Take Two Doctor Who Confidential

I feel like we're on the best chat show ever.

Have you had fun on this episode, gang?

I've hated every second.

Really?

-Have YOU had fun on this episode?

-Yeah, I have.

-All right, good.

-Lots of fun.

Oh, hurrah. Well, thanks for being the worst interviewees ever.

It's good to be back, making Dr Who, isn't it?

We didn't speak to each other over Christmas.

For a whole day over Christmas.

We all said the other day,

we had that thought of going, "I should probably text...

"Nah."

I was really sick just before New Year. I had that...

There's been this bug going around

and I lost half a stone, puked it all up.

Which...

-is a little revealing for Confidential, I suppose.

-What is this interview?

It's cool, it's kind of free-and-easy.

-Yeah, I quite like it.

-It's never going to make the show.

We know these types of interviews never make the show.

It's November 2010 and the cast, executive producers

and show writer have gathered at the Dr Who studios to tackle the doubly hard episodes 5 and 6.

..Switch our brains around and call the real Doctor The Doctor.

He was the other Doctor, now he's The Doctor.

Let's call The Doctor the other Doctor, clear? God, I hope so.

# I'm about to lose my mind

# You've been gone for so long

# I'm running out of time

# I need a doctor

# Call me a doctor

# I need a doctor, doctor... #

-Oh no!

-# ..to bring me back to life. #

SCREAMING

The conclusion of this thrilling two-parter

began with the birth of a doctor and ended with the mystery of a birth.

# I'm about to lose my mind

# I need a doctor

# Doctor to bring me... #

No, and why?

Given what we've learned, I'll be as humane as I can, but I need to do this and you need to stand away.

OK, so I've just been killed by The Doctor.

Oh, no...

And then I've woken up...

and I'm about to have a baby.

I think it's generally quite shocking.

I found that scene quite challenging,

really challenging actually, because...how do you play that?

You're not even real and somebody who you love and trust is looking

into your eyes and saying you are not real, I'm going to kill you now.

I need to do this and you have to stand away.

'I think that Amy just felt at the time that the two most important people in her life are turning

'on her, it's like that horrible feeling of betrayal'

and that kind of, I think, was really horrible for her.

I'm very frightened, like properly, properly scared.

Don't be, we're coming for you, I swear it. Whatever happens, however hard. However far.

-I'm right here.

-No.

-I'm right here.

You're not, and you haven't been here for a long, long time.

I mean, it's just such a huge twist for Amy,

the life of Amy Pond has taken a turn for the worst

and she's about to give birth to a baby she didn't even know she was pregnant with.

Well, dear, you're ready to pop, aren't you?

One's on its way.

Well, this is a cliffhanger not just to this two-parter,

but the whole series, cos it's changed everything we think we know.

We think we've been looking at Amelia Pond as normal and we now discover that really hasn't been her at all.

Well, it has been, it's been her mind, her heart, her soul, but it hasn't really been her, physically.

The flesh Amy's been going through episodes one to six

and hanging out, having these adventures with The Doctor and Rory,

while the real Amy's been trapped in this birthing chamber

with this strange eye-patch woman opening the hatch now and again,

checking on her progress.

The reason she's seen the eye-patch woman at strange moments

is because that reality has been seeping through into her mind.

The flesh Amy that The Doctor zaps at the end with the Sonic

is absolutely not a real person.

He's not killed Amy.

He's simply cut off the telephone communication between the operator

and this flesh Amy that's in front of him. So it's like

snipping a wire and getting rid of a signal rather than actually doing her harm.

Trust me.

I'm The Doctor.

Episode six presented a challenging double role for Matt Smith,

with the story requiring him to play The Doctor twice.

Is that what you were thinking? Yes, it's just so inspiring to here me say it.

Writing for two Doctors, interestingly, suits Matthew Smith's style of performance.

He almost, even when he's just one Doctor,

he almost feels to be finishing his own sentences.

He's always interrupting himself and contradicting himself in mid-flow.

He always says, "Do I say that? Do I mean that? Do I mean that?"

And he often is having this internal dialogue with himself.

-This is insane.

-Yes, it's insane. And it's about to get even more insanerer.

Is that a word?

