Doctor Who Confidential (2005–2011): Season 3, Episode 9 - Bad Blood - full transcript
NARRATOR: The Doctor's disappeared,
his companion's in charge,
and time is ticking.
Every second counts,
50 clock in with Confidential
and well take you behind the scenes
for the making of The Family of Blood.
Stand by, please, Phil.
NARRATOR: On location in mid-Wales,
the Doctor Who production team
are battling against the elements
in preparation for the episode's
complex combat sequence.
The shootout in the courtyard
was very complicated,
and we had a lot to do
in not a great deal of time
because we had to travel
quite a long way to get to Brecon.
It all took a very, very long time.
It was a big one, and the fact
that we were being rained on
and the wind was whistling
through us all really didn't help.
Here we go. Shooting.
Shooting. Clear, please.
Shooting, and action.
Cut there, please.
The visual effects team,
for many effects,
put small explosives
within their costumes,
and they are detonated remotely.
I must admit, it's the first time
we've done bullet hits on scarecrows.
But the technology transferred
very well.
Just pre-weakening material.
What it does,
it gives you a much bigger hole.
If I was just to fire it
on this material,
it'd just probably be about that big.
If you pre-weaken it, it'll go
from that size to about that size.
Okay. Thank you, and action!
Fire!
Fire four.
That sequence is horrific,
and a lot of the boys
are terrified by it
and are glad when it stops
and would rather run in the end.
And I don't think
that scene would be justifiable
if you didn't say,
"Look, this is a terrible thing."
Are we organised?
We can't run the shot,
not without our lovely dancers.
NARRATOR: In the dance hall,
Martha's solo performance
is her biggest challenge yet,
single-handedly
seeing off the scarecrows
and defending the Doctor
from the Family.
It's a tremendous story for Martha,
in that she's got to
look after the Doctor.
It's a huge responsibility for her.
Doctor, get everyone out.
There's a door at the side.
Go on.
Do it, Mr Smith, I mean you!
Not only has she got to look after him,
but she's got to do it from a position
of complete subservience.
This whole story wouldn't work
if the Doctor could not trust Martha.
It's in these episodes
that she actually has to
face the monsters alone, if you like.
Which one of them
do you want us to kill?
She's actually the leader in this.
She's having to work as a maid,
but, actually, she's running it all
behind the scenes.
DOCTOR: It's all down to you, Martha.
Doctor.
She knows at this point
that it's up to her.
There's actually that moment
where the Doctor leaves with Joan
and she's physically and emotionally
alone to face these monsters.
It's not just one of them, there's
four of them, and they mean business.
Don't try anything.
I'm warning you, or sonny boy gets it.
The Family of Blood
are an interesting enemy
in that they're actually
quite small-scale for Doctor Who.
They've got one spaceship
that they've stolen.
All they do is steal
other people's life spans.
Little people with one selfish aim,
which has terrible consequences
on everyone around them.
NARRATOR: Recreating the Great War
has come with great difficulty.
Fourteen days of rainfall
means the field is now flooded.
In these specially constructed trenches,
conditions underfoot are difficult.
We're filming a scene that's supposed
to be set in a 1914 battlefield.
And then the crane...
That's the only reason I can think of
for standing knee-deep in mud
in Wales in December.
And it wasn't this muddy
on the recce, honestly.
-Well, that was hell.
-That was a night, wasn't it?
Could follow them.
In fact, as I remember, it didn't rain
on the night of the trenches.
It had been raining before,
and it was incredibly muddy.
Incredibly muddy and very cold.
Never work with children,
animals and mud, I think. Yeah.
It's going better than I expected
an hour ago, actually.
I was a bit worried
that we weren't going to complete,
but I'm quite confident
we'll be all right.
The special effects guys
are doing well on the re-sets.
They're quite quick.
Yeah, I think we'll be all right.
-All right, Dan? Phil, Davy?
-Yeah.
-Good.
-Turn over A and B, please.
And action!
One minute past the hour.
It's now.
Hutchinson, this is the time, it's now.
-To the right.
-No, keep going.
Trust me! To the right!
I quite like these extreme situations
because it really does unite people
and they do bond,
and it is that thing of, "Right, okay.
Pick everything up and charge down"
-"and look after each other."
-One minute past the hour.
It's now. Hutchinson, this is it.
Keep running, and on "action", look up.
And if we can be faster on the zoom,
please, fellows, okay?
Hutchinson, this is the time, it's now.
