Doctor Who Confidential (2005–2011): Season 4, Episode 14 - Confidential Christmas 2008 - full transcript
NARRATOR:
Join Confidential this Christmas
for double the action, double the drama
and double the Doctor.
This episode is a Gothic, cyborg,
Victorian epic nightmare.
Action!
The Cybermen are right up there
and we haven't seen them
for a couple of years.
So it was good to see them,
and great seeing them
marching through the snow.
(GROANING)
Who the hell is that?
Hello.
His name, sir,
is the Doctor.
(DOCTOR WHO THEME)
So we're here filming
part of the Christmas episode,
and it's an early scene,
where the Doctor
arrives in this courtyard
and meets the other Doctor.
Hold on, who are you?
I'm the Doctor. Simply the Doctor.
The one, the only and the best.
You start out with a bit of a mystery
in this story,
which, again, is unusual
for a Christmas special,
"Who is this man?"
If you could stand back, sir,
this is a job for a Time Lord!
He's had information into his head.
So he's slightly been brainwashed
into a situation
where he believes he's someone else.
At the start of that episode
you would absolutely believe
this is who the Doctor has become.
I love that wonderful conceit
that the Doctor's companion
in this episode would be himself.
(ALL LAUGHING)
David Morrissey was, in some ways,
the great Doctor we'll never have.
I've been hunting this beast for
a good fortnight. Now, step back, son!
LIGGAT: We've just seen a Cybershade
Jumping a wall.
The other Doctor, and then the Doctor,
grab onto the Cybershade with a rope,
and then get hoiked up outside
the building and through a window.
Uh, I might be in a little bit
of trouble.
So, to make this happen,
we've put wires in the rope
and hung the actors off the wires.
MAN 1: Once more for rehearsal, please.
MAN 2: Bruce, is there a way just to,
sort of, get a little bit more stable?
WOMAN: Quiet.
MAN 2: I know it's difficult, but just
so you're not spinning around as much.
DAVID TENNANT: Wires are always fun
the first couple of times
you get hauled up and down,
because it is a bit like flying.
But, come take 10,
you know, when your back starts to go
and other areas
are needing some attention,
it can start to become...
It could start to feel like a long day.
DIRECTOR: Action.
TENNANT: Or not.
(GRUNTING)
MORRISSEY: I think I might be
in a bit of trouble.
TENNANT: Nothing changes. I've got you!
-Hold it there.
-Thank you very much.
We'll retake that again, please,
Phil, please.
TENNANT: Being in a harness
for quite a long time,
usually in a pair
of highly padded cycling shorts
to protect what dignity
you might have left,
after three years of this.
Look at that. Sexy.
Actually, it was fine
for the majority of the day.
We were on there for couple,
like, you know,
about four or five hours.
MORRISSEY: And then we broke,
and I took the harness off and all that.
And then we had to go back
into the harness.
And it was going back into the harness
and doing it again at the end of the day
that really hurt, I don't know why.
I think I bruised all my thighs.
MAN 1: Good position?
MAN 2: It's a good position.
MAN 1: Okay, thanks.
GODDARD: I mean, that's a major cheat.
I mean, we went up
the side of that building about 17 times
just making it look, you know,
three, four times
the length it actually was.
TENNANT: There can be some chafing,
and there can be some unpleasantness.
But you forget about that
when it's all cut together
and, hopefully, it all looks
very exciting.
Go!
I'm not letting you out of my sight,
Doctor!
-Don't you recognise me?
-No, should I? Have we met?
It's not slapstick
but it's quite a strange thing
that they have to go through.
This is hardly the right time for me
to go through my social calenda-aaah!
You want these two men
to come together very quickly.
They could do that through dialogue
but it's much better fun to have them
being pulled along through a rope,
and after that, they're sort of friends
from that point on,
no matter what happens.
And it's just shorthand
to bring the two of them together.
(BOTH LAUGHING)
It's quite a juicy part to cast.
(BOTH EXCLAIMING)
-Ooh, that's different!
-Oh, that's new!
BOTH: Allons-y!
You're effectively casting
another Doctor.
And so you want to make sure
you've got
the best actors around, really.
We'd been thinking about
David Morrissey for quite a long time.
Obviously, he's one of the kind of
most high-profile
and brilliant actors in England.
Bit of a legend, if I say so myself.
Modesty forbids me to agree
with you, sir. But yes. Yes, I am.
Every actor wants to create
good characters and be in good stories.
And Russell and his team here
have really created that
with Doctor Who.
You ask a lot of questions.
I'm your companion!
Whenever those articles are written
about who's going to take over,
there's always four or five names
that crop up
and Dave Morrissey is usually in there.
But that's not why we got him
for this part.
I mean, David Morrissey's name crops up
because he's a great actor.
And what we wanted for this part
was a great actor.
So there's no way we thought,
"Oh, let's play into the game of casting
someone who might be the next Doctor."
That's just too complicated.
You just want to cast a great actor.
I've worked with David before.
We did a series called Blackpool.
Which was a musical, actually.
We danced the tango together.
To These Boots Are Made For Walkin',
Nancy Sinatra number.
♪ You keep lyin'
♪ When you oughta be truthin'
♪ And you keep losin'
♪ When you oughta not bet ♪
And we had a really great time on that.
That was a, sort of,
it was a very dark comedy musical.
And we all sang and danced.
♪ These boots are made for walkin'
♪ And that's just what they'll do
♪ One of these days these boots
are gonna walk all over you ♪
We were very good.
What my character has done
is downloaded all this information.
He's not too clear
what that information is
but he knows
that he's got to have certain things
in order to be this character
that is the Doctor.
One, of course, is a sonic screwdriver.
So he gets himself a sonic screwdriver.
Another one is a TARDIS.
So he builds what he perceives
to be a TARDIS.
I very much got into writing it,
as Doctor Who.
It's very much, slightly,
a throwback to older Doctors.
Because it's the Victorian Age,
you can put the frock coat on him,
which is a lot more colourful
than anyone else's.
The cravat, and the coat,
and the manner.
He's got partly
a Victorian speech pattern,
partly an old Doctor's speech pattern.
He's one step away from saying,
"Dear girl", to his companion.
You could've got killed.
But, evidently, we did not.
Oh, I should introduce Rosita,
my faithful companion.
-Always telling me off.
-Well, they do, don't they?
MORRISSEY: The Doctor, at first,
thinks he's another Time Lord.
And then gradually realises
that this man
is working under an illusion.
But I'm the Doctor.
You became the Doctor.
It becomes apparent in the story
that the next Doctor
is in fact not a Time Lord,
but a human, Jackson Lake.
Let me just check.
You told them you were the Doctor.
Why did you do that?
Oh, I was just protecting you.
There's a very tiny moment
where we cut some lines of dialogue out,
actually, when the Doctor listens to
his heartbeat.
And originally in the script
you realised that he was listening
to one heart.
We took out the bit with the heartbeats
just to keep the mystery going
a little longer
I can't remember.
What happened to me? What did they do?
It's a proper tragedy
at the heart of this story.
It's a man who's lost and lonely.
So I approached it in that way,
of a character
who is suffering from memory loss.
And is, sort of, working on an energy
that is trying to get him
to block out something
that has been very painful for him,
that's happened to him.
DOCTOR: "J.L."
The watch is Jackson Lake's.
MORRISSEY:
The things that he's invented,
particularly the TARDIS
that he's invented himself,
save the day.
DOCTOR: All that bravery,
saving Rosita, defending London Town.
Hmm?
And the invention,
building a TARDIS, that's all you.
So actually, in small ways
and in vital ways,
he becomes a proper Doctor
and helps to save the Earth.
At your service, Doctor.
He would have been a wonderful Doctor.
And the point is, in the end,
that actually, for the course
of that story, he was the Doctor.
At one point, my character,
when he is completely delusional
and does think he's a superhero,
he decides to lasso this Cybershade.
And of course, as an actor, I have done
very little lassoing in my life.
So we got in this guy who taught me
how to lasso and it was brilliant.
My name is Guido Louis.
We're going to catch a monster,
it'll be exciting.
I am called in for the day
to show David Morrissey about roping.
(INDISTINCT INSTRUCTIONS)
(LAUGHING)
It was really good.
And I spent quite a lot of the morning
with him and his rope.
This is called a lasso.
We have the loop ready,
and now you'll swing it above your head,
in this way, throw it at the target.
Hopefully you hit it.
The lasso that we'll be using today
is not going to be an actual lasso.
It will be an ordinary rope,
quite heavy, quite thick.
A lot heavier
than I would use for a lasso.
-That's it.
-Let it go, yeah.
But I will show him
how to lay it in his hands
and then swing it above his head.
Well, we can do it. It'll be all right.
I had to aim at the first assistant,
who was standing there.
And I got him first time,
which I was very happy about, actually.
(YELLING)
So, yeah, my lasso skills
are up there now.
I can, sort of,
if I have to give up the day job
I can join a circus.
Excellent.
NARRATOR:
In an abandoned Welsh warehouse,
it's time for the two Doctors
to go on the pull.
Today, I've been
pulling the Doctors along
through the warehouse,
which is linking from the scene
we were shooting yesterday,
where I was pulling them up the wall,
Spiderman style.
So, Ruari, mate,
you're running down here,
and we're just tracking along
in the camera vehicle next to you, okay?
I wanted a great big opening
Christmas day stunt, actually.
I wanted it to be funny.
So, obviously, ideally,
you're on all fours
but it's going to be impossible.
So, it's to get as much speed
but just give the impression, like,
you're kind of lolloping sort of low,
and then just throw looks back
over your shoulder.
Little bit quicker.
That's good. Chuck some looks back.
Once they're off the vertical
and they start going horizontally,
it's just funny.
And I've got to run on all fours,
on the impression of all fours,
through the warehouse
as quickly as possible
while two people
are holding onto the rope behind me,
which is interesting.
In my head,
I have rough practicalities in mind.
I basically knew it'd be a nightmare.
They'd set up this rig
on the back of a quad bike.
GODDARD: Basically,
just underneath their bums,
it was just a little, kind of,
saddle pad that they sit on.
It was just a, kind of, two little seats
on a kind of metal frame.
And I sat strapped in one,
David's strapped in the other
and we're holding these ropes.
And then we just get dragged endlessly
around this warehouse.
DAVIES: On days like that,
when two actors
are being pulled across a warehouse
on a quad bike, on their bums...
(BOTH GROANING)
That's why I don't go on set very often.
You write that stuff
and then you go, "Over to you!"
DANNY HARGREAVES:
We started off gradually.
I think we get it up
to about 15-20 miles an hour.
So, you know, fairly quick
along this rough ground.
So it's certainly not comfortable.
MAN: Three, two, one, action.
It's the sort of thing that,
when you were first told
that you're going to be
sitting on a sort of bit of tin,
which is going to be
dragged along the floor by a quad bike,
you can't quite imagine it's...
Either that it's going to work
or that it's not going to kill you.
-MAN: Cut there. Okay.
-Don't try that at home, kids.
It really signals up
the kind of episode it's going to be.
It's going to be a romp,
it's going to be slapstick.
We're going to have fun along the way.
