just says why not, it's transport.
You can't let them run around inside dead people. Why not?
It's like recycling. Seriously, though, you can't.
Seriously, I can.
It's quite shocking. One of those very alien moments
that sometimes pull the rug out.
This man appears to be like us, and he's not.
Blimey. Don't laugh.
You look beautiful.
Considering.
Considering what? That you're human.
Every now and then I think it's very good
to cast the alien light onto him.
I think Chris, there's something very practical
and leather jacket-y about the whole approach.
Morbid fancies. Charles, you were there.
I saw nothing but an illusion.
If you're going to deny it, don't waste my time.
It was very much about reading Russell's scripts for Rose
and Aliens Of London and getting to hear the new Doctor's style,
trying to put aside a lot of the old Doctor-ness
because it was going to be radically different.
It's 1869, how can I die now?
Time isn't a straight line, it can twist into any shape.
You can be born in the 20th century and die in the 19th,
and it's all my fault.
I brought you here.
I think Chris's incredible gift,
all the intensity which he is traditionally thought to bring
and does bring to his parts, that's where it pays off in spades.
BOTH: Hi!
Who are you then? I represent Queen and country.
When David took over,
it was much more the sort of the quicksilver thing.
I remember early on then, Russell saying,
"David can do very big speeches very quickly."
Doing a check of her Majesty's subjects.
Don't mind if we come in? Didn't think so.
David immediately had this kind of faun-like quality,
this energy, huge eyes, and a sillier quality.
You going my way, doll? Is there any other way to go, Daddy-O?
Straight from the fridge, man! You speak the lingo!
'There's that kind of playful quality,
'then you can pull it back around'
when he discovers that Rose has been got,
and has lost her identity.
'David then the pulls in everything else he does so beautifully,
'it is a sort of terrible loss.'
Then an angry determination to put it right.
I left her in the street, they took her face
and chucked her out and left her in the street.
And as a result, that makes things simple,
very, very simple.
Towards the end, when they're outside Magpie's shop
and he says it is never too late.
It's never too late, as a wise person once said. Kylie, I think.
"Kylie, I think."
I remember thinking, couldn't have done that not so long ago.
But now that feels absolutely right.
Steven Moffat took over and asked me to do Churchill versus the Daleks.
That was the brief. I was very intimidated.
We are the Daleks. But I created you. No.
Argh!
'In a funny way everyone wants to do the Daleks, then you think,'
"God, what did I do?"
I thought, I'd love to do something new.
Now you know who I am. You always know.
Your identity is unknown.
'An interesting thing happens, Steve Moffat is always saying,'
if anyone writes for a new Doctor,
they actually end up writing their default Doctor.
You think, "Yes, this is very different now."
Then you look back and think,
"Oh, there's Jon Pertwee. How did that happen?"
Can I be of assistance?
That's one of the attractions, you think,
if I'm going write a Dalek story, I don't want to be limited
to saying "seek, locate, destroy, exterminate."
The story came in that way round.
DALEK: I am your soldier.
Yes, got that bit. Love a squaddie. What else though?
Please excuse me. I have duties to perform.
The spanner scene is... has got quintessential Matt, I think.
There's a lot of proper rage and he's physical.
Steve said to me, "I think he might be a bit handy, this one."
And that's great.
Again, you suddenly think, that's different.
A bit of Pertwee coming in again. But not Venusian aikido.
He's actually... He'll have a go.
Kill me! Doctor, be careful.
Please desist from striking me, I am your soldier.
You are my enemy!
And I am yours!
He attacks the Dalek because he's so frustrated.
It just responds by saying, "You do not care for tea?"
With four episodes under his belt
and the chance to write for three consecutive Doctors,
Mark's tenure has been a roller coaster ride which shows no sign of slowing down.
Let's put London back under cover of darkness.
Night time falls in Bristol.
But for the cast and crew of Doctor Who,
there's no rest as they set up
to film a squalid scene in an urban location.
Should I close the door? Stay back, stay back there.
OK, so the door will be there.
You keep looking out. Keep looking at Karen, OK?
255, take two.
And action.
Hi. Hello.
We filmed on an estate in Bristol which I think
looks really filmic and really great.
The people we met there were lovely and very welcoming.
Good. Cut. Cut there.
I wanted an estate that had a sense of architecture.
We wanted it to be - the estate - quite crisp,
clean lines, quite 1960s architecture.
Got it? OK. Good.
Filming on it was fantastic. There was a lot of excited people.
It is hard to hide the fact that you are filming Doctor Who
when you have got giant lights that are going up eight storeys high.
Inside one of these flats is a scared little boy called George.
