"We're on set with the cast and crew of Doctor Who as an old enemy surfaces and threatens the earth." "The Silurians are back." "♪ I'm not your number one enemy I'm not your number one enemy... ♪" "You are beautiful." "Homo reptilia, great brains, they've evolved at such a quick and brilliant rate." "♪ I'm not your number one enemy... ♪" "Action." " AMY SCREAMS Amy!" " It's got my legs!" "Poor Karen Gillan, getting sucked through the earth." "It was, I have to say, one of the scariest things." "The most scary stunt I've done." "And we exclusively reveal what happens after the cameras stop rolling, as we follow the making of an episode from the edit suite to broadcast." " Five, four, three..." " Now on BBC One, a sneak preview of a new series of Doctor Who. - ..two, one." "48, take one." "The Doctor's back and in the mood to take his courageous companion somewhere exotic..." "or so he thought." "Rio!" "'The Doctor thinks he's taking'" "Rory and Amy to Rio." "He sort of bursts out, "Rio!" "Behold!"" "And actually ends up in a Welsh mining town in the future." "Action!" "What's in here?" "'Meets a group of people who are drilling down' to the centre of the earth." "Little do they know, someone else is drilling up." "Who are you?" "What are you doing?" " And what are you wearing?" " I dressed for Rio!" "Cut there." "That's good." "Can we get one more, please?" "'In Episode Eight, immediately when the Doctor' steps out of the TARDIS, he knows something's not right." "So straightaway, he's off and running." "We'll take it that far for this one, and then all the holes and things..." "Is there two holes or one?" "One here, and then you all move back." "Then there's one there..." "'We are filming a scene where strange things are happening 'and the Doctor walks into' this scene where the earth starts moving." "You need to get out of here very fast." " Why?" " Look at the screens." "Look at your readings." "It's moving." " What is?" " Is this steam a good thing?" "Shouldn't think so." "It shouldn't be shifting." "What shouldn't?" "And the floor begins to rumble!" "THEY GASP" "The ground, the soil, the earth, moving." "But how?" "Why?" " Earthquake?" " I doubt it, cos it's only happening under here." "It's, I think, the thing that every actor wants to do in their career, a bit of wobbly-earthquake acting!" "You grow up watching it on Doctor Who and Star Trek and everyone seems to do it at one point or the other!" "Ah!" "Get back!" "♪ It's the sound of the underground" "♪ The beat of the drum goes round and round" "♪ Into the overflow" "♪ Where the girls get down to the sound of the radio... ♪" "Get back!" "THEY GASP" "Get back." "Get back!" "INAUDIBLE" "There's a bit of a competition going on there between us, and I think the Doctor always wins, cos he's got spindly legs and he can sort of move about a bit more than me." "HE LAUGHS" "♪ The sound of the under Sound of the underground. ♪" "'Originally, in the very first draft' of the first script, out of the holes came enormous creatures." "Big lizards that roll into balls and spin around and attack you." "I thought it was the best idea ever." "They were brilliant, but partly to do with budgetary things we couldn't afford to have two monsters." "Also, it meant that the proper Silurians, which was the thing you were waiting for, didn't come in until the end of Episode Eight, beginning of Episode Nine." "I think Doctor Who works best when it's on very simple fears, and there's no greater fear than the fear of the hole in the ground." "Brolly away, and...action!" "And it doesn't take the Doctor long to work out who has been creating these holes." "Cold blood..." "I know who they are!" "From the very first moment Steven said to me "Silurians", it was about making sure we reinvent Silurians for 2010." "Chris and I sort of evolved a brief between us, which was based on the original television series in which the Silurians appeared." "It was a seven-parter in John Pertwee's first year." "When the first one comes to the surface, and then is running around the moor and then hides in the barn, in the very first story," "I think it's a terrific use of a Doctor Who monster, because the glimpses that you get and the...uncertainty about what that creature is, is fantastic." "Doris!" " Doris!" " What do you want?" "Get on to the police." "Tell them there's something in my barn." " What sort of something?" " Some sort of freak!" "I saw it move in the hay." "Well, get on with it, woman!" "SNARLY BREATHING" "Aaaghh!" "There's a lot of great moments in that first