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-I'm kind of done with running down corridors. What do you think, Rory? -How about somewhere romantic? | 0:00:02 | 0:00:07 | |
-Venezia! -This week, Confidential packs its bags and goes abroad. | 0:00:08 | 0:00:12 | |
The best place you could possibly go for a romantic weekend would be Venice. | 0:00:12 | 0:00:19 | |
And gets to meet up with a Venetian count... | 0:00:19 | 0:00:21 | |
Looking for vampires in Venice? | 0:00:23 | 0:00:26 | |
-Aaargh! -What was that? | 0:00:26 | 0:00:28 | |
It's Venice, but not as you know it. | 0:00:28 | 0:00:31 | |
I think it's alliteration, really. Vampires. | 0:00:31 | 0:00:34 | |
In fact, a few things aren't what they seem to be. | 0:00:34 | 0:00:37 | |
They find out that they're not actually vampires, they're something else. | 0:00:40 | 0:00:44 | |
What there are actually there is... | 0:00:45 | 0:00:50 | |
you know, fish from space. | 0:00:50 | 0:00:52 | |
OK. Move! | 0:00:52 | 0:00:54 | |
What is going on? | 0:00:54 | 0:00:55 | |
And action! | 0:00:55 | 0:00:58 | |
And are the Doctor Who team really in Venice? | 0:00:58 | 0:01:01 | |
Confidential finds out. | 0:01:01 | 0:01:04 | |
Turn over, please. | 0:01:28 | 0:01:30 | |
70, take two, A camera. And action! | 0:01:30 | 0:01:33 | |
The TARDIS touches down and the Doctor sort of bounds out | 0:01:36 | 0:01:40 | |
and starts describing La Serenissima, this impossible, mad city. | 0:01:40 | 0:01:45 | |
Venice! Venezia! La Serenissima! | 0:01:45 | 0:01:50 | |
It really felt like stepping back in time, stepping out into that. | 0:01:50 | 0:01:53 | |
One of the most powerful cities in the world. Constantly being invaded. | 0:01:53 | 0:01:59 | |
And I think there's a real sense of vibrancy and colour to that scene. | 0:01:59 | 0:02:03 | |
Ah, you've got to love Venice. | 0:02:03 | 0:02:05 | |
And so many people did. | 0:02:05 | 0:02:07 | |
It sets the romp off, as it were. | 0:02:07 | 0:02:09 | |
Byron, Napoleon, Casanova... | 0:02:09 | 0:02:12 | |
It's the perfect start to a Venetian romp, | 0:02:15 | 0:02:18 | |
but it's shot hundreds of miles across the sea in Croatia. | 0:02:18 | 0:02:24 | |
We thought from the beginning we would like a foreign shoot, | 0:02:24 | 0:02:27 | |
somewhere exotic and really mix it up a bit. | 0:02:27 | 0:02:29 | |
The trouble with real Venice is you'd have to spend an awful lot of time | 0:02:29 | 0:02:33 | |
covering up the pizza parlours and the shops and all that. | 0:02:33 | 0:02:36 | |
Doubling up as Venice was a small town on the Mediterranean coast | 0:02:37 | 0:02:41 | |
called Trogir. | 0:02:41 | 0:02:43 | |
And it looks so beautifully like Venice. | 0:02:46 | 0:02:50 | |
The Venetians colonised there, so it's a great double. | 0:02:50 | 0:02:55 | |
METALLIC THRUMMING | 0:02:58 | 0:03:01 | |
Venice! Venezia! La Serenissima! | 0:03:04 | 0:03:10 | |
Confidential took the chance to visit modern-day Venice to check out the actual events | 0:03:19 | 0:03:23 | |
behind the Doctor Who story, particularly the great plague of the 16th century. | 0:03:23 | 0:03:29 | |
So writer Toby Whithouse went to meet a man whose ancestors lived through it all. | 0:03:33 | 0:03:39 | |
Architect, historian and TV personality, Francesco da Mosto. | 0:03:39 | 0:03:44 | |
Hello, Toby. How are you? | 0:03:44 | 0:03:46 | |
-Lovely to meet you. -Looking for vampires in Venice? | 0:03:46 | 0:03:49 | |
