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-Who and what are you? -Silence, Doctor. | 0:00:02 | 0:00:05 | |
We are The Silence. | 0:00:07 | 0:00:11 | |
The Silence has been heard. | 0:00:11 | 0:00:15 | |
And it's left the Doctor Who crew fleeing... | 0:00:16 | 0:00:20 | |
and frozen. | 0:00:20 | 0:00:22 | |
As the team battle the most mind-bending monster ever imagined. | 0:00:22 | 0:00:26 | |
They edit themselves out of your memory as soon as you look away. | 0:00:26 | 0:00:30 | |
-The exact second you're not looking at them, you can't remember anything. -What a monster! Look at them! | 0:00:30 | 0:00:35 | |
I think that these are the scariest monsters ever. | 0:00:35 | 0:00:39 | |
Whoa. Argh! | 0:00:39 | 0:00:41 | |
Welcome to the desert. | 0:01:02 | 0:01:04 | |
The Doctor Who crew are in Utah | 0:01:08 | 0:01:11 | |
to film the dramatic opening of episode two. | 0:01:11 | 0:01:14 | |
We've got a race through the desert, | 0:01:14 | 0:01:16 | |
Amy's shot, Rory's shot, River jumps off a building | 0:01:16 | 0:01:19 | |
and the Doctor is trapped in a cube he can't escape from. | 0:01:19 | 0:01:22 | |
The beginning of Episode Two, I think, is the most exciting opening | 0:01:22 | 0:01:26 | |
for an episode that we've had. | 0:01:26 | 0:01:28 | |
It just kind of bursts onto the screen. | 0:01:28 | 0:01:30 | |
Amy's running for her life in the desert. | 0:01:30 | 0:01:33 | |
We'll see if we can get the timing a little tighter. | 0:01:33 | 0:01:35 | |
We're setting up a shot where Karen will run down the hill towards us. | 0:01:35 | 0:01:39 | |
Then we have a car in hot pursuit. | 0:01:39 | 0:01:41 | |
We're going to shoot up against the sun. | 0:01:41 | 0:01:43 | |
We're in the desert and it's going to feel dangerous. | 0:01:43 | 0:01:46 | |
# Cos I've always stayed too long | 0:01:46 | 0:01:49 | |
# Long enough for something to go wrong... # | 0:01:52 | 0:01:56 | |
First shot of the day. | 0:01:58 | 0:02:00 | |
I'm feeling pretty out of breath, as you can see. Yeah, it was basically just running for my life. | 0:02:00 | 0:02:06 | |
It's the altitude which is why I'm out of breath. So, that's why. | 0:02:06 | 0:02:10 | |
It's not me being unfit at all! | 0:02:10 | 0:02:12 | |
# I got my peeps standing with me shouting pull up your socks | 0:02:12 | 0:02:14 | |
# Cos we just broke the law and now we're running from cops | 0:02:14 | 0:02:18 | |
# I got my lip bust fighting Now there's blood on my top | 0:02:18 | 0:02:21 | |
# And I'm still out looking for a party, somewhere to stop | 0:02:21 | 0:02:23 | |
# I got my peeps them telling me they know where it's at | 0:02:23 | 0:02:27 | |
# So I pull out 20 notes and jump straight into a cab | 0:02:27 | 0:02:30 | |
# I'm on my way to where I'm going Thinking I need more Jack | 0:02:30 | 0:02:33 | |
# But that probably ain't the brightest idea I've ever had. # | 0:02:33 | 0:02:37 | |
That was such a fun scene to shoot. It was all like, "Miss Pond, Canton." | 0:02:37 | 0:02:41 | |
-Canton. -Miss Pond. | 0:02:41 | 0:02:44 | |
-Is that a body bag? -Yes, it is. -It's empty. -How about that? | 0:02:44 | 0:02:48 | |
So he's gone to the dark side but then, as it turns out, he actually hasn't. | 0:02:48 | 0:02:52 | |
But just dramatically I think it was really fun | 0:02:52 | 0:02:55 | |
'that he's bad for that scene.' | 0:02:55 | 0:02:57 | |
To shoot Rory's chase, the Doctor Who crew are working "dam" hard | 0:03:05 | 0:03:09 | |
in another breathtaking location, | 0:03:09 | 0:03:11 | |
the Glen Canyon, to get the final American shots in the can. | 0:03:11 | 0:03:16 | |
When he comes back in, drift in sooner | 0:03:16 | 0:03:19 | |
so you're closer to him, so the move in is only just a small drift in. | 0:03:19 | 0:03:24 | |
I think that the scale and ambition of this series | 0:03:24 | 0:03:27 | |