(BOTH SCREAMING)
They look so funny, the two of them
just act their hearts out in that.
Imagine being pulled along
by a quad bike
and having to do all the acting
at the same time. It's just brilliant.
It was really good fun.
We had real fun. I mean it was, again,
it was pretty uncomfortable the next day
but David and I have
quite a laugh doing it.
(LAUGHING)
NARRATOR: So, just what is it
that makes the Doctor Who
Christmas special, so special?
Well, I love the Christmas specials.
(ALL CHEERING)
You know, mums and dads and kids,
more than any other day of the year,
more than any of the normal Saturdays,
will be sitting down watching telly.
It's just the scale, the ambition,
the ambition in the writing,
that anything goes.
And one part of you wants to make it
bigger and better each year.
At the same time,
you shouldn't go mad with that.
Just as long as you've got a good story,
that's the main thing.
Witness me, mankind,
as CyberKing of all.
DOCTOR: It's a CyberKing!
In some ways last year,
with Kylie Minogue and the Titanic,
that's about as big as you can go.
And it was tempting, in a way,
to try and copy that.
But what would you have done? You know,
you would have had Cheryl Cole
on board the Hindenburg, or something.
Now I say that... That would have had
record viewing figures.
DAVIES: You know, it's got a little bit
more intimacy than we've had before.
Then again, when you get the CyberKing
stepping on London at the end,
it's not exactly subtle.
So, you know,
we've still got the size as well.
It's got that Dickensian feel to it.
(PEOPLE SCREAMING)
I think if Dickens ever thought
of putting a great, big robot
in A Christmas Carol,
he would have done it.
I like to think
I've improved on Dickens there.
(INDISTINCT CONVERSATION)
GODDARD: The graveyard scene was
a collective favourite for everybody.
We've been filming
in this graveyard in Newport.
We're saying
it's a Victorian funeral happening.
The visuals just popped
right off the page.
We always want to give the Cybermen
a nice, big entrance.
Some great, sort of,
barnstorming appearance.
What manner of men are they?
Cybermen.
(SCREAMING)
We have people clashing into each other,
falling over.
We have Cybershades
leaping onto the backs.
(SCREAMING)
There's a lovely top-shot, where you see
people scrambling over graves.
(SCREAMING)
Just nightmarish, really.
You monstrous witch!
Merry Christmas to you, too.
This time I sort of thought,
"Well, you know,
a great entrance is the snow."
You had the white snow,
these men in black,
and then the figure of Miss Hartigan
in this scarlet dress
coming through the snow.
So, all the components
were there, really.
It was just a question of
just marrying the seductiveness
of Miss Hartigan
and that femme fatale element,
and the horror of the Cybermen.
(CRYING OUT)
You've got the soft snow
and then the cold, chrome steel
of the Cybermen.
DAVIES: I mean, all the statues
and graves,
they sort of match with the silver,
all the silvers and greys
of the stone and the metal
all sort of work together.
The Cybermen just look right
in that setting.
PAUL KASEY: You know, with the Cybermen,
because of the whole marching army,
it's good to be a good team
and you sort of work out little ways
of how to do things
and how to count things
and how we're all going to stop
at the same time
and what's the best way for everybody.
Well, if I stay to the right, this side,
then hopefully it will give you
enough room
if you do pass me, to take over,
if I'm killing.
It's kinda funny, really,
'cause they're a lovely,
normal bunch of blokes,
and they're sweating away
in their suits.
And I think
they have a pretty tough time of it.
Mind you,
I'm in a really tight corset all day,
so it's uncomfortable
for everyone, really.
You've got men in suits
who can't see properly
dressed as Cybermen,
in mist and snow, so their visibility
is even more reduced,
on quite an uneven surface, sometimes.
Surrounded by extras running,
and some stuntmen extras in there
who have to be grabbed and zapped
and things like that.
So, easy to write, very hard to do.
GODDARD: There's basically a number
of key, choreographed elements
that were basically stunts
that I wanted to put into the action.
What if, like, two guys clash
and collide and fall over.
And then there's a Cyberman
coming towards them.
And the other one sort of
pushes him, you know, to save himself.
It's quite restrictive
with the choreography
because, obviously, with the Cybermen,
they've got limited movement.
So it's all about maximising the space
and the distance.
And the good thing is,
I went it in with certain ideas,
and then Tom threw up
other things on the day.
We're just having you two, sort of,
running and bump into each other.
-All right.
-Bump in, and like, stumble,
and then as Paul comes
you just, sort of,
just do that with Nick.
Push Nick into...
MAN: Rehearsing, and action.
(BOTH GRUNTING)
And basically,
it was just to make the mayhem
when the Cybermen attack
just look as chaotic as possible.
One is on this side,
leaps over the grave,
climbs over the earth and legs it,
maybe falls down over the earth,
and the other one comes up this way
-and falls over.
-Come over that way.
Takes a tumble and falls over
HARRIS: Eh, Max, can you do me a favour?
Run the other way, please.
Alistair, you come this way.
John, can you go over that way, please.
GODDARD: I think I'll have four of you
in a, kind of,
not an exact military line,
a little bit of a broken line,
coming out of the mist from up there.
So we'll spread you out,
and you'll start walking down,
and then the other two of you
we'll have further down
and closer to camera.
It was very beautiful.
It's very Tim Burton, almost.
We had acres of snow,
it was a beautiful day.
It's very hard with the graveyard
because it's very easy to write,
"A great, big,
open Victorian graveyard."
Of course, you then think,
"Right, so that entire area
has to be covered in snow."
HARGREAVES: We've got lots
of dress snow, which is paper snow.
We've got dress all around the graves,
as you can see.
This tree in the background, yeah.
And these headstones.
As well as that,
we've got falling snow and mist.
So, just create a kind of sense
of that real moodiness today.
GODDARD: It's basically
tiny, tiny little particles of paper,
which are just sprayed across the set
from this giant hose.
And it looks fabulous.
But it sticks to your shoes,
it goes up your trousers,
it gets everywhere.
And if it rains,
it turns to papier-mâché.
GODDARD: Danny, can I get you to
cover up these footprints there?
They're just starting to
get into the frame.
You're starting to see them, yeah?
You know, there's snow everywhere.
I'm quite lucky
I'm not clearing it up, but...
It was a great scene.
It was one of my favourite scenes.
I really enjoyed doing it.
Seventy five, take one, A camera.
Shooting and action!
You monstrous witch!
Merry Christmas to you, too.
But why are we spared?
What do you need us for?
Your children.
I'll tell you
what makes that sequence nightmarish,
is that, it's not the snow
and it's not the Cybermen,
it's not the people screaming
and running about.
It's the fact
that the Doctor isn't there.
And that makes it without hope,
that scene.
There's something
really remorseless and awful.
At the same time,
we have got a woman standing there
in a red dress with a parasol.
So, there's a little bit of colour
in there.
KIRWAN: It was very dramatic.
And it will be a very, I think,
funny, powerful and scary scene.
I think it's magnificent.
I think they've...
I remember when those rushes came in,
and it just looked extraordinary.
It's funny, now I think of it,
but in all these years, not one of you
has asked my first name.
It's Mercy.
Dervla is somebody that
we've talked about a lot
and really wanted to find
the right part for.
Your work is done.
She got the red dress,
she's in charge of the Cybermen.
-Delete them.
-Delete.
You could go too big for that part,
you know, you want a proper,
proper actor in there
who will take it seriously.
Julie and I worked with her on Casanova
and know how incredibly sexy she can be.
Those velvety tones that she has
worked so well for Miss Hartigan,
sort of, she kind of reels you in
and then spits you out the other side.
Thank you, Doctor.
Dervla is so beautiful and we could
just see her in that dress.
I know I'm here but
I kind of can't believe that I am,
so it's great. It's really good.
A fairly immaculate piece of
casting there, I think.
And she wears a red dress very well.
Oh, that is magnificent.
I think the Cybermen are terrifying.
Report.
Cybershade 16 has made contact.
Then observe the enemy.
There's something so impenetrable
about them.
You can't do this to me!
Incorrect. It is done.
The sense of
there's nothing to appeal to.
They're such a great monster,
visually and emotionally.
They're on par, you know,
they're level pegging with the Daleks.
They look amazingly scary
in their movements and just the...
The whole sheen of them
is quite horrible.
There's something so, kind of,
impersonal about them.
All hail the CyberKing.
CYBERMEN: All hail the CyberKing.
But you promised me.
You said I would never be converted!
That was designated a lie.
I just think they're
pretty scary creatures
because you can't really see
what's going on behind their eyes,
and because they're robots
and they're monsters and they're metal
and they show no emotion.
I think the word iconic is overused.
But I think that just about merits it.
DAVIES: I know why they fit the snow.
It's because it's that image
that's lodged in my head,
the very first Cyberman story,
they appeared out of the snow
in The Tenth Planet.
TENNANT: They were first seen
marching out of a snow blizzard,
so there's something right and proper
that they should be doing that again
in 2008, I think.
They attacked the North Pole and that's
the very first time you saw a Cyberman,
which I was watching
because I remember watching that story.
I know I look impossibly young.
-We are called Cybermen.
-BARCLAY: Cybermen?
Yes. Cybermen.
I mean, the original Cybermen
in the '60s come from
fears that people had about
transplant surgery.
You know, heart transplants
were new then
and people feared that
having a bionic arm would make you
have a bionic brain and stuff like that.
There was a real body horror,
modern science fetishism,
sort of fear coming out there.
Our lifespan was getting shorter,
so our scientist and doctors
devised spare parts
for our bodies until we could be
almost completely replaced.
If they were just robots,
I think they'd be a bit dull.
But the fact that they were human,
the fact they wanted to make you
like them.
Come to Mondas and you will have
no need of emotions.
You will become like us.
They're machines in some way,
but they were human.
But this... It's like there's nothing
that you can
appeal to or bargain with
or reason with.
We need your power.
You need our mass intelligence.
Are you listening?
Do you understand me?
Now that I have released you...
(SCREAMING)
Let me go!
I set you free. It was our plan!
You belong to us.
I literally remember watching
Tomb of the Cybermen...
MAN: Look.
DAVIES: ...where they wake up in tombs.
I was terrified.
Actually, the bit I remember now
that's really... I genuinely remember
hiding by the arm
of the settee, literally,
was when they wake up
the Cyber-Controller.
And they opened this door
and out he steps and he's got a brain.
And that's why... He's got a sort of
flesh-like brain on top of his head.
You belong to us.
I've always tried to keep that
as part of the design because I think...
Because I remember being
stormingly terrified by it.
My brain fleeing out of
my head, it was just so frightening.
-Cybermen.
-Shh.
But where did they come from?
I don't know, Jamie,
but they're here, aren't they?
DAVIES: The invasion and the pods,
and they cut their way through.
They're sort of born out of eggs
or something like that.
That sort of sense of them being born
is often there in the old ones.
There is a great Peter Davison story
called Earth Shock
where the Cybermen
haven't been seen for years
and they made this huge return
with a huge redesign.
So, we meet again, Doctor.
And in that
they're sort of wrapped in cellophane
and inside these tubes so they force
their way out of the cellophane
and then they burst their way
out of this metal tubes.