Vampires of Venice, of course! | 0:03:49 | 0:03:51 | |
'Francesco tells me of a Venetian vampire story, but that's for later. | 0:03:53 | 0:03:58 | |
'First, I get a tour of the da Mosto mansion.' | 0:03:58 | 0:04:01 | |
How old is the actual building itself? | 0:04:01 | 0:04:03 | |
It's from the end of the 15th century, 16th century. | 0:04:03 | 0:04:10 | |
The period of your plague. | 0:04:10 | 0:04:12 | |
Absolutely perfect. It's beautiful. | 0:04:12 | 0:04:15 | |
'This amazing building has been in the da Mosto family for over a century.' | 0:04:15 | 0:04:19 | |
Oh, my goodness. Look at this. | 0:04:19 | 0:04:23 | |
Here I learnt to ride a bicycle. | 0:04:23 | 0:04:26 | |
It's the perfect space. | 0:04:26 | 0:04:29 | |
Look at this! This is incredible. | 0:04:29 | 0:04:30 | |
Yeah, nice shape. | 0:04:30 | 0:04:33 | |
And your Doctor Who, during the plague, he was a doctor of plague, or...? | 0:04:39 | 0:04:44 | |
No, no, our Doctor is not a medical doctor. He's a time-traveller. | 0:04:44 | 0:04:51 | |
But my episode is set just after the outbreak of the plague | 0:04:51 | 0:04:56 | |
in the late 16th century, and a race of aliens | 0:04:56 | 0:05:02 | |
have arrived in the city and are using the fear | 0:05:02 | 0:05:06 | |
of the return of the plague | 0:05:06 | 0:05:08 | |
as an excuse to close down the city. | 0:05:08 | 0:05:10 | |
'Francesco had something for me which was an absolute goldmine - | 0:05:10 | 0:05:14 | |
'a collection of documents relating to the period in which I set my episode.' | 0:05:14 | 0:05:18 | |
Yeah, it was quite terrible, and here I found also | 0:05:18 | 0:05:22 | |
a lot of the people of my family, like this one, they died of plague. | 0:05:22 | 0:05:26 | |
As you see, "Death by plague." | 0:05:26 | 0:05:29 | |
We say "peste". | 0:05:29 | 0:05:30 | |
Obviously, the Venice of today looks very different to the Venice of 1580. | 0:05:30 | 0:05:35 | |
Too many new shops! | 0:05:35 | 0:05:37 | |
Too many new shops, | 0:05:37 | 0:05:39 | |
so we filmed in Trogir in Croatia. | 0:05:39 | 0:05:43 | |
There is quite a funny coincidence. | 0:05:43 | 0:05:47 | |
During the period of the plague, there was one of my family, | 0:05:47 | 0:05:53 | |
he was a Count in Trogir. | 0:05:53 | 0:05:55 | |
It's quite interesting. This guy was called Francesco da Mosto, like me. Can you imagine?! | 0:05:55 | 0:06:00 | |
There was always a person of a noble family of Venice controlling the different town... | 0:06:00 | 0:06:07 | |
-Oh, all the little... -Just at that moment of the plague that was in Venice, he was Count in Trogir. | 0:06:07 | 0:06:14 | |
-Where we filmed the episode. -Yes, strange. I found that out yesterday. Quite strange. | 0:06:14 | 0:06:19 | |
I never looked at all the things. It was quite funny. | 0:06:19 | 0:06:24 | |
Trogir town square. | 0:06:26 | 0:06:30 | |
The cast and crew are preparing to meet a bunch of bloodsuckers. | 0:06:32 | 0:06:38 | |
# Now, baby | 0:06:39 | 0:06:42 | |
# I've got a lot of love to give | 0:06:42 | 0:06:47 | |
# And I've been over, oversubscribed with relationships... # | 0:06:47 | 0:06:52 | |
Ah, the look of the vampire girls. | 0:06:52 | 0:06:55 | |
Where do I begin? | 0:06:55 | 0:06:58 | |
It brightened up our day. | 0:06:58 | 0:06:59 | |
The crew, I tell you what, I have never, ever seen them so occupied | 0:06:59 | 0:07:03 | |
and satisfied and work hungry. Everyone was happy. | 0:07:03 | 0:07:06 | |
The composer was joking with me, | 0:07:08 | 0:07:10 | |
