0:00:02 > 0:00:04So, what makes Doctor Who look so good?
0:00:04 > 0:00:06Every week, Doctor Who is different.
0:00:06 > 0:00:08That's one of the continual delights,
0:00:08 > 0:00:11what the design department manage to achieve.
0:00:11 > 0:00:14# A design for... #
0:00:14 > 0:00:16It's not just a different location, or cast,
0:00:16 > 0:00:20it's a whole different ethos behind every single episode.
0:00:20 > 0:00:24So what's in store for the Doctor Who team this week?
0:00:24 > 0:00:26Sit back and find out.
0:00:49 > 0:00:52- What are they called?- The Ood. - The Ood.- They're the Ood.- The Ood?
0:00:52 > 0:00:55- I thought of that name, the Ood! - That's...ood.
0:00:55 > 0:00:57I like calling them the Ood.
0:01:06 > 0:01:09I was just, "We need a really simple name,"
0:01:09 > 0:01:12and I just thought of Ood. And they were odd. It fitted them.
0:01:22 > 0:01:25They're the squishiest, softest...
0:01:25 > 0:01:27rubberiest things.
0:01:27 > 0:01:30And the ears! You just want to bite them off.
0:01:30 > 0:01:33And the back of the neck is also satisfying.
0:01:35 > 0:01:39Earthquake in three, two, one... Earthquake!
0:01:45 > 0:01:49COMPUTER: Emergency hull breach. Emergency hull breach.
0:01:49 > 0:01:51Which section?!
0:01:51 > 0:01:54Everyone. Evacuate the levels to 13. We've got a breach.
0:01:54 > 0:01:57Cut there. One more, please.
0:01:57 > 0:01:59The Ood are down to Neill Gorton.
0:01:59 > 0:02:04Again, an incredible job, I think one of our favourite monsters.
0:02:04 > 0:02:06The start point is script, as always,
0:02:06 > 0:02:10and it says albino clone things
0:02:10 > 0:02:15with...I think Russell described it as "mouths like sea anemones".
0:02:15 > 0:02:18Fronds, I think I said. Coming from the mouth.
0:02:18 > 0:02:21Big red dangly things.
0:02:21 > 0:02:23With a translation device in their hands.
0:02:23 > 0:02:26That was it. So we did some doodles as usual,
0:02:26 > 0:02:27and sent them off to Russell.
0:02:27 > 0:02:30We hardly ever talk, just email all the time.
0:02:30 > 0:02:33Literally the first design, Russell said, "Great!"
0:02:33 > 0:02:36It was one of the lucky ones where it was all agreed really quickly.
0:02:36 > 0:02:40I sent a description, he emailed a drawing, and we went, "That's it."
0:02:40 > 0:02:45I thought the fronds added to a ball would get around mouth manipulation,
0:02:45 > 0:02:48- and mouth prosthetics. - We did one as an animatronic.
0:02:48 > 0:02:51It makes the eyes blink and the forehead move,
0:02:51 > 0:02:53so it gives it facial expressions.
0:02:53 > 0:02:57It's like having two remote-control cars either side of my ears.
0:02:57 > 0:03:00The eyes of the Ood weren't eye level. When the head's on,
0:03:00 > 0:03:03the mouth was here, if you like.
0:03:03 > 0:03:06So effectively, the guys in the suits were blind.
0:03:06 > 0:03:10They've got this group hive mind,
0:03:10 > 0:03:11which is one of servility.
0:03:11 > 0:03:14They need a function in life, they need to be given a function.
0:03:14 > 0:03:16So they're happy slaves.
0:03:16 > 0:03:19So when they turn nasty, it's really scary.
0:03:19 > 0:03:23# Stop makin' the eyes at me I'll stop makin' the eyes at you... #
0:03:23 > 0:03:27Suddenly, the face and stuff is really quite scary.
0:03:27 > 0:03:30# Well I bet that you look good on the dance floor
0:03:30 > 0:03:33# Don't know if you're looking for romance
0:03:33 > 0:03:36# Don't know what you're looking for... #
0:03:36 > 0:03:40- Watch me tentacles.- Yeah, I know. - They're very sensitive, you know.
0:03:40 > 0:03:42They're a great design.
0:03:42 > 0:03:45They're a bit like a squid, but they're rather kind of mooshy
0:03:45 > 0:03:46and they're great to touch.
