Doctor Who (2005–…): Season 5, Episode 8 - The Hungry Earth - full transcript

We're on set with
the cast and crew of Doctor Who

as an old enemy surfaces
and threatens the earth.

The Silurians are back.

♪ I'm not your number one enemy
I'm not your number one enemy... ♪

You are beautiful.

Homo reptilia, great brains,

they've evolved at such
a quick and brilliant rate.

♪ I'm not your number one enemy... ♪

Action.

- AMY SCREAMS
Amy! - It's got my legs!

Poor Karen Gillan,
getting sucked through the earth.



It was, I have to say,
one of the scariest things.

The most scary stunt I've done.

And we exclusively reveal

what happens after the cameras
stop rolling, as we follow

the making of an episode
from the edit suite to broadcast.

- Five, four, three... - Now on BBC One,
a sneak preview of a new series
of Doctor Who. - ..two, one.

48, take one.

The Doctor's back and in the mood
to take his courageous companion

somewhere exotic...
or so he thought.

Rio!

'The Doctor thinks he's taking'

Rory and Amy to Rio.

He sort of bursts out, "Rio! Behold!"

And actually ends up in
a Welsh mining town in the future.



Action!

What's in here?

'Meets a group of people
who are drilling down'

to the centre of the earth.

Little do they know,
someone else is drilling up.

Who are you? What are you doing?

- And what are you wearing?
- I dressed for Rio!

Cut there. That's good.
Can we get one more, please?

'In Episode Eight,
immediately when the Doctor'

steps out of the TARDIS,
he knows something's not right.

So straightaway,
he's off and running.

We'll take it that far for this one,
and then all the holes and things...

Is there two holes or one?

One here,
and then you all move back.

Then there's one there...

'We are filming a scene where
strange things are happening

'and the Doctor walks into'

this scene where
the earth starts moving.

You need to get out
of here very fast.

- Why? - Look at the screens.
Look at your readings. It's moving.

- What is?
- Is this steam a good thing?

Shouldn't think so.
It shouldn't be shifting.

What shouldn't?

And the floor begins to rumble!

THEY GASP

The ground, the soil, the earth,
moving. But how? Why?

- Earthquake? - I doubt it, cos it's
only happening under here.

It's, I think, the thing that every
actor wants to do in their career,

a bit of wobbly-earthquake acting!

You grow up watching it on
Doctor Who and Star Trek

and everyone seems to do it
at one point or the other!

Ah! Get back!

♪ It's the sound of the underground

♪ The beat of the drum
goes round and round

♪ Into the overflow

♪ Where the girls get down
to the sound of the radio... ♪

Get back!

THEY GASP

Get back.

Get back!

INAUDIBLE

There's a bit of a competition
going on there between us,

and I think the Doctor always wins,
cos he's got spindly legs

and he can sort of move about
a bit more than me.

HE LAUGHS

♪ The sound of the under
Sound of the underground. ♪

'Originally,
in the very first draft'

of the first script, out of
the holes came enormous creatures.

Big lizards that roll into balls and
spin around and attack you.

I thought it was the best idea ever.

They were brilliant, but partly
to do with budgetary things

we couldn't afford
to have two monsters.

Also, it meant that
the proper Silurians,

which was the thing
you were waiting for,

didn't come in until
the end of Episode Eight,

beginning of Episode Nine.

I think Doctor Who works best
when it's on very simple fears,

and there's no greater fear than
the fear of the hole in the ground.

Brolly away, and...action!

And it doesn't take the Doctor
long to work out

who has been creating these holes.

Cold blood...

I know who they are!

From the very first moment
Steven said to me "Silurians",

it was about making sure
we reinvent Silurians for 2010.

Chris and I sort of evolved a brief
between us, which was based on

the original television series
in which the Silurians appeared.

It was a seven-parter in
John Pertwee's first year.

When the first one
comes to the surface, and then is

running around the moor
and then hides in the barn,

in the very first story,

I think it's a terrific use
of a Doctor Who monster,

because the glimpses that you get
and the...uncertainty

about what that creature is,
is fantastic.

Doris!

- Doris! - What do you want?

