"The Tardis, heart of the world of Doctor Who' began life as an empty factory unit in Newport, South Wales." "The set took eight weeks to build." "Starting with the coral columns, actually constructed from a steel framework covered with polyurethane foam." "The interior wall is made up of 320 vacuum-formed plastic roundels." "The beating heart of the Tardis is the central console, a component not available on the high street." "So to give it its highly unusual look, the designers used a variety of objects which they imagined the Doctor could have collected on his travels through billions of years of time." "Although most of the items, including a bicycle pump, a sextant, 1950s electrical panels and a GPO Trimphone, actually appear to have been acquired quite recently." "Heading the design team is production designer Edward Thomas." "This is the bridge that leads up from the door onto the main gantry level." "Takes us up to the time rotor... past the... past the organic-looking coral structure, which has a life form of its own... with lights inside which glow and spark as the whole Tardis takes off." "This is the main console itself with the time rotor." "This is the Doctor's scanner, which he reads his Gallifrean text on, leaving post-it notes for himself." "We come around." "He's got a telephone he can utilize and call various people on." "He calls Rose on it, much to her surprise." "Moving around, we've got all the controls and various methods of takeoff." "And probably the most important tool is the Doctor's hammer, when all else fails, he gives the Tardis a good belt and off he takes." "And sometimes when he has to get really into the bowels of the machine, he's got an access hatch that takes him down so he can work on the Tardis, down below." "And then, one of our new additions is the seat... that Rose often comes and sits in, and puts her feet up on the console, and chats away to the Doctor about where they're going etc." "It's a beautiful thing." "Well, the main inspiration really was going back to, sort of, nature." "And we looked at heaven and earth and we looked at things ranging from porcelain to coral and plastics, lots of living bits and pieces." "And, really, I wanted to create a time machine that, being 700 years old, there was very little of the original structure left because the Doctor would have had to have continually updated it and fixed it." "So that's why it's sort of an amalgamation of old and new, really." "Bryan Hitch, the concept artist, and myself got together very early on and talked through what we both wanted the final Tardis to look like." "And then, you introduce the other designers, and it's an amalgamation, really, of everyone's ideas and everyone's work." "When Russell and Phil Collinson first got in touch and said that they had the new series of Doctor Who and they wanted to chat to me about it, you know, everything goes through your mind." "We all watched it as a child and I remember watching it." "I mean, I never thought for one minute I'd be actually in charge and responsible for recreating the interior Tardis and the exterior, and, really, the series, the new series." "One minute, you're on a space station five million years in the future." "The next minute, you're back in Victorian Cardiff." "They're all huge challenges." "The look of the series is entirely on my shoulders." "It's certainly not only me." "You know, I've got a whole team of people behind me who back me up and work with me, but the overall responsibility for the look of the series rests on my shoulders." "The art department is run from a small office at the BBC in Cardiff." "Here, model makers and graphic artists create the artwork and designs that will end up in the finished program." "A key member of the art department team is design assistant Matthew Savage." "I think I signed up for two weeks and I've been here for nearly nine months now." "The workload is relentless." "There's loads of things to be done because it's science fiction." "You know, if you're doing something set in the future, everything, you know, down to cutlery and tiny props, has to be designed, all the way up to space stations." "I spent a lot of time on Jack's gun for 9 and 10, the defabricator cannon from eps 12 and 13..." "Jabe's DNA scanner from episode 2, Jack's watch." "I did a lot of work on Cassandra and the frame, the tank for the Face of Boe, the exterior of Platform One, the exterior of Satellite Five." "Elements of the Tardis as well, the console and the roundels, working on the dressing and the buttons and things." "A broad number of different things over the season." "Our challenge is to make everything we do credible and stand up against, you know, the 15 years of special effects advances and prop-makes, so it's just to make everything look very real and hopefully very fun and futuristic." "Because we have so many different sets, every episode involves a lot of new builds." "What we do is make a scale model of every new built set that we need so we can work everything out ahead of time." "Card and your mount board and glue is a lot cheaper than... timber and a team of carpenters for a week, you know?" "Come on, Adam, open your mind." "You're going to like this, fantastic period of history." "The human race at its most intelligent." "Culture, art, politics." " This era has got fine food, good manners..." " Out of the way!" "Let's get moving." "Thank you very much, indeed." "Somebody there'?" "That's great." "What do you want, love'?" "One particular set has been reused many times in the series, but it began life as a sheet of card." "This is the main corridor of Satellite Five." "We've got these pillars all around with their feet, little angled feet, which are just made out of... angled