"There's much ado on the set of the Doctor's latest historical hurrah." "I picked up the script, and I really couldn't believe that we were about to embark on this." "NARRATOR"." "Filming this epic adventure took the Who production team across the country and all over the Globe!" "Author!" "Author!" "It's the bard at his best." "So sit back and relax, because Confidential has the best seats in the house." "One hundred and fifty miles east of their South Wales studios, the Doctor Who team have traveled to London to film at Shakespeare's spiritual home." "It's really a big deal for us being here at the Globe." "It was very important for us to get in here, really, for this episode, because this episode is so much about Shakespeare, about the performance of his work, and we really wanted to show the audience" "what it would've been like." "The Globe itself is the most extraordinary place, and when you walk in and just see this beautiful space recreated so painstakingly and so lovingly, it's not like anything else." "It was probably the ultimate location if you're filming an episode set in Elizabethan England." "It couldn't be more perfect." "NARRATOR"." "It may well be the perfect location, but back-to-back performances of the bard mean some very long midsummer nights for the cast and crew." "The performance has just finished about half an hour ago, and all our guys have got in now, and we've got about an hour to set up our backcloth and dress this Globe as the Globe as it would've been in 1599, Shakespeare's time." "So that's a hell of a daunting challenge." "The script was originally day, but because of the Globe's availability, we had to flip it into night." "And as you can see, it's a military operation they're getting here." "We're the first drama ever to film in here, and it took a lot of quite delicate negotiation between ourselves and the brilliant people who run this theater." "I think I remember saying to Russell and Julie," ""You're sure we can get it?"" "Russell was going, "Oh, yes, of course we can, I think," you know." "So it was always there, and I think we sort of had a vague talk of a backup plan if we couldn't get it, but it didn't come to that in the end." "The Globe wasn't easy to get, 'cause it's not easy to get into there." "And it's a long way for us to travel, but the whole script had been written around that place." "And to set a Doctor Who story there, to fill it in the way we've done it, to have the whole climax of the adventure," "I think brings Shakespeare to life." "Okay, guys, let's just start clearing everybody out now, please." "If you don't need to be in here, step outside." "Thank you very much." "Filming there was quite daunting, but fantastically exciting, the idea of doing it, but logistically, extremely complicated." "We've had to bring in extra make-up people, extra costume people." "The whole design effort's massive." "All right." "Take one, A camera." " Marker." " C marker." "And action!" "Author!" "Author!" "Hardest part of all in the script was deciding exactly what Shakespeare is like, because, quite famously, not that much is known about him." "Genius." "He's a genius, the genius." "The most human human there's ever been." "Now, we're gonna hear him speak." "There's no record of Shakespeare as what he was like, what his temperament was like, if he was a beast of a man." "If he was like most tortured geniuses, there's that real dark side." "So there's no record." "You've got excellent taste!" "When he comes on stage for the first time," "I wanted rock star screams as if Robbie Williams or Liam Gallagher or Mick Jagger had walked on stage." "Shut your big, fat mouths!" "Shakespeare is a Northern monkey." "Hey, nonny, nonny!" "He's got that indie rock star feel and he does it effortlessly, and also gives him the wit and the wisdom and the humor." "It's just a lovely performance." ""Love's Labour's Lost, that's a funny ending, isn't it?"" "It just stops." "Will the boys get the girls'?" "Well, don't get your hose in a tangle." "You'll find out soon enough." "Love's Labour's Won is a genuine legend." "Love's Labour's Won." "I don't think much of sequels, they're never as good as the original." "It's mentioned in someone's diaries, and I think it's mentioned in a list in a folio somewhere." "Have you seen this last bit'?" "Must have been dozing off when he wrote that." "I don't even know what it means." "The fact that there is the possibility that there was a sequel that's lost really appealed to me." "It's strange 'cause Love's Labour's Lost isn't one of the best-known plays." "If it's the last thing I do," "Love's Labour's Won will never be played." "Well, then, mystery solved." "That's Love's Labour's Won over and done with." "I thought it might be something, you