In a way, all you're doing is taking that internal dialogue

and making it external.

I think the universe is definitely big enough for two Time Lords.

-Really?

-Yeah. Well, there was loads of them at one point.

-Yeah, I know, and it...

-And isn't it always expanding?

-Yeah.

Well, maybe, maybe. I mean...

-Would you like that?

-To have two?

-Yeah.

You could have a friend or a foe...

-I've got a friend - you.

-Yeah, but one who's not your, like...

-Basically the equivalent of a hamster.

-Yeah! Is that what you are?

Like one of your pets.

Shall I get you a little wheel in the TARDIS with one of those little...

-Yeah!

-That'd be funny.

-One of those water things.

-And you as a person are quite hamster-like.

-Do you think?

-You're quite sort of...

-nibbly.

-Yeah, today I was.

-You were having a right old nibble on your crackers.

But I think one Doctor, cos it makes it tough for him...

-One universe, one Doctor...

-Yeah, for sure.

-..one hamster.

-It is a really scary episode, I think.

-I hope so.

-We want this one to be scary, don't we?

-Yeah.

-It's fun to make the scary stuff.

-Yeah.

We've been filming here all week. It's our last day of filming.

It's called Caerphilly Castle in Caerphilly.

What they didn't tell us

while we were filming is that it's in fact haunted.

Ooooh! So, we're going to meet David now,

-who's going to basically tell us all about it. Hey, David.

-Hello, David.

Hiya. Caerphilly Castle is haunted by the ghost of the Green Lady.

And the story goes back to 1268.

The castle was founded by a man called Gilbert de Clare,

or Gilbert the Red, who had a lovely wife called Alice.

And she fell in love with a local Welsh prince.

Gilbert was so upset about this, he banished her back to France.

And he had the local Welsh prince killed.

When she heard the news, she dropped down dead,

literally dying of a broken heart.

But it's funny, cos there's a moment in this script,

which we're filming in this castle, where we all went,

this is the moment in a horror film where you go, "Don't go down that corridor!"

-Just don't do it.

-Just don't do it.

PULSATING GROWL

Run. Run! RUN!

When writer Matthew Graham created the Flesh on paper,

he knew his vision could only be

realised on screen by a combination of CGI and live-action filming.

For rehearsal, and...action.

Confidential is in London with the man himself to check out progress.

Very exciting, because it was a few months ago that I wrote this.

So I have no idea what you've been doing

while I've been off doing other things.

-You've been beavering away in the dark.

-Absolutely.

Well, first things first. This is some of the concept art we did.

Oh, lord. Is that done on computer? Is it designed on computer?

-Yes, this was done in Photoshop.

-Right, yes.

So this was everyone chatting about

what they thought the creature would look like.

The idea was to make it very white, maybe a bit transparent.

Lots of veins, and make it quite fleshy.

I wanted that mixture of a real face and a completely alien body.

I'm really looking forward to see how they're going to

put all the special effects together and everything.

And to see how the monster is all created,

and how the little dots on my face will be transformed into big, long,

elongated jaws and things like that, and all my limbs extended.

'I can't wait!'

I can grow!

It might be nice to have a bit more sort of lateral movement.

It is more kind of a side-to-side.

-Like this?

-Yes.

We'll take the performance that we get of Jennifer,

cos her performance is very much these bodily movements.

And a slight awkwardness to the way that her body is moving.

Which are all great traits which you can

sort of pull over into your CGI creation.

And we'll take that as our inspiration and guide for the way

that we move and animate the CGI body that we're going to attach to her.

I've just spent some time with Neil seeing how the Jennifer creature's animated,

and I'm really excited now,

cos this is going to be the semi-finished thing in situ.

So, unleash the Jennifer creature.

This door doesn't lock!

Here we go. This is our set. This is a character called Dicken.

Don't go down that corridor, Dicken. I wouldn't, mate.

He's going to try and close the door. Here she comes.

The flashing amber lights, which have to be recreated.

And this is a greyscale animation. Not finished yet.

Oh, my word! That is still pretty scary.

She's getting closer. Get that door closed!

Ah. I don't think that's going to end well. There's a sofa there.

I'm going to go and hide behind it.

Subtitles by Red Bee Media Ltd.

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