0:03:46 > 0:03:48You've got to touch an Ood head.
0:03:48 > 0:03:52There's something about the spongy stuff they use to make these things -
0:03:52 > 0:03:54very tactile.
0:03:54 > 0:03:57# Oh, you pretty things
0:03:57 > 0:03:59# Don't you know you're driving
0:03:59 > 0:04:03# Your mamas and papas insane... #
0:04:03 > 0:04:06And in creating the look of The Impossible Planet,
0:04:06 > 0:04:08the tone had to be set from the very start.
0:04:08 > 0:04:13The big thing Russell said when we were having the tone meeting,
0:04:13 > 0:04:15from the start, the word was "tough".
0:04:15 > 0:04:18WIND HOWLS
0:04:18 > 0:04:21The point of eight and nine is to go further with the Tardis
0:04:21 > 0:04:25than we've ever gone before in terms of the threat and the danger.
0:04:25 > 0:04:28So I was always... I always had this story in mind,
0:04:28 > 0:04:31to go to one of those old-fashioned space bases
0:04:31 > 0:04:34where you can't take the air for granted, and the water, and food.
0:04:34 > 0:04:37And they're absolutely remote. Pioneers.
0:04:45 > 0:04:50The script called for this planet to be really uninhabitable,
0:04:50 > 0:04:54with this temporary base structure on it.
0:04:54 > 0:04:57This wanted to feel real.
0:04:57 > 0:05:00We wanted to feel like these guys were working,
0:05:00 > 0:05:02as if they were working on an oil rig.
0:05:02 > 0:05:06It has to have a feeling that what they're doing is very dangerous.
0:05:06 > 0:05:09- The planet's moving! - It's a working environment.
0:05:09 > 0:05:13It's not very comfortable, glossy, futuristic sci-fi.
0:05:13 > 0:05:15It's real, gritty sci-fi, if you like.
0:05:15 > 0:05:19- Open Door 19.- Science fiction shows with ships like the Enterprise,
0:05:19 > 0:05:22they're all comfortable and marvellous, and in real life,
0:05:22 > 0:05:25you look at something like the Mir space station or the shuttles
0:05:25 > 0:05:28and it's cramped and the food's rubbish.
0:05:28 > 0:05:30We wanted to put a bit of that into Sanctuary Base 6
0:05:30 > 0:05:32and say look what it's really like,
0:05:32 > 0:05:36it's not all anti-gravity and posh and shiny and beautiful,
0:05:36 > 0:05:37it's really hard work.
0:05:37 > 0:05:41- What's happening? Rose, what's going on?- Come on!
0:05:42 > 0:05:45I can't contain the oxygen field.
0:05:45 > 0:05:48I wanted the idea of it all to be sort of flapping,
0:05:48 > 0:05:50and the noise and the wind running through there.
0:05:50 > 0:05:53Rickety old tub, is what that base is meant to be.
0:05:53 > 0:05:56- It's rattling in the wind. - It's a dirty place,
0:05:56 > 0:05:57it's a dangerous place.
0:05:57 > 0:06:00I think one of James Strong's greatest feats on this
0:06:00 > 0:06:03is to get smoke all the time. It is like hell is underneath them,
0:06:03 > 0:06:09and every shot almost there's smoke rising up in the background or the foreground. I love that.
0:06:09 > 0:06:11It's so atmospheric.
0:06:11 > 0:06:13The colours are very important.
0:06:13 > 0:06:16You establish the colour of the black hole, we decided that would be red,
0:06:16 > 0:06:21and that affects the lighting coming through the walls and windows.
0:06:22 > 0:06:24Open Door 40!
0:06:24 > 0:06:27Today we've been filming the scenes where Scooti
0:06:27 > 0:06:30gets chucked into space, and dies.
0:06:32 > 0:06:35SCREAM
0:06:35 > 0:06:37- Action. - Zach, got a problem.
0:06:37 > 0:06:40- Scooti's still missing. - 'But it says habitation three.'
0:06:40 > 0:06:44- That's where I am, and I'm telling you she's not here.- I've found her.
0:06:44 > 0:06:48'There's a scene where you see everyone looking up,
0:06:48 > 0:06:51'from the spaceship, and they see her floating past the window.'
0:06:51 > 0:06:54And that's the scene we're shooting today.
0:06:54 > 0:06:57Report Officer Scootori Manista PKD.