George is not human.
He is a Tenza, and he is assimilated to become exactly
what his human parents want him to be, but he is slightly out of control,
and he is able to make his fears manifest.
So anything that he thinks is threatening,
and that includes Amy and Rory, eventually the Doctor and his father,
and Mrs Rossiter, who he thinks is a witch, he disappears.
He disappears Mrs Rossiter into a pile of stinking black bin bags!
267, take one.
I'm the only one who gives a monkey's round here any more.
Oh, Lord!
Come out of there!
Don't be so ruddy horrible!
Trying to scare an old lady to death!
Every time you pass those sort of big piles,
I always worry that there are rats, and things like that.
There is a terrible fetid smell.
I just kind of like the idea of the drowning in it.
And cut.
Good. Very nice. Once more.
When she goes through it, the bags fall on top of her.
But if he wants these hidden more,
if he wants to pan around, cover it completely with bags.
We are doing a scene that involves our lady, Mrs Rossiter.
She is basically putting the bins out for the rubbish,
and as she leans in, she hears the noise,
and get sucked into the bins and out of shot.
I have Daniella here to double the actress, and then
we have had to come up with a rig for her to be sucked under the bins.
We have had a practice earlier, just to see what we can achieve,
but it will be fine.
How do you feel about doing this stunt? Very nervous.
Legs in the air, kicking like this, and as you just slide in, ideally,
it would be nice to come round a bit and sheets and bags to fall over you to hide you.
I think we can start your position from where you can come round
and be hidden by bin bags.
We can start you already hidden, over there, legs in the air, and it is just you sliding.
Yeah, exactly. It's just you pulling yourself down, sliding. OK?
And we will use the bin bags to hide whatever we need to hide. OK?
He's not even listening now! I'm listening. I was just checking something.
That was all for you, Mick! She's there, she's already doing that sort of pokey-pokey.
In she goes. That is it. Fantastic.
268, take two.
The kicking, not so powerful.
< Action.
MUSIC: "Upside Down" by Paloma Faith
The kicking, that's good. Keep them kicking.
Don't let them go over the top.
OK, not bad. Very good.
Morning, Confidential!
There you go. Thank you very much. That's great.
Confidential following me today. Are they?
This is Richard, our director.
On most drama sets, the director is supported by a team of assistant directors, or ADs.
Today, we are following Heddi, who is the 3rd AD on episode nine.
This is Mick, the 1st AD. Hello.
She looks after me and makes sure the everything is fantastic.
She does really well. Mick runs set, and I liaise between the two.
You're the liaison, aren't you? Yeah.
Heddi lets me know how we are doing on location,
and where to travel afterwards.
James will be following the call times.
We will be requiring certain artists on set,
and I will be liaising with James throughout the day,
whether we are still looking good for those times, and when we need to travel artists.
I am going to go and take sides to the costume and make-up department.
Sides are basically the call sheet on the front, and all the script pages for today.
Good morning, Costume!
On every job, and on this, it's usually the character number,
or the character name that is on the dressing room doors.
That should say, the character name in this episode is Purcell, so that should say Purcell.
But... But there was quite a lot of photography of the door signs, and...
Last year, we had an episode with Churchill,
and someone got a photograph of the Churchill door sign,
and we are trying to keep it a secret who the characters are.
That is part of our roles as well, to try and maintain the secrecy of all the storylines.
We are working an hour less, because we are all away in Bristol,
so we get an hour towards travel.
So we are on camera at half-past four today
until half-past two in the morning, which is an hour less than usual.
So this is the start of...
What time is it, half-past three?
So in 11 hours from now, we should be finishing and getting ready to go home!
Breakfast starts an hour before unit call as well,
so the crew tend to arrive from an hour onwards,
depending on how keen they are feeling, and how much they want to eat.
Hello, Heddi! Hello!
Morning, crew!
What I'm doing is coming in the morning
and getting all the radios out that need to be distributed today.
We have got a lot of additional security and ADs,
because we are in quite a large block of flats, which needs quite a lot of locking off.
So I am getting all those out and making sure everything is charged up and ready to go for the day.
Thank you for travelling Bus Sean! Thank you for such a lovely ride!
Hello. Roughly how long do you think you'll be before Karen is ready?
MATT SMITH: So, Heddi Confidential, is it?
We've rehearsed the shot. We have got it all lined up and set up, and the next thing we do
is check all the artists to make sure that they are perfect and every hair is in place for continuity,
and then we start filming!
MATT SMITH: Come on, you two! Things to do, people to see, whole civilisations at stake.