Get on to the police. Tell them
there's something in my barn.

- What sort of something?
- Some sort of freak!

I saw it move in the hay.

Well, get on with it, woman!

SNARLY BREATHING

Aaaghh!

There's a lot of great moments
in that first Silurian story.

Hello. Are you a Silurian?

I think they're very fixed
in every fan's memory.

I think they're brilliantly created

by a terrific writer
called Malcolm Hulke.

He wrote a number of really classic
stories for John Pertwee's Doctor.

What was it like?

Reptilian.

Biped. Completely alien species.

And it didn't attack you?

Liz! These creatures
aren't just animals!

They're an alien life form
as intelligent as we are.

And I think the great thing about
the Silurians is they're not just

a monster, they're
a species with a purpose.

- DISTORTED VOICE:
- We were here before man.

We ruled this world
millions of years ago.

So I think in writing
the story, I really wanted

to honour what Malcolm Hulke
had created in the first place.

I'm sorry to burst in on you like
this. So what do your people want?

No, wait. Wait!

Wait!

This planet is ours!

We must destroy them.

♪ I've been so evil
with my constant invasions

♪ But you made it so easy for me

♪ You always rise
to the occasion... ♪

INAUDIBLE

The apes have become dangerous.
They must be destroyed!

♪ Go back to the start
Back to the start... ♪

That's 40 years ago now,

and television's moved on
and audiences have moved on.

So Steven's instruction
was absolutely

feel free to reinvent the Silurians
and make them important now.

We wanted the Silurians
to be human, in a way.

Obviously they're not human, but we
didn't want them to be particularly

monster-like, and therefore it was
right that their characteristics

were very recognisable to us.

Tasked with the job of
creating this new look

were the team at Millennium FX,
who had a few ideas of their own.

We did actually jump ahead

and we started to do a few designs
based on the original Silurians.

I really wanted the Silurians
to be beautiful,

but also I wanted them to have
credibility as characters.

RASPY BREATHING

You are beautiful.

So they did actually want to have
more of the actor's expressions

being able to come through
the appliances.

So we then went back
with the idea of having

more of the lizard design
built up on the back of the head.

And to then work forwards

and keep the appliances
on the face quite thin.

It gave them greater freedom,
it gives them greater expression,

and I think there's a chance of
making each individual Silurian

a bit more idiosyncratic
and having their own traits.

With all the Doctor Who creatures we
create and have created in the past,

they always start off initially
with some artwork.

From there, the actors came in for
a head cast and basically,

this head cast is the start and
the basis of everything we build up.

From that, we sculpted the
headdress,
the back section of the make-up.

And then, from that,
we make a mould from that

and then we can start on the face.

♪ Saving my face
Saving my face... ♪

The actual face pieces are cast out
in a material called PlatGel,

which is a material we use for
generally doing old-age make-ups.

It's got a very realistic
movement to it,

but it's got a nice translucency
to it as well, which would help

just kind of soften
the whole look a bit.

What's amazing about the make-up is
the face, it's all stuck on...

I don't know how it works,
but it's all stuck on to her face.

So her face kind of, when she moves
any muscle in her face,

it all moves with it.

And she's got these scales
that move around.

A lot of the time, it's hard not to
go, "Oh, my God, that's amazing."

Instead of actually listening
to what they're saying.

I'm the last of my species.

No. You're really not.

Because on the last of my species,
and I know how it sits in a heart.

So don't insult me.

The poor guys that played the
Silurians, they're getting picked

up at half past five in the morning
and having make-up for five hours.

But they are just
utterly captivating.

What we will be doing
to Neve today, at the moment,

I'm just about to put
a little skin barrier on

for her delicate little skin!

The whole thing really is still

the best part of
two and a half hours,

because there's quite a lot
of little intricate things

with doing her eyes
and colouring her eyes

and tying in the front of
the face with the back,

little bits of airbrushing
in the colours so they match.

The first time was about,
what, four and a half hours?

15 hours, wasn't it?!
It felt like 15 hours!

Felt like 15 hours
the first time, yes.

I've never done anything
like this before,

so it's been quite...
yeah, quite challenging.