know, more mysterious." "One of the other hearts of the whole story is to have Martha's eyes opened to the Doctor's incredible lifestyle, and to take her back to Elizabethan London." "I promised you one trip and one trip only." "Episode 2 is where she actually just embraces it and goes," ""I'm so fortunate and this is gonna be fantastic."" "And, yeah, you can sense her enjoyment of it all, really." "Outside this door, brave new world." "For me, really jumping out of the Tardis and looking at that side of the street and thinking," ""Look at the workmanship that's gone into this." "We are in 1599,"" "was just probably the same as what Martha was feeling." "Back on location at the Globe, director Charles Palmer is tackling the episode's biggest problem, packing out Shakespeare's performance with just a handful of supporting cast." "The challenge was that in Shakespeare's day it held 3,000 people." "Now it holds 1,500 people, but in Shakespeare's day it held 3,000 people, and we only had 50 extras." "It was how were we going to pull that off?" "We filmed some elements here of people in the upper row, upper levels." "431, take one, A camera." "And we're gonna take those shots, which have mainly empty seats, into a green screen studio, line up some green screen elements of the crowd, and film those and composite it all together to make it look like" "all the boxes are full and the ground is heaving with people." "The Mill will paint those people into the whole theater, and when the whole thing's spliced together, it'll look like the whole place is full." "We'll actually have two huge, sweeping shots that come down across the Globe onto the stage that are full of screaming, baying, cheering people, as it would've been back in Shakespeare's time." "NARRATOR"." "But computer graphics really took center stage during the Shaw's ambitious finale." "The finale was a real challenge, you know, not least because we had to split it into all sorts of sections." "426, take one, guide track, A camera." "Sometimes when you write something, you do write it and then you're sort of half expecting a call saying," ""Could we scale that down just a bit?"" "But in this case, I got a call saying, "No, go bigger."" "Stage door!" "I storyboarded the whole thing to within an inch of its life." "And I sat down with Dave Houghton, the Visual Effects Supervisor, and worked out exactly where we needed a visual effects shot, because we couldn't have one everywhere." "I'm always aware when we get a sequence like that that we're only gonna be able to do 10, 15 shots at the most within the sequence." "So I have to think of a way to shoot the stuff around our visual effects sequences." "In the air above the Globe here, we're going to have a giant whirlwind into which these Carrionites will fly." "All of which we'll be putting in as CG elements later." "So what we're filming here are just generally plates with crowd, and plates for the witches." "They come, they come!" " Come on, Will, history needs you." " But what can I do'?" "Reverse it!" "Lots of physical effects go into making the CGI witches that are flying around bedded into that sequence." "So, you know, we had to have humongous wind machines blasting air at people." "Standby, cue wind machine, and action!" "The Doctor!" "He lives." "Then watch this world become a blasted heath." "They come, they come!" "I think the Carrionites are one of our best designed creatures just 'cause they're so odd." "I've sat in that edit a million times, and I'm not sure I could draw a Carrionite, 'cause they're quite indefinable." "They're really oddly structured and they're really quite original." "They've got the witches' chins and the witches' noses, but it's more like a carapace, more like a kind of armored shell." "And their bodies are much more, much less corporeal, they're very..." "They're kind of floaty rag things, so they can fly around gracefully." "I'm amazed by the results." "It just looks incredible." "The final result, I think, is absolutely glorious." "There's smoke, there's people screaming, they're trapped, the clouds are opening, the lightnings coming down, the wind machine's going." "Love's Labour's Won, there it goes." "Great, big epic ending to what is quite an epic story." "The Doctor, where is he'?" "Martha!" "It's a dark story." "I like futures like that." "It's very Blade Runner." "It's kind of a frightening vision of the future, I think." "You can see the Doctor coming and literally saving the whole world." "Magnificent." "The Doctor feels a great responsibility for what happens to Martha." "It's the first episode that he realizes that actually he's started to become attached to her." "The Face of Boe finally reveals his secret." "Big set-ups, even bigger picture."