Doctor Who Confidential (2005–2011): Season 6, Episode 2 - Breaking the Silence - full transcript
Who and what are you?
Silence, Doctor.
We are the Silence.
NARRATOR: The Silence has been heard.
And it's left
the Doctor Who crew fleeing
and frozen,
as the team battle the most
mind-bending monster ever imagined.
They edit themselves out of your
memory as soon as you look away.
The exact second you're not looking
at them, you can't remember anything.
-(SCREAMS)
-What a monster! Look at them!
I think that these are
the scariest monsters ever.
Whoa. Argh!
Welcome to the desert.
The Doctor Who crew are in Utah,
to film the dramatic opening
of Episode 2.
HAYNES: We've got a race
through the desert.
Amy's shot, Rory's shot,
River jumps off a building
and the Doctor is trapped
in a cube he can't escape from.
The beginning of Episode 2, I think,
is the most exciting opening
for an episode that we've had.
It just kind of bursts onto the screen.
Amy's running for her
life in the desert.
We'll see if we can get
the timing a little tighter.
We're setting up a shot where
Karen's going to come running
down the hill towards us.
And then we have a car in hot pursuit.
We're going to shoot up against the sun.
We're in the desert
and it's going to feel dangerous.
MAN: Cut!
First shot of the day.
I'm feeling pretty out of breath,
as you can see.
Yeah, it was basically
just running for my life.
It's the altitude
which is why I'm out of breath.
So, that's why.
It's not me being unfit at all.
That was such a fun scene to shoot.
It was all like, "Miss Pond." "Canton."
-Canton.
-Miss Pond.
-Is that a body bag?
-Yes, it is.
-It's empty.
-How about that?
So he's gone to the dark side but then,
as it turns out, he actually hasn't.
But, just dramatically,
I think it was really fun
that he's bad for that scene.
NARRATOR: 70 shoot Rory's chase,
the Doctor Who crew
are working damn hard
in another breathtaking location,
the Glen Canyon,
to get the final American shots
in the can.
When he comes back in, drift in
sooner so you're closer to him.
So the move in is only a small drift in.
I think that the scale and ambition
of this series is just huge.
And to be able to go to, you know,
a location
where, you know, it's all there for you,
and it's just massive.
If you run up to me, like that,
you look and we'll look with him.
There's a shot where I look down.
And I could see Marcus the producer
just going,
"Oh, don't, don't..."
Because I kept just running up to it.
Can you get a message through to Arthur
to give me a good four-beat
look over the edge,
if he doesn't mind and tell him not to
throw himself at the wall,
it doesn't matter at this distance.
-I'd hate to be filming his death.
-Yeah.
-Action!
-Action.
DARVILL: You don't have to
use your imagination very much
to act in a situation like that.
It's all there for you.
You just look over
that big, sweeping drop.
It was a nice way to finish the stuff
that we did in America.
-What are you waiting for?
-I'm waiting for you to run.
It'd look better if I shot you
while you were running.
Then again, looks aren't everything.
Good, got that.
That's a wrap, everybody.
-Cut!
-Well done, that's good stuff!
Thank you very much.
That's a wrap on Doctor Who in America.
(CHEERING)
NARRATOR: Back on home soil
and a children's orphanage
is about to petrify the Pond.
See the craziness in those eyes?
My office is this way. Please.
Today we are filming a scene
with Dr Renfrew, me and Canton.
And basically, we are discovering
this old orphanage
and there's writing all over the walls
and it's horrible because
it looks like blood.
-It's the kids, yeah? They do that?
-Yes, the children.
It must be. Yes.
We're discovering that this is the place
we've been looking for.
And it's all very creepy.
-What a monster. Look at them! Whoa!
-Cool.
I wanted to suggest we've all got
a latent memory of the Silence.
We've all seen them many, many times.
But we've forgotten them.
But it's sort of imprinted so...
The painting The Scream
is a bit like the Silent.
Our notions of what aliens might
look like is a bit like the Silent.
That is hideous!
Can you actually see anything?
Look at your sinister walk.
Normally I'm taller than the monster,
so I'm like "Argh!"
but now I'm like "Argh!"
So, they're just more intimidating,
and um, just hideous looking.
Whoa, that is... I think this is
the scariest monster.
Marnix, who played one of the Silents,
was amazing.
He was really amazing.
"He is so tall.
He's, like, 6'7" or something.
And, yeah, he was fantastic.
As soon as he got on to set,
he was reading in the lines.
He won't actually do the voice,
but he was so into It.
He was like, "Okay," you know,
"What do you need me to do?"