The worst thing is that you
can't hear yourself as well,

cos your ears are all covered.

So it's like you're
constantly muffled,

so you can't quite hear
your own voice and you don't have,

because the prosthetic comes
right up to your lips as well,

it's quite an odd feeling
to talk as well.

You've got to be a bit more warmed
up in you're the lips and voice.

And just got to commit
to everything and go for it!

It's great fun!

♪ It's not easy being green

♪ Having to spend each day
in the colour of the leaves

♪ When it could be nicer being red

♪ Yellow or gold or something
much more colourful like that

♪ Like that

♪ It's not, it's not
easy being green

♪ You're sick of blending
with so many ordinary everyday... ♪

I've got really used to it now.

At first it was quite odd,
you know, really different,

and you had to work out if your face
would work the same way

with the extra weight on, but now,

I've actually had a weird moment

where I've been going to bed at
night and going, "Where's my skin?"

Feeling like I'm missing it,
like I should have it on.

I've had it on so much.
But when you look in the mirror

and you see it in the end, it feels
brilliant. It's so much fun.

And of course, you don't know,
you've never seen the actor

unless it's a famous actor
or whatever,

but often you don't know
the actor that's under there,

so you don't know them as a human
being, apart from their picture.

You only know them as a lizard!

It's freaky seeing the Silurians
in real life, it really is,

because it's incredibly believable.

You think, "Oh, they're going
to have green scales all over them.

"How believable can that be?"
But actually,

it does look believable,
and you really start to buy into it.

I'd never seen Neve, who plays Alaya,
out of make-up,

and then I bumped into her
the other day

when she didn't
have her make-up on.

She waved at me, and I just went,

"Sorry, I don't know who you are."

And then it clicked eventually!

They are in, obviously, for hours
before we are and hours after we are,

because we just use our real faces

and they use pretend faces
that look amazing.

But yeah, it was
really weird seeing her.

I just heard her voice and I was just
like, "I never imagined you to...

"You've got real skin!"

Remnant of a bygone
age on Planet Earth.

And by the way,
lovely mode of travel.

Geothermal currents projecting you
up through a network of tunnels.

Those tunnels presented
a "hole" new set of challenges

for the crew to overcome.

So we think he's gone away,
so the camera's low down here,

and he's scrabbling away and then
suddenly he's just pulled back.

It was quite a big technical ask,
you know, the holes and the floor.

The first thing we
had to do was to...

we decided not to build it
in the studio,

'we wanted a big-scale set,
we wanted that big store room

'to match the industrial feel
of that dilapidated coal mine.

'We scoured every warehouse and
empty building for these holes'

and we finally found
this warehouse in a steelworks

that had an old
mechanic's pit in it.

So today is the disappearing

of some of the main characters
through the floor.

And what we've got in there
is a special rig

in order to give the impression
they're being sucked down.

It's like an inspection pit where
we're working in the workshop,

and I've constructed a framework
containing one of these

lorry tyre kind of contraptions,

which basically is pushed together,
so when the artist goes through

'the hole, with
the soil and everything

'that's laid on top of this tyre,
it forms around the artist.

'It looks like the floor is actually
sucking them through the floor.

'It is 100% safe,'

because they're not going into sand,
just going into a void.

♪ There I was, a-digging this hole

♪ A hole in the ground
So big and sort of round it was

♪ And there was I, digging it deep

♪ It was flat at the bottom
and the sides were steep

♪ When along comes
this bloke in a bowler

♪ Which he lifted
and scratched his head

♪ "Do you mind if
I make a suggestion?

♪ "Don't dig there, dig it elsewhere

♪ "You're digging it round
and it ought to be square

♪ "The shape of it's wrong
It's much too long

♪ "And you can't put a hole
where a hole don't belong"

♪ I ask, what a liberty, eh?

♪ Nearly bashed him
right in the bowler

♪ Well, there we were
discussing this hole

♪ A hole in the ground
So big and sort of round it was

♪ It's not there now
The ground's all flat

♪ And beneath it is
the bloke in the bowler hat!

♪ And that's that. ♪

Poor Karen Gillan,
getting sucked through the earth.