It's a great big return,
saying, "We're back"
and start to march en masse.
It's terrifying, really,
so they're a great creation.
Cybermen.
Emotion. Love, pride, hate, fear.
Have you no emotions, sir?
You shall be like us.
You've no home planet, no influence.
Nothing.
You never change.
Always the perfect guests.
You're just a pathetic bunch
of tin soldiers
skulking about the galaxy
in an ancient spaceship.
Correct.
But don't you care?
Care? No, why should I care?
Emotions have their uses.
Feeling? I do not understand that word.
When did you last have the pleasure of
smelling a flower, watching a sunset?
Good afternoon.
These things are irrelevant.
For some people, small, beautiful events
is what life is all about!
We know of your intelligence.
Oh, thank you very much.
Explode the bomb.
The Doctor is a formidable opponent.
We will survive.
-MORRISSEY: Run, Doctor.
-Now, Doctor!
NARRATOR: But for now,
let's leave the cyber attack
in Christmas present,
and take a look at Christmas past.
(SCREAMING)
I think The Christmas Invasion is
always gonna have a big place
in my heart
because it's David Tennant
stepping out of the TARDIS.
Here we are then. London! Earth!
Solar System! We did it!
The Christmas Invasion
is still one of my,
probably, top five favourite episodes
that I've done, I think.
Rose! Rose, I've got you!
My Lord, my precious thing.
The Doctor, is he with you?
No. We're on our own.
Everyone's gathered, and the whole Earth
is going to be doomed by the Sycorax.
(SPEAKING ALIEN LANGUAGE)
(TRANSLATING)
"And now you're going to die."”
-Leave her alone!
-Don't touch her!
It's just that sense that all is lost.
That we can't even tell
what the aliens are saying any more.
And then slowly, almost imperceptibly,
the Sycorax leader
starts speaking in English.
-Then your world...
-MAN: Then your world...
-...will be gutted...
-...will be gutted...
-...and your people enslaved.
-...and your people...
Hold on, that's English.
And therefore, if you can understand
what he says, then that means,
the TARDIS translation circuits
are working again,
and that means that
the Doctor's woken up,
and that means
that there might just be hope after all.
DAVIES: Then the camera zooms in,
the doors open,
and there's David Tennant
in his pyjamas.
Did you miss me?
It was a whole new era of the programme.
(SCREAMING)
(LAUGHING)
My favourite bit of The Runaway Bride
is that bit on the motorway,
when the TARDIS bounces down the road.
You are kidding me.
It's something I've always wanted to see
ever since I was a child.
When I was a child,
I used to sit in a car
and imagine the TARDIS flying alongside.
That was what was going on in my head.
When you actually get to
put that on screen
with Catherine Tate in a wedding dress,
being watched by two kids
in the car in front,
and David being
his absolute most heroic,
and the TARDIS being its most heroic.
It's pretty hard to beat, really.
Oh!
And then, of course, there's the old
Christmas special from last year.
(SCREAMING)
It ends with a replica Titanic
plunging towards Buckingham Palace.
And I don't think you can get
more Doctor Who than that.
That's just barmy, isn't it?
Hello, yes, um,
could you get me Buckingham Palace?
Only in Doctor Who could you get
something that mad,
and that heroic and that much fun.
And then the Queen is waving
as it sails over Buckingham Palace.
That's Doctor Who.
Bring in the Time Lord.
NARRATOR: And being the nation's
favourite Time Lord
brings with it a whole history
of comic sketches,
all there to pay homage to the Doctor.
My old favourite is... I don't know
if it still exists in the archives,
but things like Crackerjack
would do little Doctor Who sketches,
and little, sort of, pantos and things.
Doctor Who!
Don't forget the jewels.
Wishee, all these jewels are ours.
What I used to love as a Doctor Who fan,
you'd sit up,
'cause it was your favourite show,
and it was being referenced,
you know? I really used to love it.
(WHOOSHING)
Oh, dear, what a funny noise
you're making.
You've been bolting your food again.
Good heavens, what is that?
Oh! It's a giant-sized money box
for putting coppers in.
Things like that would crop up
all the time
like Emu and The Pink Windmill Show did
Doctor Emu.
They did daft little sketches.
(MAN GROANING)
And later on all those people did
big formal sketches, like Lenny Henry.
Doctor, what happened? What happened?
What's going on?
Doctor, Doctor, where are you, Doctor?
Oh, what's happened?
What happened, Doctor? Doctor...
Doctor, what happened to you?
You're different.
Doctor, you've changed.
Oh, Doctor, what's happening?
What's happening, Doctor? What...
-Penny!
-What?
Shut up!
I used to think it was compliment
even though they sort of...
They are clearly taking the mickey out
of Doctor Who a lot of the time.
But that's part of the fun of it.
So do Doctor Who fans.
And you just sort of thought, it's like
lots of people are in on the game.
Because all the work
is now being done by robots.
-You mean...
-The Daleks?
No! Not them.
The Cybermen.
(GASPING)
There's only one thing to do now,
but I can't quite remember what it is.
Run up and down lots of corridors.
That was the one.
There is, I don't know if you've got,
there's a French and Saunders sketch
that was never transmitted.
Welcome, Time Lord.
I must protest, Questioner.
All in good time, Time Lord.
I think it's on The Trial
of a Time Lord set, larking about.
Now, we are on Siluria, aren't we?
-Yes, we are.
-Yes.
-Do you know how we know that?
-Yeah?
-Because we're Silurians.
-Yes, I know. Yes.
I have the seeds of Agron
in my possession.
He is very good, isn't he?
-Whilst I still hold them...
-Tom Baker is my favourite, really.
Yes, yes.
I like Patrick Lichfield the best.
Yes, he is very good.
Two Ronnies, I remember vividly,
there's a sketch in The Two Ronnies,
I think it must be...
It's one of their big
song-and-dance sketches at the end.
Oh, aye. Oh, yes.
Cor, it's a bit of a mix-up.
Who are you supposed to be, mate?
I be Doctor Who, that's who I be.
Who be you be?
No, you used to be Doctor Who,
now you're Worzel Gummidge.
Oh, I must've got the wrong head on.
(THEME FROM THE GENERATION GAME PLAYING)
I remember a marvellous episode
of The Generation Game
where Bruce Forsyth says,
"Bring on the dialects."
Could we have
the varied dialects please?
This is a good game,
you'll really love this. Yup.
I said, "Dialects."
I'm not kidding, you used to be thrilled
when you saw these things.
Who is it, Doctor? I'm not very bright
and I haven't got my glasses on.
It's my old enemy Crayola.
Hello there, Crayola.
Doctor, it's been a long time.
Tons.
As long as that? You don't look a day
over five million. How do you do it?
Table tennis.
(LAUGHING)
We don't have much time.
I'll keep him talking,
you creep round behind him,
and disconnect his blademite tubing
and neutralise his thermal lode.
But, Doctor,
we haven't got the ming-mongs.
I just love it. It's like an extra bit
of Doctor Who,
even though they're not
legitimate Doctor Who.
You'd, sort of, just be chuffed
for that night
and just be happy that
someone was referencing Doctor Who.
Here's a clip of The Who.
♪ People try to put us down
(TO DOCTOR WHO THEME)
♪ Dum di de dum, dum di de dum
♪ Just because we get around ♪
There's lots of stuff
when you look for it.
JON CULSHAW AS TOM BAKER: Dead Ringers.
Cat Deeley, alien.
Chris Tarrant, alien.
-The Queen...
-ALL: Alien.
(DOCTOR WHO THEME)
-Where does the transporter arrive at?
-In France.
France. France, Casterberous
or France, Neptune?
That would be France, French,
(GIGGLING) French land.
Good.
-What are you doing here?
-MAN: I work here.
You've been telling these people
that you are the train guard,
but you are really the Master.
That's right, yeah.
You've been telling the humans
that they were going to the Eurotunnel
when really you were taking them
into the vortex of the black hole!
You're very naughty.
I'm going to the bathroom
then I'll deal with you.
Okay.
It's good fun. I like it when Doctor Who
is involved in all this stuff and,
we actually enjoy it
and try to help as much as we can
"cause the more Doctor Who,
in any shape or form,
we get on-screen, the better.
NARRATOR: The plot thickens
and the Doctor, Jackson and Rosita
find themselves
at the hub of all the action.
Upon my soul...
What is it?
It's an engine.
TENNANT: I wonder if anyone
will recognise the Hub
before they watch
Doctor Who Confidential
and realise that
that's what we filmed on.
I'd imagined it would be a location,
first of all, actually,
that we would find
an old Cardiff warehouse.
When you think of it, it's got so much
design in it, it's got CGI In It,
and crucially, it's got kids in it,
it's got kids running about,
a lot of health and safety issues
and stuff like that.
Because Torchwood were not filming
at the time that we were filming
this story,
we basically rebuilt it.
DAVIES: I did sit there
at the meeting going,
"As long as you can turn it back
to the original Hub."
In terms of scale and dimensions,
it offered everything we needed.
The shape's still here
but other than that
it's very unrecognisable.
Behind us is Captain Jack's office.
His lovely round window
is now a sewer tunnel.
It was unusual for me
because I've done Torchwood.
So it was really strange
stepping onto that set.
And it really
was unrecognisable, actually.
And I thought it was fantastic,
what they did.
I think you really got to have
quite a sharp eye to spot it
as the same place.
I don't think
I would have recognised it.
It was brilliantly done.
NARRATOR: So all that's left to do
Is set the cogs in motion
and fill the place
with some overexcited kids.
They do say
you should never work with kids.
Children,
pay attention.
I've spent many years on set
working with kids.
And I've always found them, I mean,
they're very receptive audience.
Shelley and Amy, you stay there for me.
My AD, Richard Harris, he was fab at
workshopping them, actually.
When she says that,
hold this lever with two hands.
Pull it back
and everything's going to begin.
We had to sort of hit the ground running
to get a step ahead.
HARRIS: This is the first time
they've seen the set.
It's the first time they've been here
and they've found their feet in it,
so they've done extremely well.
-Max, go down there, mate.
-All right, where?
Thank you very much.
You're gonna help John so...
Take a handle each.
Not too close to the edge, mate.
-All right.
-Take a handle each, up there, John.
-Ready, Max?
-Come on, John, we can do this!
And you're gonna
turn it round clockwise. Are you ready?
Is anyone listening?
-BOY: Yes, I'm listening.
-Anyone? Anyone?
All right, here we go. Ready?
He's like the Pied Piper,
he's brilliant.
He remembers all of their names
and he bonds with them and...
You know, they really respond
well to him.
Let's all face...
Let's all face that way, please.
Turn round, and can you go
round the other side of that handle?
And if you go just one behind...
Watch your back.
Well done.
So I'll count to three, okay?
And then we start walking round, okay?
Here we go. One, two, three.
Good. Not too fast, slow down.
Brilliant! Well done, fellas.
-So, Jack...
-Yeah?
You look after the speed of that,
all right?
Not too quick.
And you need to be leaning.
-Yeah.
-All right?
He knows how to deal with them,
so I felt in very safe hands with him.
And we're going
to put in lots of extra effort,
so you're gonna be going
fast with that, Jack.