And then he was like, "Amelia!"
Your mind is weak.
You've been here many days.
He was just great with all the movement,
'cause he's a dancer.
Do a funky robot, go on.
They remind me of a 2009 Karen Gillan.
-Oh, my God! That's so offensive.
-Before she lost it all.
2009 Karen Gillan.
My head is nowhere near that bulbous.
-It is quite sort of coney, though.
-All right, it's round,
-I'll give you that.
-Like the moon.
NARRATOR: Now, for eagle-eyed viewers,
a familiar-looking spaceship
makes a reappearance.
This is the first time we come
back onto the Silents' spaceship,
which people should recognise
from the episode called The Lodger.
What?
What?
So we brought the set back
but I wanted to adapt it a bit,
make it feel more evil and sort of
like the bad-guy kind of base.
It's sort of alien
and it feels kind of mysterious
and sort of scary in some way.
We'll strap Amy into this chair here
and we're going to have this
bright light coming down here
and that's where the Silence
have been keeping her.
Stop, get off me! No!
GILLAN: It's my throne, it's great.
There are some lights underneath
and a hole in it,
so it feels like an elaborate toilet.
NARRATOR: And to break the Silence,
the Doctor uses one of the most
incredible moments in human history.
Now then, a bit of history for you,
come on.
Aren't you proud, because you helped!
Do you know how many people are watching
this right now, live on the telly?
Half a billion.
And every single one of them,
at some point in their lives,
will look back at this man
taking that very first step,
and they will never, ever forget it.
If you're going to send a subliminal
message in one piece of footage,
you would put it in
the middle of that clip.
ARMSTRONG: ...one giant leap
for mankind.
And one whacking great
kick up the backside for the Silence!
You just raised an army
against yourself.
Everybody has seen that footage.
Everyone alive.
Very few things you can say that of.
NARRATOR: So the Silence
has been silenced.
But there are still a few things
to clear up.
At the end of Episode 2,
we are left with a few questions,
such as what is going on with Amy?
Is she pregnant, is she not?
What is going to happen to the Doctor?
Because we've seen him die.
Who's killed him?
Who's the girl?
Why is she regenerating?
Who is River Song and what part
does she play in the Doctor's future?
Will we get to the heart
of that relationship?
You're going to learn some
very critical information about River.
You know what they say.
There's a first time for everything.
And a last time.
Silence, Doctor.
We are the Silence.
NARRATOR: The Silence has been heard.
And it's left
the Doctor Who crew fleeing
and frozen,
as the team battle the most
mind-bending monster ever imagined.
They edit themselves out of your
memory as soon as you look away.
The exact second you're not looking
at them, you can't remember anything.
-(SCREAMS)
-What a monster! Look at them!
I think that these are
the scariest monsters ever.
Whoa. Argh!
Welcome to the desert.
The Doctor Who crew are in Utah,
to film the dramatic opening
of Episode 2.
HAYNES: We've got a race
through the desert.
Amy's shot, Rory's shot,
River jumps off a building
and the Doctor is trapped
in a cube he can't escape from.
The beginning of Episode 2, I think,
is the most exciting opening
for an episode that we've had.
It just kind of bursts onto the screen.
Amy's running for her
life in the desert.
We'll see if we can get
the timing a little tighter.
We're setting up a shot where
Karen's going to come running
down the hill towards us.
And then we have a car in hot pursuit.
We're going to shoot up against the sun.
We're in the desert
and it's going to feel dangerous.
MAN: Cut!
First shot of the day.
I'm feeling pretty out of breath,
as you can see.
Yeah, it was basically
just running for my life.
It's the altitude
which is why I'm out of breath.
So, that's why.
It's not me being unfit at all.
That was such a fun scene to shoot.
It was all like, "Miss Pond." "Canton."
-Canton.
-Miss Pond.
-Is that a body bag?
-Yes, it is.
-It's empty.
-How about that?
So he's gone to the dark side but then,
as it turns out, he actually hasn't.
But, just dramatically,
I think it was really fun
that he's bad for that scene.
NARRATOR: 70 shoot Rory's chase,
the Doctor Who crew
are working damn hard
in another breathtaking location,
the Glen Canyon,
to get the final American shots
in the can.
When he comes back in, drift in
sooner so you're closer to him.
So the move in is only a small drift in.
I think that the scale and ambition
of this series is just huge.
And to be able to go to, you know,
a location
where, you know, it's all there for you,
and it's just massive.
If you run up to me, like that,
you look and we'll look with him.
There's a shot where I look down.