PALMER: Action!
To the right, to the right!
We made it.
Thank you, Doctor.
Being blown up was a bit scary.
It was really cool,
'cause you know when you see films
and quite often you can tell
it's a big green screen shot
and you can see an actor dive
in the foreground, and it's so separate?
And when I turned up that night,
I had no idea it was going to be real.
No one had told us.
I was thrilled.
I've always, always wanted to be
running away and dive on the floor.
And people said,
"This is how you do it."
And you feel like,
"You don't have to tell me."
"I've been preparing for this
all my life."
"I know how to dive away
from an explosion."
Three, two, one!
That was one of the funnest things
I've ever done.
-WOMAN: Oh!
-That is good, running fast.
-That's a really good one.
-That's great! That is great.
NARRATOR: For the first time, David is
getting the prosthetic treatment
and a brief glimpse
of life as an old man.
Obviously, on this show, the prosthetics
team do some incredible work,
and it's a peculiar excitement
to suddenly have it done to you.
Obviously, they take a cast long before,
so they've got a mould of your head
that they can then work
these prosthetics out from.
And I think it's fair to say
that ageing make-up
is one of Neill Gorton's
particular specialities.
With David, obviously, he ages up
and it's only one scene,
so I kind of felt it was important
that he be as recognisable as possible,
because otherwise you could be watching
this one scene and thinking,
"Who's this old bloke? What's that
got to do with the rest of the story?"
-Thank you very much.
-Thank you very much.
It's been an extraordinary experience.
-Different, like, isn't it?
-It really is.
-Right, we will...
-Really frightening.
We will... Yes.
See you down there.
The John Smith version of the Doctor
is a very real
and small, intimate love story.
I never...
He has fallen in love with
great big headlights, as a Time Lord...
Was this his real...
It just allows the opportunity for
the Doctor to see a new side of life.
Er, just to retrieve...
I'll tell you what.
If you could take these...
-Okay.
-That would be quite...
You extraordinary man!
Nurse Redfern.
-This is going to sound silly.
-Tell me.
You have quite an eye
for the pretty girls.
Miss Redfern, might I invite you
to the village dance this evening?
-We make quite a team.
-Don't we just?
He won't love you.
If he's not you,
then I don't want him to.
I sometimes think
how magical life would be
if stories like this were true.
his companion's in charge,
and time is ticking.
Every second counts,
50 clock in with Confidential
and well take you behind the scenes
for the making of The Family of Blood.
Stand by, please, Phil.
NARRATOR: On location in mid-Wales,
the Doctor Who production team
are battling against the elements
in preparation for the episode's
complex combat sequence.
The shootout in the courtyard
was very complicated,
and we had a lot to do
in not a great deal of time
because we had to travel
quite a long way to get to Brecon.
It all took a very, very long time.
It was a big one, and the fact
that we were being rained on
and the wind was whistling
through us all really didn't help.
Here we go. Shooting.
Shooting. Clear, please.
Shooting, and action.
Cut there, please.
The visual effects team,
for many effects,
put small explosives
within their costumes,
and they are detonated remotely.
I must admit, it's the first time
we've done bullet hits on scarecrows.
But the technology transferred
very well.
Just pre-weakening material.
What it does,
it gives you a much bigger hole.
If I was just to fire it
on this material,
it'd just probably be about that big.
If you pre-weaken it, it'll go
from that size to about that size.
Okay. Thank you, and action!
Fire!
Fire four.
That sequence is horrific,
and a lot of the boys
are terrified by it
and are glad when it stops
and would rather run in the end.
And I don't think
that scene would be justifiable
if you didn't say,
"Look, this is a terrible thing."
Are we organised?
We can't run the shot,
not without our lovely dancers.
NARRATOR: In the dance hall,
Martha's solo performance
is her biggest challenge yet,
single-handedly
seeing off the scarecrows
and defending the Doctor
from the Family.
It's a tremendous story for Martha,
in that she's got to
look after the Doctor.
It's a huge responsibility for her.
Doctor, get everyone out.
There's a door at the side.
Go on.
Do it, Mr Smith, I mean you!
Not only has she got to look after him,
but she's got to do it from a position
of complete subservience.
This whole story wouldn't work
if the Doctor could not trust Martha.
It's in these episodes
that she actually has to
face the monsters alone, if you like.
Which one of them
do you want us to kill?
She's actually the leader in this.
She's having to work as a maid,
but, actually, she's running it all
behind the scenes.