Silurian story." "Hello." "Are you a Silurian?" "I think they're very fixed in every fan's memory." "I think they're brilliantly created by a terrific writer called Malcolm Hulke." "He wrote a number of really classic stories for John Pertwee's Doctor." "What was it like?" "Reptilian." "Biped." "Completely alien species." "And it didn't attack you?" "Liz!" "These creatures aren't just animals!" "They're an alien life form as intelligent as we are." "And I think the great thing about the Silurians is they're not just a monster, they're a species with a purpose." " DISTORTED VOICE:" " We were here before man." "We ruled this world millions of years ago." "So I think in writing the story, I really wanted to honour what Malcolm Hulke had created in the first place." "I'm sorry to burst in on you like this." "So what do your people want?" "No, wait." "Wait!" "Wait!" "This planet is ours!" "We must destroy them." "♪ I've been so evil with my constant invasions" "♪ But you made it so easy for me" "♪ You always rise to the occasion... ♪" "INAUDIBLE" "The apes have become dangerous." "They must be destroyed!" "♪ Go back to the start Back to the start... ♪" "That's 40 years ago now, and television's moved on and audiences have moved on." "So Steven's instruction was absolutely feel free to reinvent the Silurians and make them important now." "We wanted the Silurians to be human, in a way." "Obviously they're not human, but we didn't want them to be particularly monster-like, and therefore it was right that their characteristics were very recognisable to us." "Tasked with the job of creating this new look were the team at Millennium FX, who had a few ideas of their own." "We did actually jump ahead and we started to do a few designs based on the original Silurians." "I really wanted the Silurians to be beautiful, but also I wanted them to have credibility as characters." "RASPY BREATHING" "You are beautiful." "So they did actually want to have more of the actor's expressions being able to come through the appliances." "So we then went back with the idea of having more of the lizard design built up on the back of the head." "And to then work forwards and keep the appliances on the face quite thin." "It gave them greater freedom, it gives them greater expression, and I think there's a chance of making each individual Silurian a bit more idiosyncratic and having their own traits." "With all the Doctor Who creatures we create and have created in the past, they always start off initially with some artwork." "From there, the actors came in for a head cast and basically, this head cast is the start and the basis of everything we build up." "From that, we sculpted the headdress, the back section of the make-up." "And then, from that, we make a mould from that and then we can start on the face." "♪ Saving my face Saving my face... ♪" "The actual face pieces are cast out in a material called PlatGel, which is a material we use for generally doing old-age make-ups." "It's got a very realistic movement to it, but it's got a nice translucency to it as well, which would help just kind of soften the whole look a bit." "What's amazing about the make-up is the face, it's all stuck on..." "I don't know how it works, but it's all stuck on to her face." "So her face kind of, when she moves any muscle in her face, it all moves with it." "And she's got these scales that move around." "A lot of the time, it's hard not to go, "Oh, my God, that's amazing."" "Instead of actually listening to what they're saying." "I'm the last of my species." "No." "You're really not." "Because on the last of my species, and I know how it sits in a heart." "So don't insult me." "The poor guys that played the Silurians, they're getting picked up at half past five in the morning and having make-up for five hours." "But they are just utterly captivating." "What we will be doing to Neve today, at the moment," "I'm just about to put a little skin barrier on for her delicate little skin!" "The whole thing really is still the best part of two and a half hours, because there's quite a lot of little intricate things with doing her eyes and colouring her eyes and tying in the front of the face with the back," "little bits of airbrushing in the colours so they match." "The first time was about, what, four and a half hours?" "15 hours, wasn't it?" "!" "It felt like 15 hours!" "Felt like 15 hours the first time, yes." "I've never done anything like this before, so it's been quite..." "yeah, quite challenging." "The worst thing is that you can't