She was very brave, God love her.

- Was it fun down there?
- It's just like a little hole.

Quite scared now!

I've just been shown
the device that's going to be used

for me being sucked
under the ground,

and it's actually quite scary,
cos there's just this little hole,

room-type thing, underground.

There's this rubber ring that
expands when I come through it,

and I kind of have to hold my
breath and go under the soil.

I'm quite scared, I have to say!
But no, it should be an experience.

It's kind of like being born.
That's what it feels like!

That's a new analogy!
Through the womb!

Yeah, that's what it looks like!

'It's so scary and claustrophobic,
was the word.

'And that's the first time
I've felt like that doing a stunt.

'And I thought, "Right, OK,
I've never felt so scared'

"doing a stunt before, so I'm
going to use it in the scene."

So there wasn't actually
much acting in that scene,

it was genuine fear!

And turning over.

Here we go. And action.

- AMY SCREAMS
Amy! - It's got my legs!

- Don't let go. - Never. I've got you.
- OK. Don't let go.

- Go, now! - What's going on?
It's pulling me down!

I'm not going to let you go.

It's pulling me down!
Its pulling me!

Stay calm. Keep hold of my hand.

Hold on.

Tell Rory...

Amy, no!

No! No! No!

No!

No...no...

It was definitely the most
scary stunt I've done.

- It's someone's birthday today,
I believe. - Yes, it is.

- Happy birthday!
- CHEERING AND CLAPPING

'When it was my birthday
on set, I was 27.'

They gave me a lovely sort of
caricature cartoon of myself.

Yeah, look! Look at that!

Really, thanks. It's really nice.
Everyone's been so lovely.

- ALL: - # Happy birthday to you!

♪ Happy birthday, dear Matt
Happy birthday to you! ♪

Oh, that's lovely. Thank you. Hooray!

They gave me some lovely presents
and made it really lovely for me.

My mum was very pleased with them,

cos they made a fuss of me,
quote, unquote.

And on an even more positive note,
is that lunch now?

- ALL SHOUT: - Yes!

The crew work incredibly hard
to film an episode of Doctor Who,

but when the cameras
have finished recording,

there is still an enormous
amount of work left to do.

I don't think any show on television
goes through the transformation

that Doctor Who does
in its post-production.

As soon as the camera stops,
first thing that gets done

is I jump into the edit suite
and we start to put things together.

The job of the editor is
to go through all the material

the directors shoots, find the best
performances, the best storytelling,

and basically bring it all together
to make a good scene,

which then
goes into making a good show.

We are sort of re-birthing
the story, in a way, finding out

what the nitty gritty of the story
is and getting down to that

and really honing that over
quite a number of weeks, really,

and quite a number of versions.

Where's Rory?

Didn't like me wearing my engagement
ring, went to put it back.

- We should go back for him.
- No, he knows we're up here.

This is the scene now
that we cut out.

He dawdles. He's always been a
dawdler. Anyway, I wanted to ask...

'Episode Eight,
when we first cut it together,

'was about 60 minutes long,
wasn't it?

'And obviously we're looking at
a running time of about 45 minutes.

'So we had to lose 15 minutes,
more or less a quarter'

of all the stuff we'd shot in the
two weeks we get given to shoot it.

So we had to find
15 minutes of material,

in what was a tightly-packed story
anyway, and pull that stuff out.

Me and Rory on the hillside,
future us.

That's good, right? That happens?

We get a happy ever after?

As things stand in this time stream.

Time's not fixed,
so things might change.

'That particular
scene was quite long.

'And they'd actually
shot it in a very nice'

tracking shot, as they walked away.
And it just went on for too long.

Bottom line.

We just couldn't afford,
we were over length anyway.

Yeah, I see your point.

But yes, I like him.

A lot.

It was a lovely scene. I loved
the colours in it and the look of it

and I thought Karen and Matt
were brilliant

'and it was a really
nicely-written scene.

'But at that point in the story,
we wanted'

to get to the hole, we wanted to
find out what the next step was.

And therefore, probably a minute,
a minute and a half of screen time

of them talking about
their relationship with Rory,

wasn't particularly relevant
to the plot.