DOCTOR: It's all down to you, Martha.
Doctor.
She knows at this point
that it's up to her.
There's actually that moment
where the Doctor leaves with Joan
and she's physically and emotionally
alone to face these monsters.
It's not just one of them, there's
four of them, and they mean business.
Don't try anything.
I'm warning you, or sonny boy gets it.
The Family of Blood
are an interesting enemy
in that they're actually
quite small-scale for Doctor Who.
They've got one spaceship
that they've stolen.
All they do is steal
other people's life spans.
Little people with one selfish aim,
which has terrible consequences
on everyone around them.
NARRATOR: Recreating the Great War
has come with great difficulty.
Fourteen days of rainfall
means the field is now flooded.
In these specially constructed trenches,
conditions underfoot are difficult.
We're filming a scene that's supposed
to be set in a 1914 battlefield.
And then the crane...
That's the only reason I can think of
for standing knee-deep in mud
in Wales in December.
And it wasn't this muddy
on the recce, honestly.
-Well, that was hell.
-That was a night, wasn't it?
Could follow them.
In fact, as I remember, it didn't rain
on the night of the trenches.
It had been raining before,
and it was incredibly muddy.
Incredibly muddy and very cold.
Never work with children,
animals and mud, I think. Yeah.
It's going better than I expected
an hour ago, actually.
I was a bit worried
that we weren't going to complete,
but I'm quite confident
we'll be all right.
The special effects guys
are doing well on the re-sets.
They're quite quick.
Yeah, I think we'll be all right.
-All right, Dan? Phil, Davy?
-Yeah.
-Good.
-Turn over A and B, please.
And action!
One minute past the hour.
It's now.
Hutchinson, this is the time, it's now.
-To the right.
-No, keep going.
Trust me! To the right!
I quite like these extreme situations
because it really does unite people
and they do bond,
and it is that thing of, "Right, okay.
Pick everything up and charge down"
-"and look after each other."
-One minute past the hour.
It's now. Hutchinson, this is it.
Keep running, and on "action", look up.
And if we can be faster on the zoom,
please, fellows, okay?
Hutchinson, this is the time, it's now.
PALMER: Action!
To the right, to the right!
We made it.
Thank you, Doctor.
Being blown up was a bit scary.
It was really cool,
'cause you know when you see films
and quite often you can tell
it's a big green screen shot
and you can see an actor dive
in the foreground, and it's so separate?
And when I turned up that night,
I had no idea it was going to be real.
No one had told us.
I was thrilled.
I've always, always wanted to be
running away and dive on the floor.
And people said,
"This is how you do it."
And you feel like,
"You don't have to tell me."
"I've been preparing for this
all my life."
"I know how to dive away
from an explosion."
Three, two, one!
That was one of the funnest things
I've ever done.
-WOMAN: Oh!
-That is good, running fast.
-That's a really good one.
-That's great! That is great.
NARRATOR: For the first time, David is
getting the prosthetic treatment
and a brief glimpse
of life as an old man.
Obviously, on this show, the prosthetics
team do some incredible work,
and it's a peculiar excitement
to suddenly have it done to you.
Obviously, they take a cast long before,
so they've got a mould of your head
that they can then work
these prosthetics out from.
And I think it's fair to say
that ageing make-up
is one of Neill Gorton's
particular specialities.
With David, obviously, he ages up
and it's only one scene,
so I kind of felt it was important
that he be as recognisable as possible,
because otherwise you could be watching
this one scene and thinking,
"Who's this old bloke? What's that
got to do with the rest of the story?"
-Thank you very much.
-Thank you very much.
It's been an extraordinary experience.
-Different, like, isn't it?
-It really is.
-Right, we will...
-Really frightening.
We will... Yes.
See you down there.
The John Smith version of the Doctor
is a very real
and small, intimate love story.
I never...
He has fallen in love with
great big headlights, as a Time Lord...
Was this his real...
It just allows the opportunity for
the Doctor to see a new side of life.
Er, just to retrieve...
I'll tell you what.
If you could take these...
-Okay.
-That would be quite...
You extraordinary man!
Nurse Redfern.
-This is going to sound silly.
-Tell me.
You have quite an eye
for the pretty girls.
Miss Redfern, might I invite you
to the village dance this evening?
-We make quite a team.
-Don't we just?
He won't love you.
If he's not you,
then I don't want him to.
I sometimes think
how magical life would be
if stories like this were true.