hear yourself as well, cos your ears are all covered." "So it's like you're constantly muffled, so you can't quite hear your own voice and you don't have, because the prosthetic comes right up to your lips as well, it's quite an odd feeling to talk as well." "You've got to be a bit more warmed up in you're the lips and voice." "And just got to commit to everything and go for it!" "It's great fun!" "♪ It's not easy being green" "♪ Having to spend each day in the colour of the leaves" "♪ When it could be nicer being red" "♪ Yellow or gold or something much more colourful like that" "♪ Like that" "♪ It's not, it's not easy being green" "♪ You're sick of blending with so many ordinary everyday... ♪" "I've got really used to it now." "At first it was quite odd, you know, really different, and you had to work out if your face would work the same way with the extra weight on, but now," "I've actually had a weird moment where I've been going to bed at night and going, "Where's my skin?"" "Feeling like I'm missing it, like I should have it on." "I've had it on so much." "But when you look in the mirror and you see it in the end, it feels brilliant." "It's so much fun." "And of course, you don't know, you've never seen the actor unless it's a famous actor or whatever, but often you don't know the actor that's under there, so you don't know them as a human being, apart from their picture." "You only know them as a lizard!" "It's freaky seeing the Silurians in real life, it really is, because it's incredibly believable." "You think, "Oh, they're going to have green scales all over them." ""How believable can that be?" But actually, it does look believable, and you really start to buy into it." "I'd never seen Neve, who plays Alaya, out of make-up, and then I bumped into her the other day when she didn't have her make-up on." "She waved at me, and I just went," ""Sorry, I don't know who you are."" "And then it clicked eventually!" "They are in, obviously, for hours before we are and hours after we are, because we just use our real faces and they use pretend faces that look amazing." "But yeah, it was really weird seeing her." "I just heard her voice and I was just like, "I never imagined you to..." ""You've got real skin!"" "Remnant of a bygone age on Planet Earth." "And by the way, lovely mode of travel." "Geothermal currents projecting you up through a network of tunnels." "Those tunnels presented a "hole" new set of challenges for the crew to overcome." "So we think he's gone away, so the camera's low down here, and he's scrabbling away and then suddenly he's just pulled back." "It was quite a big technical ask, you know, the holes and the floor." "The first thing we had to do was to... we decided not to build it in the studio, 'we wanted a big-scale set, we wanted that big store room 'to match the industrial feel of that dilapidated coal mine." "'We scoured every warehouse and empty building for these holes' and we finally found this warehouse in a steelworks that had an old mechanic's pit in it." "So today is the disappearing of some of the main characters through the floor." "And what we've got in there is a special rig in order to give the impression they're being sucked down." "It's like an inspection pit where we're working in the workshop, and I've constructed a framework containing one of these lorry tyre kind of contraptions, which basically is pushed together, so when the artist goes through" "'the hole, with the soil and everything 'that's laid on top of this tyre, it forms around the artist." "'It looks like the floor is actually sucking them through the floor." "'It is 100% safe,' because they're not going into sand, just going into a void." "♪ There I was, a-digging this hole" "♪ A hole in the ground So big and sort of round it was" "♪ And there was I, digging it deep" "♪ It was flat at the bottom and the sides were steep" "♪ When along comes this bloke in a bowler" "♪ Which he lifted and scratched his head" "♪ "Do you mind if I make a suggestion?" "♪ "Don't dig there, dig it elsewhere" "♪ "You're digging it round and it ought to be square" "♪ "The shape of it's wrong It's much too long" "♪ "And you can't put a hole where a hole don't belong"" "♪ I ask, what a liberty, eh?" "♪ Nearly bashed him right in the bowler" "♪ Well, there we were discussing this hole" "♪ A hole in the ground So big and sort of round it was" "♪ It's not there now The ground's all flat" "♪ And beneath it is the bloke in the bowler hat!" "♪ And that's that. ♪" "Poor Karen Gillan, getting sucked through the