formers and a layer of ply." "They had grilles built into them as well." "The construction team will work from the models directly." "The sets have been built exactly as Ed and myself have worked on them, so there doesn't seem to be any problem with that." "Exterminate!" "Exterminate!" "Let me out!" "Exterminate!" "Well, this is the interior Dalek cell, in episode 6, where the wealthy millionaire, or billionaire, is holding a Dalek and experimenting upon it to try and find out what it is." "This area here is a pre-existing location, and what we did was make this into the cell area, so we use this hugely out of scale Dalek, which would sit there." "Its little restraining posts there, and we had lights in these pillars and chains coming across." "The Daleks would prove to be one of the biggest challenges of the series." "Returning for a dramatic finale, they were led by their evil chieftain, the Dalek Emperor, and his chamber required special attention." "I saw you die!" "Here we have our physical set, which is part of the larger chamber." "So at the end of 12, there's a pull-back from Rose here, to reveal, you know, the rest of the ship." "Ben, our model maker, had already mapped out the shape of the room." "And then from there we have to work in where we're going to put detail, how we're going make it credible." "So, from the sketch we worked out the number of pods we're going to have with the corpses in." "I'm just working out how the inside of the ship will look for the matte shot and just designing the architecture and how this room fits into the rest of the ship." "So here is our physical set with the matte line from there, so that's where the Mill will take over." "And then the big pull-back at the end of 12 reveals the rest of the ship." "So we're just working out how our room fits into the grand scheme of the chamber and how it repeats, and just trying to squeeze in as many Daleks as we can." "For TV, it is a fairly ambitious set." "It's fairly big." "It has a number of pods with people turning into Daleks." "I mean, it's still being built at the moment, but we're hoping it's going to look great." "And it lends itself to being repeated a number of times within the chamber." "Begin the invasion of Earth." "The Doctor will be exterminated." "Exterminate!" "Exterminate!" "Exterminate!" "Exterminate!" "Exterminate!" "We have our set, which we will physically make, which is one of a number of rooms in this cavernous chamber." "We will then have Mike Tucker's miniature in the middle." "And then, the Mill will paint the rest of the room in a matte shot and they will composite the three elements to make the one finished visual." "We didn't really look at the previous Emperor Dalek because we really wanted ours to take that leap forward." "The brief that Ed gave Dan was to keep it almost monolithic and like a pyramid." "Work on the Dalek Emperor model has taken several weeks, but it's now time for the model sections to be put together for filming." "The work is taking place at the model unit in West London." "The Emperor Dalek came about because we had a phone call from Ed Thomas saying that, obviously, there was a requirement in episodes 12 and 13 for the Emperor." "The original plan was that they were going to go with the design we have behind us." "There were some issues as to whether it could be afforded and whether they'd just have to go for a bog-standard Dalek blown up to sort of 30-foot proportions." "And so, I got Ed to send me through a set of plans and having seen them, I decided, yeah, it's definitely something we could do and certainly we could deliver him something special for the finale" "and a completely different Dalek for people to see in the closing two stories of the show." "The shield-like panels on each side, they are only curving in one plane, but, of course, they've got angles cutting across those curves in every plane so it was quite a complicated design and RD process to get the first one made." "Usual thing, once you've cracked all the problems with the first one, the remainder are relatively straightforward." "So Nick Kool has built up those panels and that's pretty much taken him the full time of the build to get that aspect of it sorted." "But I think all the effort that's gone into them is worth it because they're going to light nicely, they're going to pick up color nicely and we're going to be able to backlight all the spheres protruding through them nicely." "So, all of these aspects were in the original design brief and we've been lucky in that we've not been able, or not had to compromise, on any of those design aspects." "Alan Brennan and myself have concentrated on the torso and the head, if you like." "Mike Tucker, who's running this unit, brought me in to help... with construction and finishing on the Emperor Dalek." "This particular piece is the Dalek Emperor himself, which is a small sculpted piece out of a material called sculpey." "And it's up to its finishing stages now." "It's been through three stages of painting so far." "There's an undercoat, which gives you the basic color." "A wash of a dark color into the recesses, which gives you some contrast, and then finally, a flick of a lighter color over the top, which helps punch up the contrast a bit." "That's what I'm doing at the moment." "It's a copy from the larger creature, which has been done by Neil Gorton over on the main unit." "Always just help, as I say, tell the story." "Bring those little changes, put that little bit of detail in." "I mean, this job for us has been all about going that little bit further, doing that little bit extra than has been asked because it's such an enjoyable job to do and it's such an iconic piece of TV, you know." "It's something we've all grown up