You're going to be shovelling
twice as hard.
You're gonna be pulling this one down
as fast as you can.
Yeah, I really enjoyed working
with them.
The kids were really fantastic.
B camera.
Action!
HARTIGAN: Children,
pay attention.
Now let the new
Industrial Revolution begin.
I want to see you work!
MAN: Go.
MAN 1: Thank you very much. Cut there.
MAN 2: Okay, testing. One.
We've just been filming a scene today
which involves a lot of stunts
and pyrotechnics and stuff.
My son.
-Doctor, my son!
-What?
They took my son.
No wonder my mind escaped.
Those damned Cybermen,
they took my child!
MAN: Action!
Sorry.
-That's all right, it's our fault.
-Sorry, guys.
That was real fun to do.
MAN: 15, and action!
What are we gonna do, Doctor?
What are we gonna do?
Come on, Jackson.
You know me.
They're really
full-on Indiana Jones hero scenes.
Oh, that's it! Hello!
Like any of our big set-pieces,
everything is planned, planned, planned
and we break it down.
MAN: Action!
I think both Davids
were really up for it,
and Tom Langford,
who was our little boy Frederick,
was really brave and great.
I love, love going on the wires
but I hate the heights!
I'm Frederick, I'm like Frederick.
I don't know how old I am.
Um...
But in real life, I'm eight,
but in this I'm about five, I think.
MAN: Action!
LANGFORD: I've been doing some scenes
with Dave Tennant.
I've been doing loads of scenes
with David Morrissey.
MAN: Thank you, gents.
GODDARD: Blue-eyed Frederick.
He was lovely.
What was wonderful about him
was when we were cutting it,
his reactions to all the explosions
were just really spot on.
And he was lovely.
He's the best child actor
I've ever seen.
Big eyes! Fantastic!
He just had this, kind of,
cherubic quality
that I think he you associate with
these kind of Victorian stories.
Hello!
Now, hold on tight. Don't let go.
There was more wire work
for rescuing young Frederick.
And again, that's one of those scenes
because the Hub set is quite tall,
and therefore the set
that we had for the Cyberbase
was quite tall
and had three or four different levels.
Little Tom, who played Frederick,
had to be wired to me.
I had a sort of... This rig round,
all round me, a quite big rig,
which was then wired through the front
of my shirt onto the rope.
And then little Tom
was attached to my back,
so that if we fell, if we went down,
we were going down together.
Russell's got a thing about up and down.
MORRISSEY: Perhaps if you could pull...
I am pulling! In this position,
I couldn't not pull, could I?
He believes that up and down
is more exciting than left to right.
He's probably right, he usually is.
I just love them somehow,
I just think they're more exciting.
Most stuff goes from right to left,
life goes right to left,
and chases tend to go right to left
on-screen and things like that.
And when you take a sort of deep breath,
I think it's more thrilling
'cause we're all afraid of heights.
Whoa!
Gotcha!
So, when you take a chase
and stop it going right to left
and have it going up and down
then it becomes really, really exciting!
And, you know,
everyone fears a drop behind them.
So he's always finding different ways
to send the characters up and down,
which usually means we're on wires
like the lift shaft in New Earth.
You're completely mad!
I can see why she likes you.
Going down!
(BOTH SCREAMING)
DAVIES:
It's one of my favourite sequences ever,
Rose and the Doctor
whizzing up and down.
The whole story, actually, goes up
and down the hospital all the time
but ends classically in that slide down.
Well, that's one way to lose weight!
It's a bit of a motif
in Russell's scripts
that the characters will be
on the vertical as much as possible.
You've got to be kidding!
Rose, get up there.
Our very first Cyberman story
has an escape on a rope ladder,
hanging from a Zeppelin
above an exploding factory
with the Cyber-Controller
chasing after you.
It doesn't get
much more vertical than that!
There's literally people
hanging on for dear life
and a Cyber-Controller
pulling them down.
DAVIES:
It wouldn't have been as exciting
if you tried to do that
on the horizontal
Gridlock is a classic one
for the up and down.
And in there,
the Doctor breaks the rules
of the world.
Everyone's stuck in place
and he goes down through the motorway.
He's completely insane!
That and a bit magnificent!
And the whole motorway
that has to go up to escape.
So it's got a very sense of movement
to it really.
I think the most vertical moment
the Doctor ever had actually
was like when he stuck in the bowels
of an exploding Titanic
and has to get out,
which is about to crash onto the Earth.
And The Host lifts him up
and he literally,
literally travels through the story,
he cuts through the story
by going up through the bridge.
He literally flies, the Doctor flies
in order to save the day.
I think it's the most vertical moment
the Doctor ever had actually.
It's just something I love doing.
NARRATOR: Back on location,
and the children are ready
to be afraid, very afraid!
MAN: Action!
MAN: Stay on your line.
(CHILDREN EXCLAIMING IN FEAR)
You will continue.
MAN: Cut!
GODDARD: The scenes where the children
were marched into the factory
with the Cybermen and the Cybershades,
we shot in Monmouth.
And it was a question of
just having heavily rehearsed
a lot of the stuff with the kids,
and again Richard had come into his own
in sort of getting a shape to it.
Turn around, please, face the front.
Turn left.
To work with that amount of kids
under such a restricted timescale,
it just really helped
when you get a sense of the shape
of where you're going.
TSHABALALA: Obviously you get 30 kids
between the ages of 4 and,
I think, 11, on Doctor Who,
they're going to be really,
really excitable.
So it's quite hard
calming them all down.
I've seen it. You know what I'd do?
But they have been fantastic
and when the work starts,
they're really professional.
MAN: Action!
Keep running!
Keep running! Keep running!
Put me to shame a bit, actually.
KIRWAN: They looked fantastic.
They are having fun, they're really well
looked after, they want to be there.
And, I think for any kid,
if I'd had that experience,
to see how it all works
and to see the amount of different jobs
that go into making, you know,
a couple of seconds on film,
it's a great education, really.
Amelia? When you go running,
you stay that side of that lamp
-and you go running to that corner.
-Hmm.
That's it, and then you'll see
a Cybershade and you come running back.
Well done!
Okay, as soon as we've got the flames
under the lights,
we'll rehearse, please.
Here we go, folks,
rehearsing, and action!
(GROWLING)
What I like about the scene is,
it's one of the few scenes
you see the Cybershades
almost as guard dogs.
(GROWLING)
Which I think, in a way, is like the
role they play with the Cybermen.
-B camera.
-Thank you.
Shooting. And action!
So, what do we have here?
Listen, listen,
just walk towards me slowly.
Don't let them touch you.
The Doctor meets Miss Hartigan
for the first time
and he initially thinks
that she's on his side.
Oh, but they wouldn't hurt me,
my fine boys.
They are my knights in shining armour.
Quite literally.
Or, well, he just assumes
that she's somebody unwittingly
caught up amongst this Cyber business.
Even if they've converted you,
that's not a Cyber-speech pattern.
You've still got free will.
I'm telling you, step away!
There's been no conversion, sir.
Miss Hartigan is this,
I guess, this wonderful mix
of a classic Christmas villain.
I think in that red dress,
she's something for the dads.
And I think at the same time
she's someone for the kids
to boo and hiss at.
Who are ya?
You can be quiet.
I doubt he paid you to talk.
There's a slight hint that
she is a lady of the night,
shall we say, on Christmas day.
But, you know,
there's a little bit of the past there.
I'm playing Rosita and she's basically
really sassy,
really mouthy, she doesn't take anything
from anyone,
a tough East End girl.
This is hardly work for a woman.
Don't mind me saving your life!
That's work for a woman, isn't it?
The Doctor's companion does what
the Doctor says.
I've got another big scene coming up,
and I get to punch the bad guy,
which is really good.
I can't wait to do that.
Can I say, I completely disapprove!
Come on!
Get off me! I said get off!
We filmed that
from about 9:00 in the evening
till 5:00 in the morning.
So by about four o'clock in the morning,
I'm no good to anyone.
(BOTH LAUGHING)
I was remarkably relaxed
because I was absolutely exhausted.
And we had a stunt coordinator
and we practised it many, many times.
-Drop into it rather than...
-Yeah.
-...just going straight back.
-Okay.
You know, so you can hit
and sort of stagger
-and fall that way rather than...
-Okay. That's great, yeah.
Otherwise you'll just end up
going straight back.
Okay, great.
I've never actually
done anything like that,
so I'm just going to see
what they tell me to do.
But hopefully they won't be any mistakes,
I don't want any black eyes on set.
I gonna do it slowly
so I'm kind of going across like that.
It doesn't have to be closer.
-Any closer than that.
-Just, yeah.
-It's just the angle of the body.
-Yeah.
I'm just gonna go for it.
TSHABALALA: Like that.
Oh...
MAN: Camera. And action.
One last thing.
Oh, can I say, I completely disapprove!
Come on!
Rosita is designed to be
the archetypal companion,
"cause when the Doctor
meets the next Doctor,
he needs to look like the Doctor.
Rosita, give me the sonic screwdriver!
-The what?
-Now, quickly, get back to the TARDIS!
In miniature,
she's an absolutely proper companion
and is brave and fights
and saves the children.
So she's, you know, she's wonderful.
So onwards.
-Maybe you should go back...
-Don't even try!
No.
She is really good and devoted
and, in the end,
through the whole process
finds a proper family
and will find a proper home
with Jackson Lake
looking after Frederick in the end.
She becomes the best of friends to him.
I love the end scene at Christmas,
for me is always the Doctor
and the guest star and the TARDIS
and the snow.
MAN: Come on, this way.
JACKSON: The city will recover,
as London always does.
The Doctor is essentially
this lonely figure,
and the wonderful thing about Christmas
is it's a time for sharing,
it's a time for belonging.
JACKSON: And a new history
begins for me.
I find myself a widower,
but with my son,
and with a good friend.
Now, take care of that one.
She's marvellous.
It shows, finally,
how the Doctor is alone.
He's rebuilt Jackson's life
and there's some sort of family
that's come back together.
And there's the Doctor
heading off on his own.
You won't stay?
Like I said, you know me.
It's kind of a curse being the Doctor
in some ways, you know,
because of that loneliness.
All those facts and figures I saw
of the Doctor's life,
you were never alone.
All those bright and shining companions.
But not any more?
No.
Just having
these wonderful relationships,
these wonderful bonds with people
but ultimately, you know,
they have to end.
I suppose, in the end,
they break my heart.
I like to think
it's a wonderful moment at the end
where they go off into sunset
for Christmas dinner.
MAN: Action!
Merry Christmas to you, Jackson.
Merry Christmas indeed, Doctor.
DAVIES: He is a man alone.
And we're going to be looking at that
in these, these final stories,
in David's last stories to come
where we're really gonna look at him,
and focus on that,
and you can never stop asking yourself,
"Who is the Doctor?"
It's called Doctor Who.
There's a huge stuff to come, epic stuff
and heart-breaking stuff to come,
so, he's just the best character
in the world.
(HAVE YOURSELF A MERRY
LITTLE CHRISTMAS PLAYING)
Bit of a legend, if I say so myself.