is just huge, and to be able to go to a location | 0:03:27 | 0:03:34 | |
where it's all there for you and it is just massive... | 0:03:34 | 0:03:37 | |
If you run up to me... You look and we'll look with him. | 0:03:37 | 0:03:42 | |
There's a shot where I look down | 0:03:43 | 0:03:45 | |
and I could see Marcus, | 0:03:45 | 0:03:47 | |
the producer, just going, "Oh, don't, don't." | 0:03:47 | 0:03:50 | |
Because I kept running up to it. | 0:03:50 | 0:03:52 | |
Could you get a message through to Arthur | 0:03:52 | 0:03:53 | |
to give me a good four-beat look ever the edge, if he doesn't mind? | 0:03:53 | 0:03:56 | |
And tell him not to throw himself at the wall. | 0:03:56 | 0:03:59 | |
It doesn't matter at this distance. I'd hate to be filming his death. | 0:03:59 | 0:04:03 | |
-Action! -Action! | 0:04:03 | 0:04:05 | |
'You don't have use your imagination very much to act | 0:04:08 | 0:04:11 | |
'in a situation like that. | 0:04:11 | 0:04:13 | |
'It's all there for you. You just look over that big sweeping drop. | 0:04:13 | 0:04:18 | |
'It was a nice way to finish our stuff that we did in America.' | 0:04:18 | 0:04:24 | |
-What are you waiting for? -I'm waiting for you to run. | 0:04:24 | 0:04:26 | |
It'd look better if I shot you while you're running. | 0:04:26 | 0:04:28 | |
Then again... | 0:04:31 | 0:04:32 | |
looks aren't everything. | 0:04:32 | 0:04:35 | |
OK, cut there. That's a wrap, everybody. Well done. Well done. | 0:04:37 | 0:04:41 | |
That's good stuff. It's a wrap in America. | 0:04:41 | 0:04:43 | |
-It is a wrap on Dr Who in America! -Woo! -Thank you. | 0:04:43 | 0:04:46 | |
Back on home soil. | 0:04:54 | 0:04:55 | |
A children's orphanage is about to petrify the Pond. | 0:04:55 | 0:04:59 | |
# Words like violence | 0:04:59 | 0:05:01 | |
# Break the silence | 0:05:01 | 0:05:03 | |
# Can't you understand Oh, my little girl? | 0:05:03 | 0:05:07 | |
# All I ever wanted | 0:05:07 | 0:05:09 | |
# All I ever needed | 0:05:09 | 0:05:11 | |
# Is here in my arms | 0:05:11 | 0:05:15 | |
# Words are very | 0:05:15 | 0:05:18 | |
# Unnecessary | 0:05:18 | 0:05:19 | |
# They can only do harm. # | 0:05:19 | 0:05:24 | |
See the craziness in those eyes? | 0:05:34 | 0:05:37 | |
My office is this way. | 0:05:42 | 0:05:44 | |
Today we are filming a scene with Dr Renfrew, me and Canton. | 0:05:44 | 0:05:50 | |
Basically we are discovering this old orphanage | 0:05:50 | 0:05:53 | |
and there's writing all over the walls | 0:05:53 | 0:05:55 | |
and it's horrible cos it looks like blood. | 0:05:55 | 0:05:57 | |
It's the kids, yeah? They do that? | 0:05:57 | 0:06:00 | |
Yes, the children. It must be. | 0:06:00 | 0:06:02 | |
Yes. | 0:06:02 | 0:06:05 | |
We're discovering this is the place we've been looking for. And it's all very creepy. | 0:06:05 | 0:06:09 | |
What a monster! Look at them! Whoa! Cool. | 0:06:12 | 0:06:17 | |
I wanted to suggest we've all got a latent memory of The Silence, | 0:06:17 | 0:06:22 | |
all that we have all seen them many times but we've forgotten them but they've imprinted. | 0:06:22 | 0:06:27 | |
So the painting The Scream is a bit like the Silent, | 0:06:27 | 0:06:31 | |
our notion of what aliens might look like is a bit like the Silent. | 0:06:31 | 0:06:35 | |
That is hideous! | 0:06:35 | 0:06:36 | |
-Can you actually see anything? -Look at your sinister walk! | 0:06:38 | 0:06:41 | |
Normally I'm taller than the monsters, but now I'm like, "Urgh!" | 0:06:41 | 0:06:46 | |
So they're just more intimidating and just hideous looking. | 0:06:46 | 0:06:52 | |
That's... | 0:06:52 | 0:06:54 | |
I think this is the scariest monster. | 0:06:54 | 0:06:56 | |
The man who played one of The Silence, was really amazing. | 0:06:56 | 0:07:03 | |
He's so tall, he's like 6 foot 7 or something. He was fantastic. | 0:07:03 | 0:07:08 | |