earth." "She was very brave, God love her." " Was it fun down there?" " It's just like a little hole." "Quite scared now!" "I've just been shown the device that's going to be used for me being sucked under the ground, and it's actually quite scary, cos there's just this little hole, room-type thing, underground." "There's this rubber ring that expands when I come through it, and I kind of have to hold my breath and go under the soil." "I'm quite scared, I have to say!" "But no, it should be an experience." "It's kind of like being born." "That's what it feels like!" "That's a new analogy!" "Through the womb!" "Yeah, that's what it looks like!" "'It's so scary and claustrophobic, was the word." "'And that's the first time I've felt like that doing a stunt." "'And I thought, "Right, OK, I've never felt so scared'" ""doing a stunt before, so I'm going to use it in the scene."" "So there wasn't actually much acting in that scene, it was genuine fear!" "And turning over." "Here we go." "And action." " AMY SCREAMS Amy!" " It's got my legs!" " Don't let go." " Never." "I've got you." " OK." "Don't let go." " Go, now!" " What's going on?" "It's pulling me down!" "I'm not going to let you go." "It's pulling me down!" "Its pulling me!" "Stay calm." "Keep hold of my hand." "Hold on." "Tell Rory..." "Amy, no!" "No!" "No!" "No!" "No!" "No...no..." "It was definitely the most scary stunt I've done." " It's someone's birthday today, I believe." " Yes, it is." " Happy birthday!" " CHEERING AND CLAPPING" "'When it was my birthday on set, I was 27.'" "They gave me a lovely sort of caricature cartoon of myself." "Yeah, look!" "Look at that!" "Really, thanks." "It's really nice." "Everyone's been so lovely." " ALL: - # Happy birthday to you!" "♪ Happy birthday, dear Matt Happy birthday to you!" "♪" "Oh, that's lovely." "Thank you." "Hooray!" "They gave me some lovely presents and made it really lovely for me." "My mum was very pleased with them, cos they made a fuss of me, quote, unquote." "And on an even more positive note, is that lunch now?" " ALL SHOUT:" " Yes!" "The crew work incredibly hard to film an episode of Doctor Who, but when the cameras have finished recording, there is still an enormous amount of work left to do." "I don't think any show on television goes through the transformation that Doctor Who does in its post-production." "As soon as the camera stops, first thing that gets done is I jump into the edit suite and we start to put things together." "The job of the editor is to go through all the material the directors shoots, find the best performances, the best storytelling, and basically bring it all together to make a good scene, which then goes into making a good show." "We are sort of re-birthing the story, in a way, finding out what the nitty gritty of the story is and getting down to that and really honing that over quite a number of weeks, really, and quite a number of versions." "Where's Rory?" "Didn't like me wearing my engagement ring, went to put it back." " We should go back for him." " No, he knows we're up here." "This is the scene now that we cut out." "He dawdles." "He's always been a dawdler." "Anyway, I wanted to ask..." "'Episode Eight, when we first cut it together, 'was about 60 minutes long, wasn't it?" "'And obviously we're looking at a running time of about 45 minutes." "'So we had to lose 15 minutes, more or less a quarter' of all the stuff we'd shot in the two weeks we get given to shoot it." "So we had to find 15 minutes of material, in what was a tightly-packed story anyway, and pull that stuff out." "Me and Rory on the hillside, future us." "That's good, right?" "That happens?" "We get a happy ever after?" "As things stand in this time stream." "Time's not fixed, so things might change." "'That particular scene was quite long." "'And they'd actually shot it in a very nice' tracking shot, as they walked away." "And it just went on for too long." "Bottom line." "We just couldn't afford, we were over length anyway." "Yeah, I see your point." "But yes, I like him." "A lot." "It was a lovely scene." "I loved the colours in it and the look of it and I thought Karen and Matt were brilliant 'and it was a really nicely-written scene." "'But at that point in the story, we wanted' to get to the hole, we wanted to find out what the next step was." "And therefore, probably a minute, a minute and a half of screen time of them talking about their relationship with Rory, wasn't particularly relevant to the plot." "It was lovely, but it wasn't relevant to the story." "So