(ALL CHEERING)
Merry Christmas, Mr Smith.
Merry Christmas, Doctor.
Join Confidential this Christmas
for double the action, double the drama
and double the Doctor.
This episode is a Gothic, cyborg,
Victorian epic nightmare.
Action!
The Cybermen are right up there
and we haven't seen them
for a couple of years.
So it was good to see them,
and great seeing them
marching through the snow.
(GROANING)
Who the hell is that?
Hello.
His name, sir,
is the Doctor.
(DOCTOR WHO THEME)
So we're here filming
part of the Christmas episode,
and it's an early scene,
where the Doctor
arrives in this courtyard
and meets the other Doctor.
Hold on, who are you?
I'm the Doctor. Simply the Doctor.
The one, the only and the best.
You start out with a bit of a mystery
in this story,
which, again, is unusual
for a Christmas special,
"Who is this man?"
If you could stand back, sir,
this is a job for a Time Lord!
He's had information into his head.
So he's slightly been brainwashed
into a situation
where he believes he's someone else.
At the start of that episode
you would absolutely believe
this is who the Doctor has become.
I love that wonderful conceit
that the Doctor's companion
in this episode would be himself.
(ALL LAUGHING)
David Morrissey was, in some ways,
the great Doctor we'll never have.
I've been hunting this beast for
a good fortnight. Now, step back, son!
LIGGAT: We've just seen a Cybershade
Jumping a wall.
The other Doctor, and then the Doctor,
grab onto the Cybershade with a rope,
and then get hoiked up outside
the building and through a window.
Uh, I might be in a little bit
of trouble.
So, to make this happen,
we've put wires in the rope
and hung the actors off the wires.
MAN 1: Once more for rehearsal, please.
MAN 2: Bruce, is there a way just to,
sort of, get a little bit more stable?
WOMAN: Quiet.
MAN 2: I know it's difficult, but just
so you're not spinning around as much.
DAVID TENNANT: Wires are always fun
the first couple of times
you get hauled up and down,
because it is a bit like flying.
But, come take 10,
you know, when your back starts to go
and other areas
are needing some attention,
it can start to become...
It could start to feel like a long day.
DIRECTOR: Action.
TENNANT: Or not.
(GRUNTING)
MORRISSEY: I think I might be
in a bit of trouble.
TENNANT: Nothing changes. I've got you!
-Hold it there.
-Thank you very much.
We'll retake that again, please,
Phil, please.
TENNANT: Being in a harness
for quite a long time,
usually in a pair
of highly padded cycling shorts
to protect what dignity
you might have left,
after three years of this.
Look at that. Sexy.
Actually, it was fine
for the majority of the day.
We were on there for couple,
like, you know,
about four or five hours.
MORRISSEY: And then we broke,
and I took the harness off and all that.
And then we had to go back
into the harness.
And it was going back into the harness
and doing it again at the end of the day
that really hurt, I don't know why.
I think I bruised all my thighs.
MAN 1: Good position?
MAN 2: It's a good position.
MAN 1: Okay, thanks.
GODDARD: I mean, that's a major cheat.
I mean, we went up
the side of that building about 17 times
just making it look, you know,
three, four times
the length it actually was.
TENNANT: There can be some chafing,
and there can be some unpleasantness.
But you forget about that
when it's all cut together
and, hopefully, it all looks
very exciting.
Go!
I'm not letting you out of my sight,
Doctor!
-Don't you recognise me?
-No, should I? Have we met?
It's not slapstick
but it's quite a strange thing
that they have to go through.
This is hardly the right time for me
to go through my social calenda-aaah!
You want these two men
to come together very quickly.
They could do that through dialogue
but it's much better fun to have them
being pulled along through a rope,
and after that, they're sort of friends
from that point on,
no matter what happens.
And it's just shorthand
to bring the two of them together.
(BOTH LAUGHING)
It's quite a juicy part to cast.
(BOTH EXCLAIMING)
-Ooh, that's different!
-Oh, that's new!
BOTH: Allons-y!
You're effectively casting
another Doctor.
And so you want to make sure
you've got
the best actors around, really.
We'd been thinking about
David Morrissey for quite a long time.
Obviously, he's one of the kind of
most high-profile
and brilliant actors in England.
Bit of a legend, if I say so myself.
Modesty forbids me to agree
with you, sir. But yes. Yes, I am.
Every actor wants to create
good characters and be in good stories.
And Russell and his team here
have really created that
with Doctor Who.
You ask a lot of questions.
I'm your companion!
Whenever those articles are written
about who's going to take over,
there's always four or five names
that crop up
and Dave Morrissey is usually in there.
But that's not why we got him
for this part.
I mean, David Morrissey's name crops up
because he's a great actor.
And what we wanted for this part
was a great actor.
So there's no way we thought,
"Oh, let's play into the game of casting
someone who might be the next Doctor."
That's just too complicated.
You just want to cast a great actor.
I've worked with David before.
We did a series called Blackpool.
Which was a musical, actually.
We danced the tango together.
To These Boots Are Made For Walkin',
Nancy Sinatra number.
♪ You keep lyin'
♪ When you oughta be truthin'
♪ And you keep losin'
♪ When you oughta not bet ♪
And we had a really great time on that.
That was a, sort of,
it was a very dark comedy musical.
And we all sang and danced.
♪ These boots are made for walkin'
♪ And that's just what they'll do
♪ One of these days these boots
are gonna walk all over you ♪
We were very good.
What my character has done
is downloaded all this information.
He's not too clear
what that information is
but he knows
that he's got to have certain things
in order to be this character
that is the Doctor.
One, of course, is a sonic screwdriver.
So he gets himself a sonic screwdriver.
Another one is a TARDIS.
So he builds what he perceives
to be a TARDIS.
I very much got into writing it,
as Doctor Who.
It's very much, slightly,
a throwback to older Doctors.
Because it's the Victorian Age,
you can put the frock coat on him,
which is a lot more colourful
than anyone else's.
The cravat, and the coat,
and the manner.
He's got partly
a Victorian speech pattern,
partly an old Doctor's speech pattern.
He's one step away from saying,
"Dear girl", to his companion.
You could've got killed.
But, evidently, we did not.
Oh, I should introduce Rosita,
my faithful companion.
-Always telling me off.
-Well, they do, don't they?
MORRISSEY: The Doctor, at first,
thinks he's another Time Lord.
And then gradually realises
that this man
is working under an illusion.
But I'm the Doctor.
You became the Doctor.
It becomes apparent in the story
that the next Doctor
is in fact not a Time Lord,
but a human, Jackson Lake.
Let me just check.
You told them you were the Doctor.
Why did you do that?
Oh, I was just protecting you.
There's a very tiny moment
where we cut some lines of dialogue out,
actually, when the Doctor listens to
his heartbeat.
And originally in the script
you realised that he was listening
to one heart.
We took out the bit with the heartbeats
just to keep the mystery going
a little longer
I can't remember.
What happened to me? What did they do?
It's a proper tragedy
at the heart of this story.
It's a man who's lost and lonely.
So I approached it in that way,
of a character
who is suffering from memory loss.
And is, sort of, working on an energy
that is trying to get him
to block out something
that has been very painful for him,
that's happened to him.
DOCTOR: "J.L."
The watch is Jackson Lake's.
MORRISSEY:
The things that he's invented,
particularly the TARDIS
that he's invented himself,
save the day.
DOCTOR: All that bravery,
saving Rosita, defending London Town.
Hmm?
And the invention,
building a TARDIS, that's all you.
So actually, in small ways
and in vital ways,
he becomes a proper Doctor
and helps to save the Earth.
At your service, Doctor.
He would have been a wonderful Doctor.
And the point is, in the end,
that actually, for the course
of that story, he was the Doctor.
At one point, my character,
when he is completely delusional
and does think he's a superhero,
he decides to lasso this Cybershade.
And of course, as an actor, I have done
very little lassoing in my life.
So we got in this guy who taught me
how to lasso and it was brilliant.
My name is Guido Louis.
We're going to catch a monster,
it'll be exciting.
I am called in for the day
to show David Morrissey about roping.
(INDISTINCT INSTRUCTIONS)
(LAUGHING)
It was really good.
And I spent quite a lot of the morning
with him and his rope.
This is called a lasso.
We have the loop ready,
and now you'll swing it above your head,
in this way, throw it at the target.
Hopefully you hit it.
The lasso that we'll be using today
is not going to be an actual lasso.
It will be an ordinary rope,
quite heavy, quite thick.
A lot heavier
than I would use for a lasso.
-That's it.
-Let it go, yeah.
But I will show him
how to lay it in his hands
and then swing it above his head.
Well, we can do it. It'll be all right.
I had to aim at the first assistant,
who was standing there.
And I got him first time,
which I was very happy about, actually.
(YELLING)
So, yeah, my lasso skills
are up there now.
I can, sort of,
if I have to give up the day job
I can join a circus.
Excellent.
NARRATOR:
In an abandoned Welsh warehouse,
it's time for the two Doctors
to go on the pull.
Today, I've been
pulling the Doctors along
through the warehouse,
which is linking from the scene
we were shooting yesterday,
where I was pulling them up the wall,
Spiderman style.
So, Ruari, mate,
you're running down here,
and we're just tracking along
in the camera vehicle next to you, okay?
I wanted a great big opening
Christmas day stunt, actually.
I wanted it to be funny.
So, obviously, ideally,
you're on all fours
but it's going to be impossible.
So, it's to get as much speed
but just give the impression, like,
you're kind of lolloping sort of low,
and then just throw looks back
over your shoulder.
Little bit quicker.
That's good. Chuck some looks back.
Once they're off the vertical
and they start going horizontally,
it's just funny.
And I've got to run on all fours,
on the impression of all fours,
through the warehouse
as quickly as possible
while two people
are holding onto the rope behind me,
which is interesting.
In my head,
I have rough practicalities in mind.
I basically knew it'd be a nightmare.
They'd set up this rig
on the back of a quad bike.
GODDARD: Basically,
just underneath their bums,
it was just a little, kind of,
saddle pad that they sit on.
It was just a, kind of, two little seats
on a kind of metal frame.
And I sat strapped in one,
David's strapped in the other
and we're holding these ropes.
And then we just get dragged endlessly
around this warehouse.
DAVIES: On days like that,
when two actors
are being pulled across a warehouse
on a quad bike, on their bums...
(BOTH GROANING)
That's why I don't go on set very often.
You write that stuff
and then you go, "Over to you!"
DANNY HARGREAVES:
We started off gradually.
I think we get it up
to about 15-20 miles an hour.
So, you know, fairly quick
along this rough ground.
So it's certainly not comfortable.
MAN: Three, two, one, action.
It's the sort of thing that,
when you were first told
that you're going to be
sitting on a sort of bit of tin,
which is going to be
dragged along the floor by a quad bike,
you can't quite imagine it's...
Either that it's going to work
or that it's not going to kill you.
-MAN: Cut there. Okay.
-Don't try that at home, kids.
It really signals up
the kind of episode it's going to be.
It's going to be a romp,
it's going to be slapstick.
We're going to have fun along the way.
(BOTH SCREAMING)
They look so funny, the two of them
just act their hearts out in that.