Heddi for Mick. Just to let you know, I think B camera is using the lifts.
So it just means we are trying to load all the gear in to one lift.
We are just fighting the light to get that last shot in down there.
Pretty sunset!
Our last scene of the night,
which has got a stunt element to it. We've got a stunt double for our character.
How has it all gone?
Whatever! Blah, blah, blah!
I was in mid-flow there, before you all interrupted me!
Yes, it has all been going quite well.
Half-past midnight!
Checks on carrier are for following in, please. Following in.
I have kind of always wanted to work in this business,
and didn't really know how to get into it.
I was actually working in an estate agency,
and happened to meet one producer and work for a small production company.
I started production running six years ago,
and I've been on Doctor Who...
this is my fourth series on Doctor Who.
There are people who have been here longer, but not many!
I love it. But I am going to go and pay attention for five minutes!
It's like I'm shirking my responsibilities!
Last week, the children of Oakley Junior School found out
their Doctor Who script would make it onscreen,
and now the crew start to make the winner's dreams come true.
Welcome to the production meeting of Death Is The Only Answer.
We'll go through the script and look at any production issues, and any other queries we've got here.
Jeremy, do you want to start us off?
I had a little thing here in terms of Matt's trip.
I think I am going to bring him up some stairs rather than down.
It's easier to trip upstairs. I think that will be better.
It makes more sense.
And whether we need to have it landing on a button
as well as doing the lever is something we should look at.
It would be much neater if he comes up the stairs,
trips off the top step, falls against the console
and takes out a lever, and that does it all.
With the planning meeting over, it's time to meet Albert Einstein.
Actor Nicholas Grace will now be transformed into the world's most famous scientist.
This is the jumper. So if I help...
Would you call that plum?
It's a plum. With a marl twist to it. Was Einstein into plum?
It's a new venture for him.
For Einstein, we looked at reference photos
of various aspects of Einstein and
for the period we're dealing with, we went for the smart casual look.
Most of the photos we see him in
are in tweed jackets and suits, so it's rather good
that Jason's done a search and found him in casual gear.
I won't make you put this on now, but I'll introduce you to the fez.
We can see if it's too big or too small now. Shall we have a try?
Yeah, wait till she puts the wig on me. I don't know, it's a little bit...
Aah! Aah! It's transformed me.
I want one of those things hanging off. The little tassels?
We're fresh out of tassels.
So, we can take you over to hair & make-up, they'll work some magic with you and...
Be tricky! ..And do your wig. Thank you. I'll bring this over with me. Okey-doke.
With costume complete, it's off to make-up for the infamous Einstein haircut.
This wig is a little high at the back, so what I'll have to do is,
I'll put a bit of spirit gum on your own hair,
just to hold that down so there is no hair on your neck.
As long as I have someone to shower me down afterwards, that's fine.
LAUGHS You'll be lucky.
What you think?
Go on, do a bit for me.
Vot am I doing? Vere is my toothbrush? Please tell me where my toothbrush is.
Yeah. Great, cool.
Next week, our young writers meet the Doctor on set.
Bergerac? God help us! 30 years old, that.
There's meant to be boxing on.
The delightful Mr Purcell gets a sinking feeling,
when he gets sucked into his carpet.
Never anything on, is there?
His only friend in the world is his dog. He is actually rather
soft about, I think. But I love the way it has been shot.
It worked out so well. He is sort of crying for help and Bernard
just looks at him. Aaaaaargh!
Help me, Bernard! Help me...
Ha-ha! It's great.
This sinking scene was a tough one,
involving a vat of good old Doctor Who style green gunge.
Lovely. This is the...
descending rig that sends our character through the floor.
We've got this platform here - this hydraulic platform,
and it basically sends our character down with a variable control.
It looks like he's disappearing into the floor.
The things I do for this show!
There was endless discussions about how thick the goo needs to be.
We were also worried about our actor going under it.
Too thick and you don't want to shove your head under thick goo.
That was the trickiest bit, getting the viscosity right. Interesting filming day!
..Just set in the green screen. You have got an edge on him that side.
OK, he is well covered in that position.
That is good, the only thing is there will be a light behind him.
The light will move. We're talking green screen only at the moment. Yes. That lamp will not be there.
As long as his movements are within that thing.
Danny, can you take the forward position, please?
Yes, OK.
SHOUTING
Are you happy with the green screen? We need to get this one.
Do you want us to move it? It's fine. OK. Settle.
Action.
I liked the idea of having this very technically complicated effect short,
for him to sink into his grotty carpet.
I quite like that sort of juxtaposition.
It feels rather good see me.