saying, I bet there was only one vampire girl in the script, | 0:07:10 | 0:07:13 | |
and by the time we'd got to the shoot, there were like 12 vampire girls. | 0:07:13 | 0:07:18 | |
# You've got a little thing I haven't seen before... # | 0:07:18 | 0:07:23 | |
They looked like 80s glam rock stars, I think. Sort of bonkers hair. | 0:07:23 | 0:07:28 | |
There's something weird and gothic | 0:07:32 | 0:07:34 | |
and brilliant about them. I think they'll be a real hit. Come back, you're always welcome! | 0:07:34 | 0:07:39 | |
# Maybe I can learn to settle down one day... # | 0:07:39 | 0:07:44 | |
How are you doing that? | 0:07:44 | 0:07:46 | |
I'm thrilled. Oh, this is Christmas! | 0:07:52 | 0:07:54 | |
# I get all the girls, I get all the girls | 0:07:54 | 0:07:57 | |
# I get all the girls, I get all the girls | 0:07:57 | 0:08:01 | |
# I get all the girls, I get all the girls | 0:08:01 | 0:08:05 | |
# I get all the girls, I get all the girls | 0:08:05 | 0:08:09 | |
# I get all the girls, I get all the girls | 0:08:09 | 0:08:12 | |
# I get all the girls, I get all the girls | 0:08:12 | 0:08:17 | |
# I get all the girls, I get all the girls | 0:08:17 | 0:08:20 | |
# I get all the girls, I get all the girls... # | 0:08:20 | 0:08:24 | |
We are Venetians! | 0:08:24 | 0:08:27 | |
'I've invited a friend to come and join me in Venice.' | 0:08:32 | 0:08:36 | |
-Matt. -Toby! -How are you? | 0:08:36 | 0:08:39 | |
-Hello. -Welcome to Venice. | 0:08:39 | 0:08:41 | |
-Thank you. -Come and meet my new friend. | 0:08:41 | 0:08:44 | |
-Do you get seasick, by the way? -Uh, no. -Good. | 0:08:44 | 0:08:48 | |
Matt, this is Francesco. Francesco, this is Matt. | 0:08:48 | 0:08:51 | |
-How do you do? -Nice to meet you. -Nice to meet you, sir. | 0:08:51 | 0:08:54 | |
We're going to come on your boat, are we? Thank you. | 0:08:54 | 0:08:58 | |
Marvellous. | 0:09:00 | 0:09:02 | |
Venezia! La Serenissima! | 0:09:15 | 0:09:18 | |
-It's so nice that it's sunny. -We're in luck. | 0:09:18 | 0:09:23 | |
'With Matt on board, Francesco gave us his Venetian vampire story. | 0:09:23 | 0:09:27 | |
'A tale that came to life when archaeologists found the remains of a plague victim | 0:09:27 | 0:09:31 | |
'whose burial bore all the hallmarks of something even darker.' | 0:09:31 | 0:09:35 | |
They found a skull of a woman that has a brick inside the mouth. | 0:09:35 | 0:09:41 | |
Because when they died, what was happening, they also, when they were dead, | 0:09:41 | 0:09:48 | |
they found blood coming out. | 0:09:48 | 0:09:51 | |
-And the veil a little eaten. -Right. | 0:09:51 | 0:09:55 | |
But, blood comes out as a result of the plague? | 0:09:55 | 0:09:58 | |
Yeah, but after the death. | 0:09:58 | 0:10:00 | |
So that was strange. | 0:10:00 | 0:10:02 | |
So they were thinking that the body, this person, could pass this thing to other dead. | 0:10:02 | 0:10:09 | |
And then the plague was going around more. | 0:10:09 | 0:10:11 | |
And so they were putting this brick so she could not move the mouth. | 0:10:11 | 0:10:16 | |
Strange! | 0:10:16 | 0:10:18 | |
'Tales of deadly creatures sucking the blood of the living. | 0:10:21 | 0:10:24 | |
'It looks like I was closer to the truth than I suspected.' | 0:10:24 | 0:10:29 | |
Perhaps there really were vampires in Venice. | 0:10:29 | 0:10:33 | |
Subtitles by Red Bee Media Ltd | 0:11:00 | 0:11:03 | |
E-mail [email protected] | 0:11:03 | 0:11:06 |