Imagine being pulled along
by a quad bike
and having to do all the acting
at the same time. It's just brilliant.
It was really good fun.
We had real fun. I mean it was, again,
it was pretty uncomfortable the next day
but David and I have
quite a laugh doing it.
(LAUGHING)
NARRATOR: So, just what is it
that makes the Doctor Who
Christmas special, so special?
Well, I love the Christmas specials.
(ALL CHEERING)
You know, mums and dads and kids,
more than any other day of the year,
more than any of the normal Saturdays,
will be sitting down watching telly.
It's just the scale, the ambition,
the ambition in the writing,
that anything goes.
And one part of you wants to make it
bigger and better each year.
At the same time,
you shouldn't go mad with that.
Just as long as you've got a good story,
that's the main thing.
Witness me, mankind,
as CyberKing of all.
DOCTOR: It's a CyberKing!
In some ways last year,
with Kylie Minogue and the Titanic,
that's about as big as you can go.
And it was tempting, in a way,
to try and copy that.
But what would you have done? You know,
you would have had Cheryl Cole
on board the Hindenburg, or something.
Now I say that... That would have had
record viewing figures.
DAVIES: You know, it's got a little bit
more intimacy than we've had before.
Then again, when you get the CyberKing
stepping on London at the end,
it's not exactly subtle.
So, you know,
we've still got the size as well.
It's got that Dickensian feel to it.
(PEOPLE SCREAMING)
I think if Dickens ever thought
of putting a great, big robot
in A Christmas Carol,
he would have done it.
I like to think
I've improved on Dickens there.
(INDISTINCT CONVERSATION)
GODDARD: The graveyard scene was
a collective favourite for everybody.
We've been filming
in this graveyard in Newport.
We're saying
it's a Victorian funeral happening.
The visuals just popped
right off the page.
We always want to give the Cybermen
a nice, big entrance.
Some great, sort of,
barnstorming appearance.
What manner of men are they?
Cybermen.
(SCREAMING)
We have people clashing into each other,
falling over.
We have Cybershades
leaping onto the backs.
(SCREAMING)
There's a lovely top-shot, where you see
people scrambling over graves.
(SCREAMING)
Just nightmarish, really.
You monstrous witch!
Merry Christmas to you, too.
This time I sort of thought,
"Well, you know,
a great entrance is the snow."
You had the white snow,
these men in black,
and then the figure of Miss Hartigan
in this scarlet dress
coming through the snow.
So, all the components
were there, really.
It was just a question of
just marrying the seductiveness
of Miss Hartigan
and that femme fatale element,
and the horror of the Cybermen.
(CRYING OUT)
You've got the soft snow
and then the cold, chrome steel
of the Cybermen.
DAVIES: I mean, all the statues
and graves,
they sort of match with the silver,
all the silvers and greys
of the stone and the metal
all sort of work together.
The Cybermen just look right
in that setting.
PAUL KASEY: You know, with the Cybermen,
because of the whole marching army,
it's good to be a good team
and you sort of work out little ways
of how to do things
and how to count things
and how we're all going to stop
at the same time
and what's the best way for everybody.
Well, if I stay to the right, this side,
then hopefully it will give you
enough room
if you do pass me, to take over,
if I'm killing.
It's kinda funny, really,
'cause they're a lovely,
normal bunch of blokes,
and they're sweating away
in their suits.
And I think
they have a pretty tough time of it.
Mind you,
I'm in a really tight corset all day,
so it's uncomfortable
for everyone, really.
You've got men in suits
who can't see properly
dressed as Cybermen,
in mist and snow, so their visibility
is even more reduced,
on quite an uneven surface, sometimes.
Surrounded by extras running,
and some stuntmen extras in there
who have to be grabbed and zapped
and things like that.
So, easy to write, very hard to do.
GODDARD: There's basically a number
of key, choreographed elements
that were basically stunts
that I wanted to put into the action.
What if, like, two guys clash
and collide and fall over.
And then there's a Cyberman
coming towards them.
And the other one sort of
pushes him, you know, to save himself.
It's quite restrictive
with the choreography
because, obviously, with the Cybermen,
they've got limited movement.
So it's all about maximising the space
and the distance.
And the good thing is,
I went it in with certain ideas,
and then Tom threw up
other things on the day.
We're just having you two, sort of,
running and bump into each other.
-All right.
-Bump in, and like, stumble,
and then as Paul comes
you just, sort of,
just do that with Nick.
Push Nick into...
MAN: Rehearsing, and action.
(BOTH GRUNTING)
And basically,
it was just to make the mayhem
when the Cybermen attack
just look as chaotic as possible.
One is on this side,
leaps over the grave,
climbs over the earth and legs it,
maybe falls down over the earth,
and the other one comes up this way
-and falls over.
-Come over that way.
Takes a tumble and falls over
HARRIS: Eh, Max, can you do me a favour?
Run the other way, please.
Alistair, you come this way.
John, can you go over that way, please.
GODDARD: I think I'll have four of you
in a, kind of,
not an exact military line,
a little bit of a broken line,
coming out of the mist from up there.
So we'll spread you out,
and you'll start walking down,
and then the other two of you
we'll have further down
and closer to camera.
It was very beautiful.
It's very Tim Burton, almost.
We had acres of snow,
it was a beautiful day.
It's very hard with the graveyard
because it's very easy to write,
"A great, big,
open Victorian graveyard."
Of course, you then think,
"Right, so that entire area
has to be covered in snow."
HARGREAVES: We've got lots
of dress snow, which is paper snow.
We've got dress all around the graves,
as you can see.
This tree in the background, yeah.
And these headstones.
As well as that,
we've got falling snow and mist.
So, just create a kind of sense
of that real moodiness today.
GODDARD: It's basically
tiny, tiny little particles of paper,
which are just sprayed across the set
from this giant hose.
And it looks fabulous.
But it sticks to your shoes,
it goes up your trousers,
it gets everywhere.
And if it rains,
it turns to papier-mâché.
GODDARD: Danny, can I get you to
cover up these footprints there?
They're just starting to
get into the frame.
You're starting to see them, yeah?
You know, there's snow everywhere.
I'm quite lucky
I'm not clearing it up, but...
It was a great scene.
It was one of my favourite scenes.
I really enjoyed doing it.
Seventy five, take one, A camera.
Shooting and action!
You monstrous witch!
Merry Christmas to you, too.
But why are we spared?
What do you need us for?
Your children.
I'll tell you
what makes that sequence nightmarish,
is that, it's not the snow
and it's not the Cybermen,
it's not the people screaming
and running about.
It's the fact
that the Doctor isn't there.
And that makes it without hope,
that scene.
There's something
really remorseless and awful.
At the same time,
we have got a woman standing there
in a red dress with a parasol.
So, there's a little bit of colour
in there.
KIRWAN: It was very dramatic.
And it will be a very, I think,
funny, powerful and scary scene.
I think it's magnificent.
I think they've...
I remember when those rushes came in,
and it just looked extraordinary.
It's funny, now I think of it,
but in all these years, not one of you
has asked my first name.
It's Mercy.
Dervla is somebody that
we've talked about a lot
and really wanted to find
the right part for.
Your work is done.
She got the red dress,
she's in charge of the Cybermen.
-Delete them.
-Delete.
You could go too big for that part,
you know, you want a proper,
proper actor in there
who will take it seriously.
Julie and I worked with her on Casanova
and know how incredibly sexy she can be.
Those velvety tones that she has
worked so well for Miss Hartigan,
sort of, she kind of reels you in
and then spits you out the other side.
Thank you, Doctor.
Dervla is so beautiful and we could
just see her in that dress.
I know I'm here but
I kind of can't believe that I am,
so it's great. It's really good.
A fairly immaculate piece of
casting there, I think.
And she wears a red dress very well.
Oh, that is magnificent.
I think the Cybermen are terrifying.
Report.
Cybershade 16 has made contact.
Then observe the enemy.
There's something so impenetrable
about them.
You can't do this to me!
Incorrect. It is done.
The sense of
there's nothing to appeal to.
They're such a great monster,
visually and emotionally.
They're on par, you know,
they're level pegging with the Daleks.
They look amazingly scary
in their movements and just the...
The whole sheen of them
is quite horrible.
There's something so, kind of,
impersonal about them.
All hail the CyberKing.
CYBERMEN: All hail the CyberKing.
But you promised me.
You said I would never be converted!
That was designated a lie.
I just think they're
pretty scary creatures
because you can't really see
what's going on behind their eyes,
and because they're robots
and they're monsters and they're metal
and they show no emotion.
I think the word iconic is overused.
But I think that just about merits it.
DAVIES: I know why they fit the snow.
It's because it's that image
that's lodged in my head,
the very first Cyberman story,
they appeared out of the snow
in The Tenth Planet.
TENNANT: They were first seen
marching out of a snow blizzard,
so there's something right and proper
that they should be doing that again
in 2008, I think.
They attacked the North Pole and that's
the very first time you saw a Cyberman,
which I was watching
because I remember watching that story.
I know I look impossibly young.
-We are called Cybermen.
-BARCLAY: Cybermen?
Yes. Cybermen.
I mean, the original Cybermen
in the '60s come from
fears that people had about
transplant surgery.
You know, heart transplants
were new then
and people feared that
having a bionic arm would make you
have a bionic brain and stuff like that.
There was a real body horror,
modern science fetishism,
sort of fear coming out there.
Our lifespan was getting shorter,
so our scientist and doctors
devised spare parts
for our bodies until we could be
almost completely replaced.
If they were just robots,
I think they'd be a bit dull.
But the fact that they were human,
the fact they wanted to make you
like them.
Come to Mondas and you will have
no need of emotions.
You will become like us.
They're machines in some way,
but they were human.
But this... It's like there's nothing
that you can
appeal to or bargain with
or reason with.
We need your power.
You need our mass intelligence.
Are you listening?
Do you understand me?
Now that I have released you...
(SCREAMING)
Let me go!
I set you free. It was our plan!
You belong to us.
I literally remember watching
Tomb of the Cybermen...
MAN: Look.
DAVIES: ...where they wake up in tombs.
I was terrified.
Actually, the bit I remember now
that's really... I genuinely remember
hiding by the arm
of the settee, literally,
was when they wake up
the Cyber-Controller.
And they opened this door
and out he steps and he's got a brain.
And that's why... He's got a sort of
flesh-like brain on top of his head.
You belong to us.
I've always tried to keep that
as part of the design because I think...
Because I remember being
stormingly terrified by it.
My brain fleeing out of
my head, it was just so frightening.
-Cybermen.
-Shh.
But where did they come from?
I don't know, Jamie,
but they're here, aren't they?
DAVIES: The invasion and the pods,
and they cut their way through.
They're sort of born out of eggs
or something like that.
That sort of sense of them being born
is often there in the old ones.
There is a great Peter Davison story
called Earth Shock
where the Cybermen
haven't been seen for years
and they made this huge return
with a huge redesign.
So, we meet again, Doctor.
And in that
they're sort of wrapped in cellophane
and inside these tubes so they force
their way out of the cellophane
and then they burst their way
out of this metal tubes.
It's a great big return,
saying, "We're back"
and start to march en masse.