# Confidential, it's a secret
# Don't tell anyone
# You've got to kee-eeep it! #
Oh, also - just so we... Oh my God!
It's funny, flicking through one of our...
"Karen Gillan's timeless trends..." Wow! Karen, look.
"Fiery Karen shows us how to do retro chic with a modern twist...
"Whether it's a sleek jumpsuit and natty scarf...."
Shut up! "..a tiger print bag." Put it away! You know nothing about fashion.
"Doctor Who's lady friend nails it."
What?! That's right - "nails it". Oh, yeah!
The rising star at the heart of the episode is the young actor playing troubled child George.
Who are you, George?
Jamie is brilliant!
I met him for the first time the other day and he is such a little personality.
He's tiny, he's so little, but he's hilarious.
He was like, "Hello, are you Karen?" And I was like, "Yeah, hi, nice to meet you,"
and he started telling me all this stuff.
The thing. You have to do the thing, Mum.
Jamie, who plays George - I think he's lovely.
He's got a lovely little catch in his voice.
He is very believably Emma and Danny's son, I think.
I love that bit when the Doctor appears in the doorway and he says...
I'm the Doctor. A doctor! Have you come to take me away?
And he actually sounds quite like an old lady. I love it! "Come to take me away?"
He's very sweet.
Something's broken. He's the most excitable,
lively child I've ever met in my life.
He's very cool, confident. Apparently he likes sweet things, which he's been eating all lunchtime,
which means we'll have a wonderful afternoon. He does not stop talking,
I have no idea how he does it. He just seems to... He is the best conversationalist.
You could just say nothing to him and he would carry on, he's brilliant.
A fine addition to the Doctor Who cast.
SHOUTS EXCITEDLY
What is going on now?
Erm, I am just sitting here enjoying myself.
I think I'm going back in to do more acting.
Right, how is that going? Good. Good.
So,
Amy is good to work with. Yeah. Everyone... Matt is good work with.
What about me? You're the best so far.
Are you good? Pretty well.
Chill out. Hm...
I'll maybe have a coffee in a minute.
I am actually going to jump off this. Watch me jump off it.
And I'm going to walk in the air. OK?
HE HUMS
Actually, I walked up the steps.
Right then, apart from that, what do you think?
Apart from the stairs thing, I'm really kind of... eight out of ten.
Yeah. Yeah.
Just grabbing Jamie now. How are you out of ten?
Good... Right, I'm on my way!
Run it continuously and I will talk through it.
Jamie, again, sort of unnerving to find young children
that are quite astute and savvy and he is definitely that.
Great energy and great enthusiasm, and was a real hit among the set.
I think he has turned in a really good performance.
What's it been like working with Matt Smith then? Very nice. He's a very funny chap.
Rehearsal...I think we should give this a go.
Are you ready, Jamie? Does Jamie have an eye line upstairs?
Yeah, so pretend that's the Doctor, yeah?
So, Jamie, you'll start very frightened. Remember how frightened you got?
Yes. OK, you're going to do really, really frightened. OK?
And then when the dolls get hold of you, I'll go "shaking". OK?
You're going to do your shaking, yes? Do you remember?
Just your... Jamie, are you listening to me?
Yeah. Your head and your arms, but not your legs, yeah?
Not your legs. OK? Step back, Jamie.
The thing that makes it snap as they're all on the staircase inside the dolls' house
and the dolls are all converging on George, the Doctor realises that the nub of his problem is
he thinks he's going to be rejected, that's the one thing he can't stand.
Action! Something's holding him back. That's it! That's what the trigger was.
He thought someone was going to come and take him away.
We talked about it. Yes, and he heard you, Alex. His sole function is to fit in.
You were rejecting him. We just couldn't cope, we needed help!
But George didn't know that. He thought you were rejecting him. He still thinks it.
He's not...
human.
# In your heart, you know it to be true
# You know what you got to do... #
EVIL LAUGHTER
Whatever you are, whatever you do,
you're my son and I'll never, ever, send you away.
Dad...
And then Alex knocks them aside, like the good dad he is, and says,
"You're my little boy, I won't let you go", it makes me cry.
Cut, that was good. Well done, Jamie. That's good.
Did someone mention something about planets and history and stuff?
We shot a scene in the TARDIS with a bit of the nursery rhyme which has sinister implications for the Doctor.
Or universes, ooh... I wanted a prefiguring of the doctor's death,
so I suggested to Mark he write a nursery rhyme.
So he wrote this rather wonderful Tick Tock Goes The Clock.
EERIE SINGING
All I know is the Doctor is going to die.
# ..Goes the clock, even for the Doctor... #
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