unfortunately, it had to come out." "It's a bit difficult controlling your nerves when the night before your wedding goes on for months!" "Especially when the cold's getting at you - did I mention?" "Dressed for Rio!" "As soon as we're kind of happy within the time restraints we have with the cut of the story, we then show it to producers, executive producers, the writer, sometimes." "And they then give us feedback." "I think on Episode Eight, we went through how many versions?" "Was it 13 versions?" " Yeah." " So, you know, it's a real honing process, and it's good to get everyone's kind of objective viewpoint, so that we're all working towards making the strongest programme." "What do we do now?" "That process takes three or four weeks." "Once that's done, it goes off various directions as a programme, it's split everywhere." "So next, it's off to visual effects company The Mill, where they add all the computer-generated images." "At the end of Episode Eight, the Silurian city is revealed." "It's a sort of classic matte painting, which is one of the main areas of work we do on Doctor Who to create environments that don't exist." "That we shot against a big green screen, with a partial set, and we will then go and set about creating the under-earth city of the Silurians, to try and match the concept that's been approved." "Aside from making the large majority of the visual effects in the new Doctor Who series, we also grade the programmes as well." "And that involves one of four colourists sitting down for two days, generally an episode, adding the kind of look and balancing out all the colour in the picture for an episode." "So what we have here is an end sequence in the TARDIS." "And if I just run three shots together, we have this shot..." "The next shot is ungraded - that's straight out of the camera - and then this shot is graded." "So my job now is to make this scene here fit in with the other shots around it." "So if I start, and if I just put some contrast in first and just make the picture start to look a bit more interesting." "Maybe this is about right." "But the problem we've got now is that over on the left-hand side of that screen, where the Doctor and his assistant are coming into shot, we can't really see them." "So here, I can start drawing shapes on the screen there." "If you can imagine doing all this with your Photoshop at home, and wondering how quickly this is responding." "I now have to hide this, cos I don't want anybody to see what I've done." "So using some of these tools here." "So we can now run that." "So if we just run the shot, to make sure it looks OK." "It's starting to feel right." "I can see what's going on." "The point of this shot is they're coming in." "We can give it quite a different look." "We can change the mood, cos the original image was this, so we can change it an awful amount." "So we can just sort of play this now." "Do we like it?" "Do we think this is going to say the right thing?" "I think we could probably go with this." "I'm in my nightie." "With sound, once the picture's completed, the sound boys and girls come in to the edit suite, and we sit and we watch the entire episode and we decide what sound effects we want where and what those sound effects should be." "Sound is incredibly important in Doctor Who." "Just the noises of places, it's no longer clunking wooden sets, it's metal corridors or it's stone corridors." "I'm a foley artist, and we have to replace all the physical sounds for the whole programme." "It's basically replacing everything to add to the finished product and for when it's sold to other countries and the dialogue's removed and their own language is dubbed on." "I'm the sound effects editor on Doctor Who." "♪ Oh, I love it when you make that noise... ♪" "Sound effects are all the extra things, the additional things, that we put in to the shown." "The background sounds, you have to create atmospheres to make you believe you're in these locations." "Things like punches, the sonic screwdriver, explosions, all the juicy bits, really, all the additional bits that the sound didn't exist on location." "I add all those in." "♪ I'm a sucker for your sound" "♪ And I love it when you're loud" "♪ I'm a sucker for your sound" "♪ You know I'm playing with you now... ♪" "Well, for the soil, when a character gets dragged down by the Silurians..." "Oh, oh!" "Oh!" "Aaaah!" "Soil is quite difficult to do, because it doesn't actually make very much noise on its own." "So we've got it on a big cloth, and that sort of enables