"NARRATOR"." "Prepare for lift-off as Doctor Who journeys back into outer space." "It is the first story we've done set entirely within a spaceship, actually." "I'll save you." "I suppose calling the episode 42, giving yourself 42 minutes..." "It happens in real time, which I don't think we've ever done before." "42 minutes until what'?" "42 minutes until we crash into the sun." "I think the first draft of the script came in, and it was a spaceship hurtling towards the sun." "And it was just as we talk about it, it just needed another element, another layer." "Action." "Got to get it out of me!" " I've got to stop it!" " Korwin, it's Abi." "Open your eyes." "I need to take a look at you." "Korwin!" "What's happened'?" "Is he okay'?" "Not only have you got to play the scene, but you're also under this huge pressure that if you don't hurry up, then time is ticking." "Help!" "Help me!" "It's burning me!" " How longs he been like this'?" " Ashton just brought him in." "When the clock runs out, the episode is over." "And it's a sprint to the finish line from that point of view, and I suppose that just gives it a dynamic and an energy." "The difficulty I had was to make sure that everybody in every scene was giving it pace, energy, remembering the clock is ticking." "And certainly, you've got Graeme Harper directing, and before every take he bellows, "Loads of pace and energy!"" "Loads of energy and pace." "Here we go." "Action." "Martha, Riley, how are you doing'?" "The Doctor is at his best when he's putting out lots of fires simultaneously." "He's having to run from one place to the next, always having to deal with problems, always under pressure." "Suited and booted, saving the world today means a death-defying space walk for the Doctor." "Rather than just waving the sonic screwdriver, it's one of those moments where you think, "He's the hero, he's got to physically risk his life."" "There's got to be physical exertion involved." "Action!" "He's got to get in a spacesuit and he's got to expose himself to the sun." "He's got to be reaching for a button that is out of reach." "The hardest bit for me was the sequence when I'm outside the spaceship in the spacesuit, hanging on, because, of course, although you've got a big wind machine blasting you, nothings going to be able to recreate that sense of a solar storm," "so you're having to fling yourself around in the old Star Trek fashion." "It's one of those scenes where you think, "There's got to be sacrifice." ""There's got to be effort, there's got to be pain involved" ""in getting someone back."" "And on Martha's end of it, there has to be contemplation." "Doctor!" " I'll save you." "I can't hear you." "Last of the Mohicans we used to call it." "You know, when Daniel Day-Lewis is shouting underneath the waterfalls," ""I will find you."" "It's literally separating the Doctor from his companion in the middle of a boiling sun." "Right, nice load of energy." "Here we go." "And action." "I can't hear you." "We shoot tracking back, looking from both angles." "HARPER"." "In reality, it's actually just being pulled back into studio technology, so you just see ladders, lamps and bits of paraphernalia around." "But by the time the audience sees that, that is the sun." "Then what we do is we take over from the camera move and it becomes a CG move." "My shot becomes a computer graphic and then it's taken over by The Mill, and you then see the pod become smaller and smaller against a massive sun." "Although the effects are brilliant, although the set is brilliant, it's about David and it's about Freema." "It's about them acting their socks off." "I'll save you." "I can't hear you." "Of course, before you can cruise the cosmos, you need the perfect spaceship." "Well, I've never been in a spaceship before, and when I first walked on the set I just thought it was incredible." "It's all metal, and it's all the real deal." "It's always a worry when the writers start talking about spaceships 'cause you never quite know where you're gonna end up." "It's not just the pristine spaceship, gliding through space." "It's actually an old, industrial lorry of a ship." "Oh, it's wrecked." "These guys, they're doing..." "They're on that ship to earn money." "They're not on it because they love space travel." "What we try and get onto Doctor Who is what I like, is that sort of slightly British, slightly knackered, slightly homemade feel to it." "What's he doing'?" "Doctor, don't!" "I think it's something that we tend to do on the series now, is we show the future as a slightly decrepit place." "We show it as something that's atrophying rather than..." "We limit our gleaming white surfaces." "Whatever you do on Doctor Who, whatever technology or futurism you're putting on screen, it's always gonna look like it was made now." "And it should." "Science fiction in the '60s looks like it was made in the '60s. '70s, '80s..." "These programs are a record of the year in which they're made, and they should be and they should show that off." "One of the advantages of having spaceships being made with CGI rather than models, as they used to do traditionally, is that you have complete control over it, right up until you're finished." "So whenever you shoot a model, that's shot on film in a studio, at the time you shoot it and it's very expensive to go back and say," ""Actually, I'd really like a shot that does this."" "And because we have exactly the same style of thing..." "We have a model." "It's just not physical, it exists on the computer." "Oh, that's just not fair." "The Racnoss." "So I think that each generation of spaceships is extremely exciting because our spaceships that we've done for Doctor Who will probably look really dated in 20 years' time." "But the ultimate design for a spaceship has got to be the Tardis, hasn't it'?" "Because it's so mundane." "It's so domestic." "It's so wooden, and yet it's more powerful than all the rest." "From hero to sub-zero in a matter of minutes, now it's the Doctor that needs saving, and there's only one person that can help." "I can do it." " Martha, where are you'?" " It's all right." "I'm here." "Just setting everything up." "She needs to think fast, and that's a moment where they have this shift in the relationship, where she's just got to take control." "He needs Martha to return the help he gave her." "Ten seconds." "That's all I'll be able to take." "No more." "Martha!" " Yeah'?" "It's burning me up." "I can't control it." "If you don't get rid of it, I could kill you." "I could kill you all." "He's genuinely scared." "She's never heard him say he's scared, and I don't suppose there's many times that he has actually said it." " I'm scared." "I'm so scared." " Just stay calm." "You saved me." "Now I return the favor." "Just believe in me." "It's quite new to hear the Doctor be that honest about how frightened he is." "I think the Doctor is often scared of things he comes up against, but I think what makes him brave is he doesn't show it, perhaps." "And it's interesting to hear him admit that." "It's burning." "Kill me." "I don't know what'll happen, whether it'll work." "That's enough." "I've got you." "I think it's important that, as an audience, we see the Doctor has gone somewhere new and that he's faced something that he's never quite faced before." "So, didn't really need you in the end, did we'?" "Sorry." "I think it's also important that we see the Doctor not indulging that too much, that he tries and swallows it down as hard as he can." "I think that's what he does, and I think that's what he has done and will continue to do with moments like that." "How are you doing'?" "Now, what do you say'?" "Ice-skating on the mineral lakes of Kur-ha." "Fancy it'?" "Whatever you like." "By the way, you'll be needing this." "Really'?" " Frequent flyers' privilege." "Key to the flat!" "It's like she's moved in." " Thank you." " Don't mention it." "In a way, this is Martha's first story as a "proper companion"." "It's like last week, at the end of The Lazarus Experiment, the Doctor accepted her." "He stopped saying, "We're just doing this for one trip."" "He welcomed her on board." "In this, he sets her up." "He does her phone so that she can phone home." "She gets all the accoutrements of being a companion." "It's testimony to where they're at." "If they were having a normal relationship, they would be moving in at this point." "It's serious." " When I say "now", push the button." " But I don't know which one!" "Now!" "Hey, nonny, nonny." "Your breath doesn't half stink." "Turn everything off." "They might not be able to find us." " How did you think of that'?" " I saw it on a film." " All right, you staying'?" " Till you talk to me properly, yes." "Wait!" "NARRATOR"." "And so we leave this adventure with Martha holding the key to an exciting and unpredictable future with the Doctor."