It was lovely, but it wasn't
relevant to the story.

So unfortunately,
it had to come out.

It's a bit difficult controlling
your nerves when the night before

your wedding goes on for months!
Especially when the cold's

getting at you - did I mention?
Dressed for Rio!

As soon as we're kind of happy
within the time restraints we have

with the cut of the story,
we then show it to producers,

executive producers,
the writer, sometimes.

And they then give us feedback.

I think on Episode Eight, we went
through how many versions?

Was it 13 versions?

- Yeah. - So, you know,
it's a real honing process,

and it's good to get everyone's
kind of objective viewpoint,

so that we're all working towards
making the strongest programme.

What do we do now?

That process takes
three or four weeks.

Once that's done, it goes off
various directions as a programme,

it's split everywhere.

So next, it's off to
visual effects company The Mill,

where they add
all the computer-generated images.

At the end of Episode Eight,
the Silurian city is revealed.

It's a sort of classic
matte painting,

which is one of the main
areas of work we do on Doctor Who

to create environments
that don't exist.

That we shot against a big
green screen, with a partial set,

and we will then go and set about
creating the under-earth city of

the Silurians, to try and match
the concept that's been approved.

Aside from making the large majority
of the visual effects

in the new Doctor Who series, we
also grade the programmes as well.

And that involves one of four
colourists sitting down for two days,

generally an episode, adding
the kind of look and balancing out

all the colour in the picture
for an episode.

So what we have here
is an end sequence in the TARDIS.

And if I just run three shots
together, we have this shot...

The next shot is ungraded -
that's straight out of the camera -

and then this shot is graded.

So my job now is to make
this scene here fit in

with the other shots around it.

So if I start, and if I just
put some contrast in first

and just make the picture start
to look a bit more interesting.

Maybe this is about right.

But the problem we've got now

is that over on the left-hand
side of that screen,

where the Doctor and his assistant
are coming into shot,

we can't really see them.

So here, I can start drawing
shapes on the screen there.

If you can imagine doing all this
with your Photoshop at home,

and wondering how quickly
this is responding.

I now have to hide this, cos I don't
want anybody to see what I've done.

So using some of these tools here.

So we can now run that.

So if we just run the shot,
to make sure it looks OK.

It's starting to feel right.
I can see what's going on.

The point of this shot
is they're coming in.

We can give it quite a different
look. We can change the mood,

cos the original image was this,

so we can change it an awful amount.

So we can just sort of
play this now.

Do we like it? Do we think this
is going to say the right thing?

I think we could probably
go with this.

I'm in my nightie.

With sound, once the picture's
completed, the sound boys and girls

come in to the edit suite, and we
sit and we watch the entire episode

and we decide what
sound effects we want where

and what those
sound effects should be.

Sound is incredibly important
in Doctor Who.

Just the noises of places,
it's no longer clunking wooden sets,

it's metal corridors
or it's stone corridors.

I'm a foley artist,

and we have to replace

all the physical sounds
for the whole programme.

It's basically replacing everything
to add to the finished product

and for when it's sold
to other countries

and the dialogue's removed
and their own language is dubbed on.

I'm the sound effects editor
on Doctor Who.

♪ Oh, I love it
when you make that noise... ♪

Sound effects are all the extra
things, the additional things,

that we put in to the shown.

The background sounds,
you have to create atmospheres

to make you believe
you're in these locations.

Things like punches,
the sonic screwdriver, explosions,

all the juicy bits, really,

all the additional bits that
the sound didn't exist on location.

I add all those in.

♪ I'm a sucker for your sound

♪ And I love it when you're loud

♪ I'm a sucker for your sound

♪ You know I'm playing
with you now... ♪

Well, for the soil, when a character

gets dragged down
by the Silurians...

Oh, oh! Oh! Aaaah!

Soil is quite difficult to do,

because it doesn't actually make
very much noise on its own.

So we've got it on a big cloth,

and that sort of enables you
to get more volume out of it.

GRAVELLY, SCRAPING NOISE

When David Tennant left
the show last Christmas,

he took the TARDIS with him.