And I could see Marcus the producer
just going,
"Oh, don't, don't..."
Because I kept just running up to it.
Can you get a message through to Arthur
to give me a good four-beat
look over the edge,
if he doesn't mind and tell him not to
throw himself at the wall,
it doesn't matter at this distance.
-I'd hate to be filming his death.
-Yeah.
-Action!
-Action.
DARVILL: You don't have to
use your imagination very much
to act in a situation like that.
It's all there for you.
You just look over
that big, sweeping drop.
It was a nice way to finish the stuff
that we did in America.
-What are you waiting for?
-I'm waiting for you to run.
It'd look better if I shot you
while you were running.
Then again, looks aren't everything.
Good, got that.
That's a wrap, everybody.
-Cut!
-Well done, that's good stuff!
Thank you very much.
That's a wrap on Doctor Who in America.
(CHEERING)
NARRATOR: Back on home soil
and a children's orphanage
is about to petrify the Pond.
See the craziness in those eyes?
My office is this way. Please.
Today we are filming a scene
with Dr Renfrew, me and Canton.
And basically, we are discovering
this old orphanage
and there's writing all over the walls
and it's horrible because
it looks like blood.
-It's the kids, yeah? They do that?
-Yes, the children.
It must be. Yes.
We're discovering that this is the place
we've been looking for.
And it's all very creepy.
-What a monster. Look at them! Whoa!
-Cool.
I wanted to suggest we've all got
a latent memory of the Silence.
We've all seen them many, many times.
But we've forgotten them.
But it's sort of imprinted so...
The painting The Scream
is a bit like the Silent.
Our notions of what aliens might
look like is a bit like the Silent.
That is hideous!
Can you actually see anything?
Look at your sinister walk.
Normally I'm taller than the monster,
so I'm like "Argh!"
but now I'm like "Argh!"
So, they're just more intimidating,
and um, just hideous looking.
Whoa, that is... I think this is
the scariest monster.
Marnix, who played one of the Silents,
was amazing.
He was really amazing.
"He is so tall.
He's, like, 6'7" or something.
And, yeah, he was fantastic.
As soon as he got on to set,
he was reading in the lines.
He won't actually do the voice,
but he was so into It.
He was like, "Okay," you know,
"What do you need me to do?"
And then he was like, "Amelia!"
Your mind is weak.
You've been here many days.
He was just great with all the movement,
'cause he's a dancer.
Do a funky robot, go on.
They remind me of a 2009 Karen Gillan.
-Oh, my God! That's so offensive.
-Before she lost it all.
2009 Karen Gillan.
My head is nowhere near that bulbous.
-It is quite sort of coney, though.
-All right, it's round,
-I'll give you that.
-Like the moon.
NARRATOR: Now, for eagle-eyed viewers,
a familiar-looking spaceship
makes a reappearance.
This is the first time we come
back onto the Silents' spaceship,
which people should recognise
from the episode called The Lodger.
What?
What?
So we brought the set back
but I wanted to adapt it a bit,
make it feel more evil and sort of
like the bad-guy kind of base.
It's sort of alien
and it feels kind of mysterious
and sort of scary in some way.
We'll strap Amy into this chair here
and we're going to have this
bright light coming down here
and that's where the Silence
have been keeping her.
Stop, get off me! No!
GILLAN: It's my throne, it's great.
There are some lights underneath
and a hole in it,
so it feels like an elaborate toilet.
NARRATOR: And to break the Silence,
the Doctor uses one of the most
incredible moments in human history.
Now then, a bit of history for you,
come on.
Aren't you proud, because you helped!
Do you know how many people are watching
this right now, live on the telly?
Half a billion.
And every single one of them,
at some point in their lives,
will look back at this man
taking that very first step,
and they will never, ever forget it.
If you're going to send a subliminal
message in one piece of footage,
you would put it in
the middle of that clip.
ARMSTRONG: ...one giant leap
for mankind.
And one whacking great
kick up the backside for the Silence!
You just raised an army
against yourself.
Everybody has seen that footage.
Everyone alive.
Very few things you can say that of.
NARRATOR: So the Silence
has been silenced.
But there are still a few things
to clear up.
At the end of Episode 2,
we are left with a few questions,
such as what is going on with Amy?
Is she pregnant, is she not?
What is going to happen to the Doctor?
Because we've seen him die.
Who's killed him?
Who's the girl?
Why is she regenerating?
Who is River Song and what part
does she play in the Doctor's future?
Will we get to the heart
of that relationship?
You're going to learn some
very critical information about River.
You know what they say.
There's a first time for everything.
And a last time.