It's terrifying, really,
so they're a great creation.
Cybermen.
Emotion. Love, pride, hate, fear.
Have you no emotions, sir?
You shall be like us.
You've no home planet, no influence.
Nothing.
You never change.
Always the perfect guests.
You're just a pathetic bunch
of tin soldiers
skulking about the galaxy
in an ancient spaceship.
Correct.
But don't you care?
Care? No, why should I care?
Emotions have their uses.
Feeling? I do not understand that word.
When did you last have the pleasure of
smelling a flower, watching a sunset?
Good afternoon.
These things are irrelevant.
For some people, small, beautiful events
is what life is all about!
We know of your intelligence.
Oh, thank you very much.
Explode the bomb.
The Doctor is a formidable opponent.
We will survive.
-MORRISSEY: Run, Doctor.
-Now, Doctor!
NARRATOR: But for now,
let's leave the cyber attack
in Christmas present,
and take a look at Christmas past.
(SCREAMING)
I think The Christmas Invasion is
always gonna have a big place
in my heart
because it's David Tennant
stepping out of the TARDIS.
Here we are then. London! Earth!
Solar System! We did it!
The Christmas Invasion
is still one of my,
probably, top five favourite episodes
that I've done, I think.
Rose! Rose, I've got you!
My Lord, my precious thing.
The Doctor, is he with you?
No. We're on our own.
Everyone's gathered, and the whole Earth
is going to be doomed by the Sycorax.
(SPEAKING ALIEN LANGUAGE)
(TRANSLATING)
"And now you're going to die."”
-Leave her alone!
-Don't touch her!
It's just that sense that all is lost.
That we can't even tell
what the aliens are saying any more.
And then slowly, almost imperceptibly,
the Sycorax leader
starts speaking in English.
-Then your world...
-MAN: Then your world...
-...will be gutted...
-...will be gutted...
-...and your people enslaved.
-...and your people...
Hold on, that's English.
And therefore, if you can understand
what he says, then that means,
the TARDIS translation circuits
are working again,
and that means that
the Doctor's woken up,
and that means
that there might just be hope after all.
DAVIES: Then the camera zooms in,
the doors open,
and there's David Tennant
in his pyjamas.
Did you miss me?
It was a whole new era of the programme.
(SCREAMING)
(LAUGHING)
My favourite bit of The Runaway Bride
is that bit on the motorway,
when the TARDIS bounces down the road.
You are kidding me.
It's something I've always wanted to see
ever since I was a child.
When I was a child,
I used to sit in a car
and imagine the TARDIS flying alongside.
That was what was going on in my head.
When you actually get to
put that on screen
with Catherine Tate in a wedding dress,
being watched by two kids
in the car in front,
and David being
his absolute most heroic,
and the TARDIS being its most heroic.
It's pretty hard to beat, really.
Oh!
And then, of course, there's the old
Christmas special from last year.
(SCREAMING)
It ends with a replica Titanic
plunging towards Buckingham Palace.
And I don't think you can get
more Doctor Who than that.
That's just barmy, isn't it?
Hello, yes, um,
could you get me Buckingham Palace?
Only in Doctor Who could you get
something that mad,
and that heroic and that much fun.
And then the Queen is waving
as it sails over Buckingham Palace.
That's Doctor Who.
Bring in the Time Lord.
NARRATOR: And being the nation's
favourite Time Lord
brings with it a whole history
of comic sketches,
all there to pay homage to the Doctor.
My old favourite is... I don't know
if it still exists in the archives,
but things like Crackerjack
would do little Doctor Who sketches,
and little, sort of, pantos and things.
Doctor Who!
Don't forget the jewels.
Wishee, all these jewels are ours.
What I used to love as a Doctor Who fan,
you'd sit up,
'cause it was your favourite show,
and it was being referenced,
you know? I really used to love it.
(WHOOSHING)
Oh, dear, what a funny noise
you're making.
You've been bolting your food again.
Good heavens, what is that?
Oh! It's a giant-sized money box
for putting coppers in.
Things like that would crop up
all the time
like Emu and The Pink Windmill Show did
Doctor Emu.
They did daft little sketches.
(MAN GROANING)
And later on all those people did
big formal sketches, like Lenny Henry.
Doctor, what happened? What happened?
What's going on?
Doctor, Doctor, where are you, Doctor?
Oh, what's happened?
What happened, Doctor? Doctor...
Doctor, what happened to you?
You're different.
Doctor, you've changed.
Oh, Doctor, what's happening?
What's happening, Doctor? What...
-Penny!
-What?
Shut up!
I used to think it was compliment
even though they sort of...
They are clearly taking the mickey out
of Doctor Who a lot of the time.
But that's part of the fun of it.
So do Doctor Who fans.
And you just sort of thought, it's like
lots of people are in on the game.
Because all the work
is now being done by robots.
-You mean...
-The Daleks?
No! Not them.
The Cybermen.
(GASPING)
There's only one thing to do now,
but I can't quite remember what it is.
Run up and down lots of corridors.
That was the one.
There is, I don't know if you've got,
there's a French and Saunders sketch
that was never transmitted.
Welcome, Time Lord.
I must protest, Questioner.
All in good time, Time Lord.
I think it's on The Trial
of a Time Lord set, larking about.
Now, we are on Siluria, aren't we?
-Yes, we are.
-Yes.
-Do you know how we know that?
-Yeah?
-Because we're Silurians.
-Yes, I know. Yes.
I have the seeds of Agron
in my possession.
He is very good, isn't he?
-Whilst I still hold them...
-Tom Baker is my favourite, really.
Yes, yes.
I like Patrick Lichfield the best.
Yes, he is very good.
Two Ronnies, I remember vividly,
there's a sketch in The Two Ronnies,
I think it must be...
It's one of their big
song-and-dance sketches at the end.
Oh, aye. Oh, yes.
Cor, it's a bit of a mix-up.
Who are you supposed to be, mate?
I be Doctor Who, that's who I be.
Who be you be?
No, you used to be Doctor Who,
now you're Worzel Gummidge.
Oh, I must've got the wrong head on.
(THEME FROM THE GENERATION GAME PLAYING)
I remember a marvellous episode
of The Generation Game
where Bruce Forsyth says,
"Bring on the dialects."
Could we have
the varied dialects please?
This is a good game,
you'll really love this. Yup.
I said, "Dialects."
I'm not kidding, you used to be thrilled
when you saw these things.
Who is it, Doctor? I'm not very bright
and I haven't got my glasses on.
It's my old enemy Crayola.
Hello there, Crayola.
Doctor, it's been a long time.
Tons.
As long as that? You don't look a day
over five million. How do you do it?
Table tennis.
(LAUGHING)
We don't have much time.
I'll keep him talking,
you creep round behind him,
and disconnect his blademite tubing
and neutralise his thermal lode.
But, Doctor,
we haven't got the ming-mongs.
I just love it. It's like an extra bit
of Doctor Who,
even though they're not
legitimate Doctor Who.
You'd, sort of, just be chuffed
for that night
and just be happy that
someone was referencing Doctor Who.
Here's a clip of The Who.
♪ People try to put us down
(TO DOCTOR WHO THEME)
♪ Dum di de dum, dum di de dum
♪ Just because we get around ♪
There's lots of stuff
when you look for it.
JON CULSHAW AS TOM BAKER: Dead Ringers.
Cat Deeley, alien.
Chris Tarrant, alien.
-The Queen...
-ALL: Alien.
(DOCTOR WHO THEME)
-Where does the transporter arrive at?
-In France.
France. France, Casterberous
or France, Neptune?
That would be France, French,
(GIGGLING) French land.
Good.
-What are you doing here?
-MAN: I work here.
You've been telling these people
that you are the train guard,
but you are really the Master.
That's right, yeah.
You've been telling the humans
that they were going to the Eurotunnel
when really you were taking them
into the vortex of the black hole!
You're very naughty.
I'm going to the bathroom
then I'll deal with you.
Okay.
It's good fun. I like it when Doctor Who
is involved in all this stuff and,
we actually enjoy it
and try to help as much as we can
"cause the more Doctor Who,
in any shape or form,
we get on-screen, the better.
NARRATOR: The plot thickens
and the Doctor, Jackson and Rosita
find themselves
at the hub of all the action.
Upon my soul...
What is it?
It's an engine.
TENNANT: I wonder if anyone
will recognise the Hub
before they watch
Doctor Who Confidential
and realise that
that's what we filmed on.
I'd imagined it would be a location,
first of all, actually,
that we would find
an old Cardiff warehouse.
When you think of it, it's got so much
design in it, it's got CGI In It,
and crucially, it's got kids in it,
it's got kids running about,
a lot of health and safety issues
and stuff like that.
Because Torchwood were not filming
at the time that we were filming
this story,
we basically rebuilt it.
DAVIES: I did sit there
at the meeting going,
"As long as you can turn it back
to the original Hub."
In terms of scale and dimensions,
it offered everything we needed.
The shape's still here
but other than that
it's very unrecognisable.
Behind us is Captain Jack's office.
His lovely round window
is now a sewer tunnel.
It was unusual for me
because I've done Torchwood.
So it was really strange
stepping onto that set.
And it really
was unrecognisable, actually.
And I thought it was fantastic,
what they did.
I think you really got to have
quite a sharp eye to spot it
as the same place.
I don't think
I would have recognised it.
It was brilliantly done.
NARRATOR: So all that's left to do
Is set the cogs in motion
and fill the place
with some overexcited kids.
They do say
you should never work with kids.
Children,
pay attention.
I've spent many years on set
working with kids.
And I've always found them, I mean,
they're very receptive audience.
Shelley and Amy, you stay there for me.
My AD, Richard Harris, he was fab at
workshopping them, actually.
When she says that,
hold this lever with two hands.
Pull it back
and everything's going to begin.
We had to sort of hit the ground running
to get a step ahead.
HARRIS: This is the first time
they've seen the set.
It's the first time they've been here
and they've found their feet in it,
so they've done extremely well.
-Max, go down there, mate.
-All right, where?
Thank you very much.
You're gonna help John so...
Take a handle each.
Not too close to the edge, mate.
-All right.
-Take a handle each, up there, John.
-Ready, Max?
-Come on, John, we can do this!
And you're gonna
turn it round clockwise. Are you ready?
Is anyone listening?
-BOY: Yes, I'm listening.
-Anyone? Anyone?
All right, here we go. Ready?
He's like the Pied Piper,
he's brilliant.
He remembers all of their names
and he bonds with them and...
You know, they really respond
well to him.
Let's all face...
Let's all face that way, please.
Turn round, and can you go
round the other side of that handle?
And if you go just one behind...
Watch your back.
Well done.
So I'll count to three, okay?
And then we start walking round, okay?
Here we go. One, two, three.
Good. Not too fast, slow down.
Brilliant! Well done, fellas.
-So, Jack...
-Yeah?
You look after the speed of that,
all right?
Not too quick.
And you need to be leaning.
-Yeah.
-All right?
He knows how to deal with them,
so I felt in very safe hands with him.
And we're going
to put in lots of extra effort,
so you're gonna be going
fast with that, Jack.
You're going to be shovelling
twice as hard.
