"Action." "There we go." "Lights, camera, action." "That's how it's been done since television began." "After 40 years of fear on Doctor Who, why are we still afraid of what's in the wardrobe'?" "I'm coming..." "Er, yeah." "He falls, and as he falls, he'll probably go..." "All of a sudden, the Doctor comes running in and he lifts the torch, and he holds it above his head and he runs and we all cheer." "That was good on the crowd reactions there." "We came across the Olympics simply because we've got a few modern-day Earth stories in a row and this episode needed something to be not quite modern-day Earth." "The setting of the games was just irresistible." "London won the games and everyone's talking 2012, and it was just a buzz in the air." "And we thought it was really something good to hook on to." "It was quite funny." "It was a bit of a futuristic joke in a way." ""Here we are." "Let's go and have a look."" "Episode 11, its very normality is what makes it all the creepier." "No!" "Tom'?" "What are you'?" "It's "the Doctor comes to Brookside Close", is what it basically is." "And I think that makes it pretty scary." "Because you're hopefully at home thinking, "This could be my street."" "I like to think of kids sitting there thinking," ""I can look out the window and see the Tardis."" "A story like this is smaller and closer to home." "Which I think is something Doctor Who traditionally has always done very well." "Merry merry king of the bush is he" "We expect children to be innocents, don't we?" "We expect them to be unsullied by the nastiness of human experience." "So I suppose it's particularly chilling if they seem to have some access to the dark place." "...they're just dreams." "You do know that'?" " They can't hurt you." " I'm busy." "Unless you want me to draw you," "Mum." "To put a scare into that, to make them adult, in a way, and to give them power really subverts the natural order of things and it's automatically scary. it just works." "Nice one." "And another step towards David." "And a step to your right." "The big pivotal scene in episode 11, where Chloe's been put into a trance, it's quite a straightforward scene because it doesn't involve CG particularly." "It doesn't involve lots of actors." "It's in a contained set, in a warehouse." "Okay, good." "Let's try it again." "But a scene like that is quite difficult because the emotion and the intensity of the performance is the key thing." "So, making sure that, you know, that the energy and the focus is there is really important." "And focus." "And action." "We take an endless journey." "A thousand of your lifetimes." "But now I am alone." "I hate it." "It's not fair, and I hate it!" "We had all sorts of different ways what we were going to do something with Chloe, she was gonna speak with a deep voice and then a high-pitched voice." "And I think what Euros has gone for with Chloe in the episode is really nice because it's at once sinister but also, kind of, full of loneliness." "It's one of the things that's most frightening in the world." "It's someone you know, someone you love, changing and being different and having a different voice inside them." "It is quite unsettling because it's a little girl." "It's not a big, powerful super-villain or some huge, slavering creature." "This is a little girl, who looks like a little girl, and sort of acts like a little girl, but sort of doesn't." "Fear Her is quite old-school Doctor Who." "It's got a CG element, but the CG is very small in it." "The main scares come from a psychological tension of what Chloe can do." "And using, you know, the very traditional tools of music, of composition, of characters disappearing off-camera." "You know, that's how we've created the scares and the tension." "Snatching children from a thoroughly ordinary street like this." "And why is it so cold'?" "Someone reducing the temperature'?" "The music's a really fundamental part of the atmosphere of the whole show." "Things to do with stylistic elements, generally, through the episode all contribute to this sort of strange quality that we call the atmosphere." "What he does is to really underscore the moments of menace, the moments of shock, the moments of fear." "He kind of tells you, in a sense, what you should be feeling." "In episode 11, you have the classic blonde-ascending-a-staircase moment." "This door is closed for a reason." "Something about this door tells me I should not go through it." "Therefore, I want to know what's the other side." "It's just..." "It's psychology." "It's great." "Different instruments hit different parts of your body." "I think low instruments always get you in the stomach." "High instruments just get you in your throat a bit more, you know." "And your head, and the piercing, jarring sounds." "A lot of frightening music comes from an unexpected, melodic progression, you know, and discord." "It's been used to convey that everything's gone wrong." "Or that things are doomed." "The Doctor's faced werewolves, Cybermen and pure evil." "Prepare yourselves for the Doctor's greatest ever nemesis." "We're filming a sort of slightly spooky scene where the Doctor and Rose haven't been in this neighborhood a very long time." "They've just arrived." "And they're following a little cat." "And the cat goes into a box..." "What do you wanna go in therefor'?" "...something happens, and the cat vanishes." "Sounds easy, doesn't it'?" "Unfortunately, that day, the cat had other ideas." "The cat really wasn't wanting to play ball with us today and it rolled over several times." "A very friendly cat that decided the gateway to that house was far more interesting than the box." "It didn't do anything that we wanted, basically." "I think we're gonna give it another go tomorrow." "No, I'm not really a cat person." "Once you've been threatened by one in a nun's wimple, kind of takes the joy out of it." "The Doctor may think cats are scary but two wooden doors contain something much more terrifying." "I think the dad in the wardrobe is a great achievement." "He is a red light and a shadow." "This is impossible." "It's a shadow on a wall coming to get his wife and his daughter with a growling voice." "It's the simplest form of storytelling and it's genuinely terrifying, I think." "Chloe!" "We seeded in this notion of a father that's dead, but that represents all Chloe's childhood fears." "And the father's taken on a monstrous form in her imagination." "Where do monsters live when you're a child'?" "In a wardrobe." "Look at it." "My baby!" "You're not going to hurt her again!" "Chloe!" "I'm coming!" "Chloe, it's Rose!" "Open up!" "We got your ship!" "We can send you home." "Chloe!" "Right, stand back." "LYN"." "I think she loves playing Rose with a pickaxe." "You get to smash things, you know." "We all quite like having a wild time every now and again." "And Billie's no different." " Cut." "Good." " I loved it." "The pickaxe is actually a real pickaxe handle." "But what we've done is we've made a lightweight version." "It's still made of steel, still pretty sharp and dangerous." "But it's just a lot more manageable." "I told her just before to think of someone she hates and it seems to have done the trick." " Chloe!" " ...to hurt you!" " I'm coming." " I've gotta stop her." "I'm coming..." "If you stop Chloe Webber, I will let him out." "In the end of the episode," "Chloe goes a bit mad and starts drawing all the continents and every..." "Gets the world map and starts to draw the whole world map." "And then the Doctor has to try and stop her." "I cannot be alone!" "It's not fair!" "The idea that this child is possessed and just frantically drawing pictures and having people disappear into her world of drawings, that's horrible." " Look, I've got your pod!" " The pod is dead!" " No, it just needs heat." " It needs more than heat." "Hold it there." "Continue..." "Continue running'?" " Okay, yeah." " Yeah'?" "And on we go." "Look, I've got your pod!" "The love of her life is still trapped in a drawing and she sees no way out and she's almost defeated." "I know how to charge up the pod." "But then there's this flicker of light and hope, and she gets the guy again." "You know what'?" "They keep on trying to split us up but they never ever will." "Never say, "Never ever."" "We got a big two-part story coming and there's gonna be a lot of fireworks." "Nah, we'll always be okay, you and me." "Don't you reckon, Doctor'?" "Rose thinks she knows this man back-to-front." "Suddenly he says something that's like a bomb going off." "A storm's approaching."