you to get more volume out of it." "GRAVELLY, SCRAPING NOISE" "When David Tennant left the show last Christmas, he took the TARDIS with him." "It was in a bad state." "And now we've got a new TARDIS, regenerated, and with the regeneration comes a new set of sounds." "Out has gone the creaky door for the TARDIS." "He's finally oiled it after all these years!" "It's not altogether new, because I've got access to the Radiophonic Workshop archive, and I thought, it looks to me more like some of the older TARDISs, maybe." "So I've got a sound in there that is one of the background sounds that was used in the '70s and '80s." "This is what it sounds like all together..." "HOLLOW WHIRRING" "That's the old Radiophonic sound." "It's just one element." "DEEPER WHIRRING" "If you play them together, you may not hear it, but I know it's there." "That's it by itself again now." "With the TARDIS door, Paul, the effects editor, will have laid the sound, a specially-created sound for a TARDIS door." "So what we do is we're just sort of adding the physical..." "an extra element." "So if the Doctor touches it... and just something for the latch on it that will go with the other effects and be mixed together in the dub." "Well, that was quick." "We don't always use the same object, because we may not have access to it." "And also, sometimes things don't make the sound you expect them to." "The actual physical object may make no noise, but you want it to make a specific noise, so you have to add to it or just improvise." "PLASTIC CLATTERING Can't be." "It is!" " It's you two!" " No... we're here." "How can we be up there?" "♪ I'm a sucker for your sound" "♪ And I love it when you're loud" "♪ I'm a sucker for your sound" "♪ You know I'm playing with you now... ♪" "Sonic!" "Well, the new Doctor's got a new screwdriver, so we're using a vice, which has got lots of nice clicky bits on it." "It's good for the handling." "But sometimes you do need to add another element to it, just to make it easier to use." "HIGH-PITCHED SQUEALING Hear that?" "CLICKING AND CLATTERING Afterwaves of a recent seismological shift..." "Again, all the beeps and technical sounds will be put on afterwards." "So it's just for the handling." "The sonic screwdriver, on location, doesn't actually make a sound." "No, no, no, no." "THRUMMING" "It would get in the way of the dialogue." "I put the sonic screwdriver sound in here and I use this synthesiser." "And so every time the Doctor uses it, I will make a new sound." "I can make it maybe..." "HIGH-PITCHED WHIRRING" "A bit higher frequency." "I'll bend the sound..." "TONE WAVERS" "Cos if he moves it around, if you don't change the sound, it doesn't sound like he's moving it around." "Restricted access." "No unauthorised personnel." "Mmm." "HIGH-PITCHED WHIRRING" "That is breaking and entering!" "What did I break?" "Sonic-ing and entering." "Totally different." "METALLIC CLATTERING AND BANGING" "That was great!" "We just missed Amy's hand on the gate." "One of the best parts of the job is you know that millions of people are watching it." "I remember doing the stomping sound for the Cybermen." "HEAVY METALLIC THUMPING" "And then in the school playground," "I saw a kid pretending to be a Cyberman, going, "Stomp, stomp, stomp." That's my sound!" "You know, the kids are re-enacting my sound because, you know," "Doctor Who's that big." "It's that good." "Suddenly, the doctor changes in appearance, becoming younger looking, with a wider nose and more prominent chin." "But sounds effects aren't the only audio added to the episode." "Before transmission, the programme goes off to an audio describer." "Audio description is basically an additional narrative track for blind and visually-impaired viewers." "It basically gives a whole extra layer of detail." "When it arrives to us, we attach the clip to our audio description software, and from there, we watch the programme bit by bit and find spaces in the dialogue that we think could do with an added layer of descriptions." "So you can give blind, visually-impaired viewers the full experience." "It's very different from something like EastEnders." "EastEnders might have 40 descriptions and you're going from in the Vic, in the caf, whereas Doctor Who, you've got a whole array of things to describe." "As an audio describer, it's quite a challenge." "So you've got everything from costumes, you know, for the Doctor, hairstyles and things, right up to the most elaborate creatures that you come across." "Things like skin texture, their movements, if they've