It was in a bad state. And now we've
got a new TARDIS, regenerated,

and with the regeneration
comes a new set of sounds.

Out has gone the creaky door
for the TARDIS.

He's finally oiled it after
all these years!

It's not altogether new,
because I've got access

to the Radiophonic Workshop
archive, and I thought,

it looks to me more like some
of the older TARDISs, maybe.

So I've got a sound in there that
is one of the background sounds

that was used in the '70s and '80s.

This is what it sounds
like all together...

HOLLOW WHIRRING

That's the old Radiophonic sound.

It's just one element.

DEEPER WHIRRING

If you play them together, you may
not hear it, but I know it's there.

That's it by itself again now.

With the TARDIS door,
Paul, the effects editor,

will have laid the sound,

a specially-created sound
for a TARDIS door.

So what we do is we're

just sort of adding the physical...
an extra element.

So if the Doctor touches it...

and just something for the latch
on it that will go with

the other effects
and be mixed together in the dub.

Well, that was quick.

We don't always use the same object,

because we may not have
access to it.

And also, sometimes things don't
make the sound you expect them to.

The actual physical object may make
no noise, but you want it to make

a specific noise, so you have
to add to it or just improvise.

PLASTIC CLATTERING
Can't be.

It is!

- It's you two! - No...

we're here. How can we be up there?

♪ I'm a sucker for your sound

♪ And I love it when you're loud

♪ I'm a sucker for your sound

♪ You know I'm playing
with you now... ♪

Sonic!

Well, the new Doctor's
got a new screwdriver,

so we're using a vice,

which has got lots of nice
clicky bits on it.

It's good for the handling.

But sometimes you do need
to add another element to it,

just to make it easier to use.

HIGH-PITCHED SQUEALING
Hear that?

CLICKING AND CLATTERING
Afterwaves of a recent
seismological shift...

Again, all the beeps and technical
sounds will be put on afterwards.

So it's just for the handling.

The sonic screwdriver, on location,
doesn't actually make a sound.

No, no, no, no.

THRUMMING

It would get in the way
of the dialogue.

I put the sonic screwdriver sound
in here and I use this synthesiser.

And so every time the Doctor uses it,
I will make a new sound.

I can make it maybe...

HIGH-PITCHED WHIRRING

A bit higher frequency.

I'll bend the sound...

TONE WAVERS

Cos if he moves it around,
if you don't change the sound,

it doesn't sound like
he's moving it around.

Restricted access.

No unauthorised personnel.

Mmm.

HIGH-PITCHED WHIRRING

That is breaking and entering!

What did I break? Sonic-ing
and entering. Totally different.

METALLIC CLATTERING AND BANGING

That was great!

We just missed Amy's hand
on the gate.

One of the best parts of the job
is you know that

millions of people are watching it.

I remember doing the stomping sound
for the Cybermen.

HEAVY METALLIC THUMPING

And then in the school playground,

I saw a kid pretending
to be a Cyberman,

going, "Stomp, stomp, stomp."
That's my sound!

You know, the kids are re-enacting
my sound because, you know,

Doctor Who's that big.
It's that good.

Suddenly, the doctor
changes in appearance,

becoming younger looking, with a
wider nose and more prominent chin.

But sounds effects aren't
the only audio added to the episode.

Before transmission, the programme
goes off to an audio describer.

Audio description is basically
an additional

narrative track for blind
and visually-impaired viewers.

It basically gives
a whole extra layer of detail.

When it arrives to us,

we attach the clip to
our audio description software,

and from there, we watch
the programme bit by bit

and find spaces in the dialogue
that we think

could do with
an added layer of descriptions.

So you can give blind,
visually-impaired viewers
the full experience.

It's very different from
something like EastEnders.

EastEnders might have
40 descriptions and you're going

from in the Vic, in the caf,

whereas Doctor Who, you've got
a whole array of things to describe.

As an audio describer,
it's quite a challenge.

So you've got everything
from costumes, you know,

for the Doctor,
hairstyles and things,

right up to the most elaborate
creatures that you come across.

Things like skin texture, their
movements, if they've got one head,

many heads, many mouths, many eyes.