with, Doctor Who, so it's lovely to contribute." "So I'm just flicking a little bit of highlights, with a spirit-based paint." "Then we're practically done and he's ready to go float in his little tank and take control of the universe." "So tell me, how did you survive the Time War'?" "They survived through me." "You've got the eyestalk itself on the dome, as per all normal Daleks, but unlike normal Daleks, you can now see the creature itself, which is suspended in its little life-support pod, considerably lower down the torso." "So the Doctor is effectively addressing his dialogue both to the eyestalk and to the creature." "The animatronic itself is the same one that Neil Gorton built for episode 6, with the big reveal of the Dalek there." "It's been brought back out of retirement for episodes 12 and 13 in its role as the Emperor." "And that's been shot on location in Cardiff, in a glass tank and they've done all the big close-ups of the Dalek, oozing and sliming and emoting, its eyes moving." "We waited here, in the dark space, damaged but rebuilding." "There was an original thought that we would just leave our life support tube empty, but that would mean that the Mill would have to then matte in the animatronic creature into every single shot." "And what we're hoping is that, by putting a small creature in our miniature, the big wide shots of the Emperor, where you're seeing him in his entirety, there will be a creature that matches Neil Gorton's model" "but at one sixth of the scale, which, hopefully, we're so far back, it's not going to be apparent that it's got limited, if no, movement." "And then when they cut in close, that will obviously be where they'll use the animatronic that's already been shot." "We're just hopefully lessening the workload for the Mill." "Purify the Earth with fire." "The planet will become my temple and we shall rise." "This will be our paradise!" "As well as three-dimensional objects, labels, signs and even entire languages, all have to be designed." "And that's the job of graphic artist Jenny Bowers." "The first set of episodes we worked on, the first block, was 2005, London, set in London, so it was a lot of contemporary stuff for that." "Also, coming up with the Gallifrean language for the Doctor." "This is something that needed to be kind of designed right at the beginning of the show 'cause it needed to be incorporated within the Tardis console." "I just started looking at imagery involving time and clocks and watches and all that kind of thing, just to get some kind of point of reference to start from, and the only other picture that I did find was in a big Doctor Who book" "of one of the Gallifrean Time Lords, wearing a big kind of headdress thing... with kind of cut out sections from a big kind of circular thing." "So that was kind of..." "I had that one little picture, and then I started to look at pocket watches and the workings of pocket watches because they're very intricate, and once you start looking at them quite a lot, there's kind of little planets and stars and the screws become kind of little stars" "and the springs and the coils of the springs start to, kind of, look like maybe systems." "So that kind of seemed to work for me as a visual thing." "He's a Time Lord, he travels, he has all these patterns and paths and circular tracks through space and it kind of seemed to fit this kind of Time Lord history, as it were, that is quite circular and random" "and he visits place to place and he has quite complicated..." "Quite a complicated life." "Jack's ship is a stolen Chula ship and so we needed to, kind of, give it some kind of Chularisation, as it were, make it Chulaesque." "To kind of put symbols and, kind of, switches within the interior of the ship," "I made sort of a language up for that." "Starting from the Maori designs of the tattoos and that kind of thing, then kind of break it down into individual symbols." "And also, I worked from the design of the ship itself and then kind of...incorporated them together so that you get a set of little pictograms so that it becomes kind of an alphabet." "Then the symbols then get transferred into different ways of using them within the ship." "There's lots of switches and buttons and dials and screens within Jack's ship." "And the color scheme, Ed wanted the... the whole of the interior to have a very kind of warm feel because Jack takes Rose there to kind of romance her and so there's a kind of candlelit feel to the interior." "A lot of these get backlit, so there's a warm glow through a lot of them." " Better new?" " You got lights in here'?" " Hello." " Hello." "Hello." " Let's not start that again." " Okay." "For this set of episodes, 9 and 10, I've got posters here." "There's some labels for boxes in the storeroom that Rose and the Doctor find themselves in." "Plain absorbent gauze, gauze bandages, things like that." "So they'll get applied to boxes that go in the storeroom." "Air raid shelter notices, gas mask notices, they're very much in the style of..." "And you have to obviously be careful with the fonts you use and the set of colors and also the way..." "These are designs for them, but when you actually get them printed up, that you get them printed onto the right kind of paper and that you add a texture to the paper or..." "So that it's not just something you've printed straight out of your computer but feels right as a whole thing, not just a design." "Working again with the color palette that Ed set, you can't just go and pick things off the shelf for that from prop houses or whatever because, obviously, it's quite a specific thing and you have to rework things" "or work from, you know, reference and then make it fit how the designer wants it to kind of look as a whole."