got one head, many heads, many mouths, many eyes." "All that sort of thing." "Because it's so unusual, it's important to get that across, because that's part of the charm of Doctor Who." "And so once all the elements have been finished, it's off to the Broadcast Centre for transmission." "♪ Fade out, a new transmission's coming, here we go... ♪" "A tape will be delivered in from various sources." "It will be put into the flexicarts and we will then start to record on to our system." "From this centre, it goes to Television Centre." "From Television Centre, it then goes to the BT Tower." "And then from the BT Tower, it goes into your homes." "♪ Fade out, a new transmission's coming, here we go!" "♪" "We've got our clip, which today is a Doctor Who trail." "We've got a helicopter ident." "We've put that into our system, and we're going to run it with a continuity announcement as we would the programme when it goes to air." "So that's five, four, three, two, one - cut." "Eleven, ten, nine, eight, seven, six, five..." " On BBC1, here's a sneak preview for a new series of Doctor Who. - ..one." "Cut." " Who are you?" " I'm the Doctor." " Doctor who?" "I'm looking forward to sitting at home and watching it as a viewer." "Nothing beats the experience of actually seeing it go out live." "It's extremely exciting." "Of course, we will actually still be working on the series." "We don't finish the series until about three weeks before we start the next series." "So there won't really be a point where we sit down and relax, but we will certainly sit down and enjoy it." "But of course, they can't transmit the episode until all the filming is completed, so it's back on set, where the Doctor and Nasreen are looking at the situation." "Because some of our party have been kidnapped by the Silurians, the Doctor's decided to go down under the earth, and me being a geologist, I have to follow him, because this is my dream." "I've spent my life burrowing into the earth, and now I might get a chance to see it." "I have spent all my life excavating the layers of this planet, and you want me to stand back while you head into it?" " I don't think so!" " I don't have time to argue!" " I thought we were in a rush." " It will be dangerous." " Oh, so's crossing the road." "Oh, for goodness' sake!" "All right then, come on." "So, yeah, I did the whole thing, the walking through the front of the TARDIS and finding the palace inside!" "Action." " Very precious." " No way!" "But...but that's..." "This is..." "Oh!" "Fantastic!" " What does it do?" " Everything." "I'm hoping, if we're going down, that barricade won't interfere..." "Whoa!" "Oh...my God!" "As well as the very high-tech stuff we have on board, we have to use a little bit of low-tech with a fishing line and pulling and shaking of things to make it look like it's being shaken about." "The pipes hanging from the ceilings, if you're shaking everything else, you're shaking the camera, and the pipes are still stationary, it gives away the fact the TARDIS isn't being shaken." "We tie fishing line onto them and feed them round to different parts of the set." "We've got people pulling on the fishing lines to shake these pipes." "It gives the illusion that the whole TARDIS is being shaken." "Can you keep it up for rehearsal and after rehearsal we'll sort it out, is that all right?" "I'm just worried it's going to pull off wherever it's attached." "The only problem we had there was that we had to raise one of the pipes up out of the way of the Jimmy Jib." "So it wasn't quite going high enough, to the highest point we could get to on the balconies." "So I had to go up onto the gantry and tie it off and pull it up vertically out of the way." "We had to make a little fishing pole, if you like, to grab the fishing line and pull it up." "Action." "♪ Out of control... ♪" "Today was a little painful, actually, landing on a very hard Perspex floor." "I'm sure I have a lot of bruises tomorrow, but I shall show them with pride." ""Got this from the TARDIS."" " Oi!" " Where are we?" "When the Doctor and Nasreen arrive at their destination, they soon find out that they may have bitten off more than they can chew!" "Ah." "Maybe more than a dozen." "Maybe more like an entire civilisation." "Episode Nine really is - can the Doctor and Nasreen, two people beneath the earth, face down a whole civilisation of Silurians?" "Episode Nine is a very, very different episode." "Everything could change." "And maybe it will." "Subtitles by Red Bee Media Ltd" "E-mail subtitling@bbc.co.uk"