All that sort of thing.

Because it's so unusual,
it's important to get that across,

because that's part of
the charm of Doctor Who.

And so once all the elements
have been finished,

it's off to the Broadcast Centre
for transmission.

♪ Fade out, a new transmission's
coming, here we go... ♪

A tape will be delivered in
from various sources.

It will be put into the flexicarts

and we will then start
to record on to our system.

From this centre, it goes
to Television Centre.

From Television Centre, it
then goes to the BT Tower.

And then from the BT Tower,
it goes into your homes.

♪ Fade out, a new transmission's
coming, here we go! ♪

We've got our clip,
which today is a Doctor Who trail.

We've got a helicopter ident.
We've put that into our system,

and we're going to run it
with a continuity announcement

as we would the programme
when it goes to air.

So that's five, four,
three, two, one - cut.

Eleven, ten, nine, eight,

seven, six, five...

- On BBC1, here's a sneak preview for
a new series of Doctor Who. - ..one.

Cut.

- Who are you? - I'm the Doctor.
- Doctor who?

I'm looking forward to sitting
at home and watching it as a viewer.

Nothing beats the experience of
actually seeing it go out live.

It's extremely exciting.

Of course, we will actually
still be working on the series.

We don't finish the series
until about three weeks

before we start the next series.

So there won't really be a point
where we sit down and relax,

but we will certainly
sit down and enjoy it.

But of course, they can't
transmit the episode

until all the filming is completed,
so it's back on set,

where the Doctor and Nasreen
are looking at the situation.

Because some of our party
have been kidnapped

by the Silurians, the Doctor's
decided to go down under the earth,

and me being a geologist,
I have to follow him,

because this is my dream.

I've spent my life
burrowing into the earth,

and now I might
get a chance to see it.

I have spent all my life excavating
the layers of this planet,

and you want me to stand back
while you head into it?

- I don't think so!
- I don't have time to argue!

- I thought we were in a rush.
- It will be dangerous.
- Oh, so's crossing the road.

Oh, for goodness' sake!
All right then, come on.

So, yeah, I did the whole thing,

the walking through
the front of the TARDIS

and finding the palace inside!

Action.

- Very precious. - No way!

But...but that's...

This is...

Oh! Fantastic!

- What does it do? - Everything.

I'm hoping, if we're going down,
that barricade won't interfere...

Whoa! Oh...my God!

As well as the very high-tech stuff
we have on board,

we have to use a little bit
of low-tech with a fishing line

and pulling and shaking of things

to make it look like
it's being shaken about.

The pipes hanging from the ceilings,
if you're shaking

everything else,
you're shaking the camera,
and the pipes are still stationary,

it gives away the fact
the TARDIS isn't being shaken.

We tie fishing line onto them
and feed them round

to different parts of the set.
We've got people pulling on the
fishing lines to shake these pipes.

It gives the illusion that
the whole TARDIS is being shaken.

Can you keep it up for rehearsal
and after rehearsal

we'll sort it out,
is that all right?

I'm just worried it's going to pull
off wherever it's attached.

The only problem we had there was
that we had to raise one of
the pipes up out of the way

of the Jimmy Jib. So it wasn't
quite going high enough,

to the highest point we could
get to on the balconies.

So I had to go up onto the gantry

and tie it off and pull it up
vertically out of the way.

We had to make a little
fishing pole, if you like,

to grab the fishing line
and pull it up.

Action.

♪ Out of control... ♪

Today was a little painful,
actually,

landing on
a very hard Perspex floor.

I'm sure I have a lot
of bruises tomorrow,

but I shall show them with pride.
"Got this from the TARDIS."

- Oi! - Where are we?

When the Doctor and Nasreen
arrive at their destination,

they soon find out

that they may have bitten off
more than they can chew!

Ah.

Maybe more than a dozen.

Maybe more like
an entire civilisation.

Episode Nine really is -
can the Doctor and Nasreen,

two people beneath the earth,

face down a whole
civilisation of Silurians?

Episode Nine is a very,
very different episode.

Everything could change.

And maybe it will.

Subtitles by Red Bee Media Ltd