0:06:59 > 0:07:00Deceased.
0:07:00 > 0:07:02We're filming that underwater,
0:07:02 > 0:07:06to get the effect of her floating in the big dark black.
0:07:10 > 0:07:13We're at Pinewood - that's kind of a big deal, really,
0:07:13 > 0:07:17both in budget and logistical terms it's a big deal.
0:07:19 > 0:07:22The stage itself contains a tank which is 20 metres long,
0:07:22 > 0:07:26ten metres wide and six metres deep.
0:07:26 > 0:07:29We wanted to come here and film underwater,
0:07:29 > 0:07:32for the kind of... The dynamic that it would give the shots.
0:07:32 > 0:07:36It's expensive, but the whole sequence has been an expensive one
0:07:36 > 0:07:39for what will be a couple of seconds on screen.
0:07:39 > 0:07:43# Take my hand
0:07:43 > 0:07:46# Float, float on
0:07:46 > 0:07:48# Come on, come on, come on
0:07:48 > 0:07:53# Float on, float on... #
0:07:53 > 0:07:56I wanted for it to feel like she was weightless,
0:07:56 > 0:08:00and for her hair to be going, so these shots that we've done today
0:08:00 > 0:08:01will give it a particular feel.
0:08:01 > 0:08:08- # Float with me, baby - Float, float on- Yeah. #
0:08:11 > 0:08:15The other options were to do it on wires in the studio and stuff,
0:08:15 > 0:08:17but I think we felt in the end
0:08:17 > 0:08:19you'd never feel like it was actually in space.
0:08:26 > 0:08:29It's a much slower environment, but the shots are much more specialised,
0:08:29 > 0:08:31so they take longer to set up.
0:08:31 > 0:08:36It's potentially very dangerous, so there's lots of people involved to make sure it's safe.
0:08:38 > 0:08:40'Clear the bubbles from your face.
0:08:40 > 0:08:42'And do your hair...'
0:08:42 > 0:08:45'The diving supervisor, Dave Shaw,'
0:08:45 > 0:08:48is responsible for training all of the actors underwater.
0:08:49 > 0:08:54There's divers down there with you, and they've got a mouthpiece for you with air.
0:08:54 > 0:08:58'And again. And then look to the front.
0:08:58 > 0:09:00'3, 2, 1!'
0:09:00 > 0:09:02Countdown, 3, 2, 1, you take it out.
0:09:02 > 0:09:05- Action! - And hold your breath for a while.
0:09:05 > 0:09:07Start all of their acting...
0:09:07 > 0:09:11And then they film you in whatever pose you're meant to be doing.
0:09:12 > 0:09:14'And cut. Cut, guys.
0:09:14 > 0:09:16'Very nice, guys. Well done.'
0:09:16 > 0:09:18And then they give a special sign
0:09:18 > 0:09:21so that they can have the air returned to them,
0:09:21 > 0:09:24rather than have them swim to the surface then swim down again.
0:09:24 > 0:09:27It's really beautiful, because the water and the light
0:09:27 > 0:09:32gives a really sort of...surreal, eerie effect.
0:09:33 > 0:09:36Trying to be dead. It's fascinating.
0:09:42 > 0:09:44I think the shots we got are fantastic,
0:09:44 > 0:09:47and they're really dynamic, really different,
0:09:47 > 0:09:51and when the Mill have cleaned up the bubbles and painted in the black hole
0:09:51 > 0:09:54and space behind them, they'll look incredible. Really thrilling.
0:09:54 > 0:09:59And very different, and probably when we put this sequence together,
0:09:59 > 0:10:04one of the most expensive and sophisticated we've ever done on Doctor Who.
0:10:08 > 0:10:11I think episode eight is lovely. It's such a triumph.
0:10:11 > 0:10:15It's where you see the Mill and Ed Thomas and the design teams coordinating,
0:10:15 > 0:10:19so the costumes match the walkways which match the location.
0:10:19 > 0:10:23It's really got a feel to it of being knitted together.
0:10:23 > 0:10:27Everybody's thrilled with the end results, and I hope everyone watching is too.
0:10:27 > 0:10:29It's about to go even further in the next episode.
0:10:40 > 0:10:43Subtitles by Red Bee Media Ltd
0:10:43 > 0:10:46E-mail subtitling@bbc.co.uk