As soon as he got on to set, he was he was reading in the lines. | 0:07:08 | 0:07:11 | |
He won't actually do the voice, but he was so into it. | 0:07:11 | 0:07:14 | |
He was like, "OK, what do you need me to do?" And he was like, "Amelia!" | 0:07:14 | 0:07:20 | |
Your mind is weak. You have been here many days. | 0:07:20 | 0:07:24 | |
He was just great with all the movement, cos he's a dancer. | 0:07:24 | 0:07:27 | |
Do a funky robot, go on. | 0:07:28 | 0:07:30 | |
-They remind me of a 2009 Karen Gillan. -Oh, my God! | 0:07:39 | 0:07:45 | |
-Before she lost it all. -2009 Karen Gillan! | 0:07:45 | 0:07:50 | |
My head is nowhere near that bulbous. | 0:07:50 | 0:07:53 | |
-It is quite sort of cone-y. -All right, it's round, I'll give you that. | 0:07:53 | 0:07:57 | |
Like the moon. | 0:07:57 | 0:07:58 | |
Now, for eagle-eyed viewers, a familiar-looking spaceship | 0:08:01 | 0:08:06 | |
makes a reappearance. | 0:08:06 | 0:08:08 | |
This is the first time we come back onto the Silence base ship | 0:08:08 | 0:08:11 | |
which people should recognise from the episode called The Lodger. | 0:08:11 | 0:08:15 | |
What?! | 0:08:16 | 0:08:19 | |
What? | 0:08:19 | 0:08:21 | |
So we bought the set back but I wanted to adapt it, | 0:08:22 | 0:08:25 | |
make it feel more evil and the bad guy base. | 0:08:25 | 0:08:29 | |
It's alien and feels serious and scary in some way. | 0:08:29 | 0:08:34 | |
We'll strap Amy into this chair here | 0:08:34 | 0:08:36 | |
and have a bright light coming down and that's where The Silence have been keeping her. | 0:08:36 | 0:08:41 | |
Stop, get off me! No! | 0:08:41 | 0:08:43 | |
'My throne, it's great. There are some lights underneath and a hole in it' | 0:08:43 | 0:08:48 | |
so it feels like an elaborate toilet. | 0:08:48 | 0:08:51 | |
And to break The Silence, the Doctor uses one of the most incredible moments in human history. | 0:08:51 | 0:08:57 | |
Now then, a bit of history for you. Aren't you proud? Because you helped! | 0:08:58 | 0:09:02 | |
Do you know how many people are watching right now, live on the telly? Half a billion. | 0:09:02 | 0:09:08 | |
Every single one of them at some point in their lives will look back | 0:09:08 | 0:09:11 | |
at this man taking that very first step | 0:09:11 | 0:09:14 | |
and they will never, ever forget it. | 0:09:14 | 0:09:17 | |
If you're going to send a subliminal message in one piece of footage | 0:09:17 | 0:09:20 | |
you would put it in the middle of that clip. | 0:09:20 | 0:09:23 | |
'One giant leap for mankind...' | 0:09:23 | 0:09:25 | |
And one whacking great kick up the backside for The Silence! | 0:09:25 | 0:09:30 | |
You just raised an army against yourself. | 0:09:30 | 0:09:33 | |
Everybody has seen that footage. Everyone alive. | 0:09:33 | 0:09:36 | |
Very few things you can say that of. | 0:09:36 | 0:09:38 | |
So, The Silence has been silenced. | 0:09:39 | 0:09:43 | |
But there are still a few things to clear up. | 0:09:43 | 0:09:46 | |
At the end of episode two, we are left with a few questions | 0:09:48 | 0:09:51 | |
such as what is going on with Amy? Is she pregnant, is she not? | 0:09:51 | 0:09:56 | |
What is going to happen to the Doctor | 0:09:59 | 0:10:01 | |
-because we've seen him die. -Who's killed him? | 0:10:01 | 0:10:04 | |
Who's the girl? | 0:10:06 | 0:10:09 | |
Why is she regenerating? | 0:10:09 | 0:10:10 | |
Who is River Song and what part does she play in the Doctor's future? | 0:10:13 | 0:10:16 | |
Will we get to the heart of that relationship? | 0:10:16 | 0:10:19 | |
You're going to learn some very critical information about River. | 0:10:19 | 0:10:25 | |
You know what they say. There's a first time for everything. | 0:10:25 | 0:10:28 | |
And a last time. | 0:10:31 | 0:10:34 | |
Subtitles by Red Bee Media Ltd | 0:10:36 | 0:10:41 | |
E-mail [email protected] | 0:10:41 | 0:10:46 |