You're gonna be pulling this one down
as fast as you can.
Yeah, I really enjoyed working
with them.
The kids were really fantastic.
B camera.
Action!
HARTIGAN: Children,
pay attention.
Now let the new
Industrial Revolution begin.
I want to see you work!
MAN: Go.
MAN 1: Thank you very much. Cut there.
MAN 2: Okay, testing. One.
We've just been filming a scene today
which involves a lot of stunts
and pyrotechnics and stuff.
My son.
-Doctor, my son!
-What?
They took my son.
No wonder my mind escaped.
Those damned Cybermen,
they took my child!
MAN: Action!
Sorry.
-That's all right, it's our fault.
-Sorry, guys.
That was real fun to do.
MAN: 15, and action!
What are we gonna do, Doctor?
What are we gonna do?
Come on, Jackson.
You know me.
They're really
full-on Indiana Jones hero scenes.
Oh, that's it! Hello!
Like any of our big set-pieces,
everything is planned, planned, planned
and we break it down.
MAN: Action!
I think both Davids
were really up for it,
and Tom Langford,
who was our little boy Frederick,
was really brave and great.
I love, love going on the wires
but I hate the heights!
I'm Frederick, I'm like Frederick.
I don't know how old I am.
Um...
But in real life, I'm eight,
but in this I'm about five, I think.
MAN: Action!
LANGFORD: I've been doing some scenes
with Dave Tennant.
I've been doing loads of scenes
with David Morrissey.
MAN: Thank you, gents.
GODDARD: Blue-eyed Frederick.
He was lovely.
What was wonderful about him
was when we were cutting it,
his reactions to all the explosions
were just really spot on.
And he was lovely.
He's the best child actor
I've ever seen.
Big eyes! Fantastic!
He just had this, kind of,
cherubic quality
that I think he you associate with
these kind of Victorian stories.
Hello!
Now, hold on tight. Don't let go.
There was more wire work
for rescuing young Frederick.
And again, that's one of those scenes
because the Hub set is quite tall,
and therefore the set
that we had for the Cyberbase
was quite tall
and had three or four different levels.
Little Tom, who played Frederick,
had to be wired to me.
I had a sort of... This rig round,
all round me, a quite big rig,
which was then wired through the front
of my shirt onto the rope.
And then little Tom
was attached to my back,
so that if we fell, if we went down,
we were going down together.
Russell's got a thing about up and down.
MORRISSEY: Perhaps if you could pull...
I am pulling! In this position,
I couldn't not pull, could I?
He believes that up and down
is more exciting than left to right.
He's probably right, he usually is.
I just love them somehow,
I just think they're more exciting.
Most stuff goes from right to left,
life goes right to left,
and chases tend to go right to left
on-screen and things like that.
And when you take a sort of deep breath,
I think it's more thrilling
'cause we're all afraid of heights.
Whoa!
Gotcha!
So, when you take a chase
and stop it going right to left
and have it going up and down
then it becomes really, really exciting!
And, you know,
everyone fears a drop behind them.
So he's always finding different ways
to send the characters up and down,
which usually means we're on wires
like the lift shaft in New Earth.
You're completely mad!
I can see why she likes you.
Going down!
(BOTH SCREAMING)
DAVIES:
It's one of my favourite sequences ever,
Rose and the Doctor
whizzing up and down.
The whole story, actually, goes up
and down the hospital all the time
but ends classically in that slide down.
Well, that's one way to lose weight!
It's a bit of a motif
in Russell's scripts
that the characters will be
on the vertical as much as possible.
You've got to be kidding!
Rose, get up there.
Our very first Cyberman story
has an escape on a rope ladder,
hanging from a Zeppelin
above an exploding factory
with the Cyber-Controller
chasing after you.
It doesn't get
much more vertical than that!
There's literally people
hanging on for dear life
and a Cyber-Controller
pulling them down.
DAVIES:
It wouldn't have been as exciting
if you tried to do that
on the horizontal
Gridlock is a classic one
for the up and down.
And in there,
the Doctor breaks the rules
of the world.
Everyone's stuck in place
and he goes down through the motorway.
He's completely insane!
That and a bit magnificent!
And the whole motorway
that has to go up to escape.
So it's got a very sense of movement
to it really.
I think the most vertical moment
the Doctor ever had actually
was like when he stuck in the bowels
of an exploding Titanic
and has to get out,
which is about to crash onto the Earth.
And The Host lifts him up
and he literally,
literally travels through the story,
he cuts through the story
by going up through the bridge.
He literally flies, the Doctor flies
in order to save the day.
I think it's the most vertical moment
the Doctor ever had actually.
It's just something I love doing.
NARRATOR: Back on location,
and the children are ready
to be afraid, very afraid!
MAN: Action!
MAN: Stay on your line.
(CHILDREN EXCLAIMING IN FEAR)
You will continue.
MAN: Cut!
GODDARD: The scenes where the children
were marched into the factory
with the Cybermen and the Cybershades,
we shot in Monmouth.
And it was a question of
just having heavily rehearsed
a lot of the stuff with the kids,
and again Richard had come into his own
in sort of getting a shape to it.
Turn around, please, face the front.
Turn left.
To work with that amount of kids
under such a restricted timescale,
it just really helped
when you get a sense of the shape
of where you're going.
TSHABALALA: Obviously you get 30 kids
between the ages of 4 and,
I think, 11, on Doctor Who,
they're going to be really,
really excitable.
So it's quite hard
calming them all down.
I've seen it. You know what I'd do?
But they have been fantastic
and when the work starts,
they're really professional.
MAN: Action!
Keep running!
Keep running! Keep running!
Put me to shame a bit, actually.
KIRWAN: They looked fantastic.
They are having fun, they're really well
looked after, they want to be there.
And, I think for any kid,
if I'd had that experience,
to see how it all works
and to see the amount of different jobs
that go into making, you know,
a couple of seconds on film,
it's a great education, really.
Amelia? When you go running,
you stay that side of that lamp
-and you go running to that corner.
-Hmm.
That's it, and then you'll see
a Cybershade and you come running back.
Well done!
Okay, as soon as we've got the flames
under the lights,
we'll rehearse, please.
Here we go, folks,
rehearsing, and action!
(GROWLING)
What I like about the scene is,
it's one of the few scenes
you see the Cybershades
almost as guard dogs.
(GROWLING)
Which I think, in a way, is like the
role they play with the Cybermen.
-B camera.
-Thank you.
Shooting. And action!
So, what do we have here?
Listen, listen,
just walk towards me slowly.
Don't let them touch you.
The Doctor meets Miss Hartigan
for the first time
and he initially thinks
that she's on his side.
Oh, but they wouldn't hurt me,
my fine boys.
They are my knights in shining armour.
Quite literally.
Or, well, he just assumes
that she's somebody unwittingly
caught up amongst this Cyber business.
Even if they've converted you,
that's not a Cyber-speech pattern.
You've still got free will.
I'm telling you, step away!
There's been no conversion, sir.
Miss Hartigan is this,
I guess, this wonderful mix
of a classic Christmas villain.
I think in that red dress,
she's something for the dads.
And I think at the same time
she's someone for the kids
to boo and hiss at.
Who are ya?
You can be quiet.
I doubt he paid you to talk.
There's a slight hint that
she is a lady of the night,
shall we say, on Christmas day.
But, you know,
there's a little bit of the past there.
I'm playing Rosita and she's basically
really sassy,
really mouthy, she doesn't take anything
from anyone,
a tough East End girl.
This is hardly work for a woman.
Don't mind me saving your life!
That's work for a woman, isn't it?
The Doctor's companion does what
the Doctor says.
I've got another big scene coming up,
and I get to punch the bad guy,
which is really good.
I can't wait to do that.
Can I say, I completely disapprove!
Come on!
Get off me! I said get off!
We filmed that
from about 9:00 in the evening
till 5:00 in the morning.
So by about four o'clock in the morning,
I'm no good to anyone.
(BOTH LAUGHING)
I was remarkably relaxed
because I was absolutely exhausted.
And we had a stunt coordinator
and we practised it many, many times.
-Drop into it rather than...
-Yeah.
-...just going straight back.
-Okay.
You know, so you can hit
and sort of stagger
-and fall that way rather than...
-Okay. That's great, yeah.
Otherwise you'll just end up
going straight back.
Okay, great.
I've never actually
done anything like that,
so I'm just going to see
what they tell me to do.
But hopefully they won't be any mistakes,
I don't want any black eyes on set.
I gonna do it slowly
so I'm kind of going across like that.
It doesn't have to be closer.
-Any closer than that.
-Just, yeah.
-It's just the angle of the body.
-Yeah.
I'm just gonna go for it.
TSHABALALA: Like that.
Oh...
MAN: Camera. And action.
One last thing.
Oh, can I say, I completely disapprove!
Come on!
Rosita is designed to be
the archetypal companion,
"cause when the Doctor
meets the next Doctor,
he needs to look like the Doctor.
Rosita, give me the sonic screwdriver!
-The what?
-Now, quickly, get back to the TARDIS!
In miniature,
she's an absolutely proper companion
and is brave and fights
and saves the children.
So she's, you know, she's wonderful.
So onwards.
-Maybe you should go back...
-Don't even try!
No.
She is really good and devoted
and, in the end,
through the whole process
finds a proper family
and will find a proper home
with Jackson Lake
looking after Frederick in the end.
She becomes the best of friends to him.
I love the end scene at Christmas,
for me is always the Doctor
and the guest star and the TARDIS
and the snow.
MAN: Come on, this way.
JACKSON: The city will recover,
as London always does.
The Doctor is essentially
this lonely figure,
and the wonderful thing about Christmas
is it's a time for sharing,
it's a time for belonging.
JACKSON: And a new history
begins for me.
I find myself a widower,
but with my son,
and with a good friend.
Now, take care of that one.
She's marvellous.
It shows, finally,
how the Doctor is alone.
He's rebuilt Jackson's life
and there's some sort of family
that's come back together.
And there's the Doctor
heading off on his own.
You won't stay?
Like I said, you know me.
It's kind of a curse being the Doctor
in some ways, you know,
because of that loneliness.
All those facts and figures I saw
of the Doctor's life,
you were never alone.
All those bright and shining companions.
But not any more?
No.
Just having
these wonderful relationships,
these wonderful bonds with people
but ultimately, you know,
they have to end.
I suppose, in the end,
they break my heart.
I like to think
it's a wonderful moment at the end
where they go off into sunset
for Christmas dinner.
MAN: Action!
Merry Christmas to you, Jackson.
Merry Christmas indeed, Doctor.
DAVIES: He is a man alone.
And we're going to be looking at that
in these, these final stories,
in David's last stories to come
where we're really gonna look at him,
and focus on that,
and you can never stop asking yourself,
"Who is the Doctor?"
It's called Doctor Who.
There's a huge stuff to come, epic stuff
and heart-breaking stuff to come,
so, he's just the best character
in the world.
(HAVE YOURSELF A MERRY
LITTLE CHRISTMAS PLAYING)
Bit of a legend, if I say so myself.
(ALL CHEERING)
Merry Christmas, Mr Smith.
Merry Christmas, Doctor.