"Let's all meet the Vashta Nerada." "Shh!" "This week we'll have silence in the library, so come quietly with Confidential as we shadow the Doctor Who production team." "It's certainly not light reading as we go behind the scenes for the filming of another page-turning Doctor Who script." "♪ I've been waiting... ♪" "Ha-ha-ha!" "It's kind of cool." "Donna?" "Yeah?" "Stay out of the shadows." "That's not darkness down those tunnels." "This is not a shadow." "It's a swarm." "A man-eating swarm." "♪ I've got this feeling that there's something that I missed" "♪ Don't you breathe" "♪ Don't you breathe" "♪ Something happened that I never understood" "♪ You can't live" "♪ You can't live" "♪ I can do most anything... ♪ 'What if shadows themselves,' what if the darkness itself could get you?" "Cos whatever you say, wherever you go at night, the one thing you're definitely gonna see is a shadow." "There is danger involved in this world." "Dark danger." "Vashta Nerada, perfect Doctor Who monster because they are the shadows." "They're the dust in the shadows, but they are moving shadows and Doctor Who is about shadows and darkness, gothic corners and what's out there in the dark." "♪ Every second Dripping off my fingertips" "♪ I can do most anything" "♪ Wage your war" "♪ Wage your war I can do most anything" "♪ I'm not a soldier who says he's not afraid to die" "♪ I can do most anything" "♪ I am scared" "♪ I'm so scared I can do most anything... ♪" "Run!" "What an individual Vashta Nerada looks like..." "Vashta Neradi?" "Vashta Nerad-ai?" "What a single one looks like, we may never know." "Which I suppose is unusual in that there's not a prosthetics creation or a computer-generated creation, but I guess it allows you to imagine..." "And you know, they're described as the piranhas of the air." "Where there's meat, there's Vashta Nerada." "You can see them sometimes, if you look." "The dust in sunbeams." "As David said to me today, in character, the dust in the sunbeams, it suddenly resonated how scary this episode is, really." "Everybody out!" "Go, go, go!" "Move, move, move!" "Move it!" "You want people lying in their beds at night, pulling their sheets close and saying, "I don't know what THAT shadow is."" "Every shadow." "No." "But any shadow." "It's a great idea that it's not every shadow but any shadow could have your leg off." "'And they can clearly work at a ferocious pace." "'They can strip flesh off the bone in milliseconds, yet you can't quite see them, you can't quite put your finger on them." "You wouldn't want to put your finger on them, they'd have it off." "Oh, I'm sorry, I'm sorry." "The library, yeah." "Yeah." "Taking up, please." "And action." "Out here, every book ever written." "Whole continents." "Jeffrey Archer, Bridget Jones, Monty Python's Big Red Book, brand new editions, specially printed." "Steven's written these two episodes and set them in the biggest library in the universe." "It's a whole planet made of books." "This library planet idea's been around for years." "After Steven Moffat wrote the Empty Child for series one," "I said to him, "What else do you want to write?" "We'll have anything, please, any time." "Thank you."" "I proposed a couple of ideas, the first of which was the library." "I think at some point we'd been going to do that story every year, I think." "So I feel..." "And it's magnificent." "So I feel like we've waited a long time to arrive at this library." "The library's something terribly futuristic, it's something from the far, far future." "And yet it's..." "It's full of books which are, which are... ..practical, material things, which are almost old-fashioned now." "You know, they're not downloads, then not on a screen, they don't exist in any kind of digital form." "They're real, tangible things." "And I think that collision of antiquity with technology is very appropriate to the world of the Doctor, I think." "We're near the equator, so... this must be biographies!" "I love biographies." "You read that script and think, "Blimey." "We're gonna have to travel a long way away."" "We couldn't find a lot of buildings in Cardiff." "And then there's literally an empty library on a huge scale in Swansea just before it's pulled down or sold, was sitting there." "It was like the episode was handwritten for the most perfect location." "It was gob-smacking cos we'd never have been able to ordinarily go into a building like that and close it down for the length of time we needed." "I mean, we were in there for almost two full weeks, and, you know, we needed to completely take over that place." "We'd never have been able to do that." "It would have cost us..." "You know, we would probably have had to build all that as a set." "We wouldn't have been able to get the kind of scale and the levels and the beautiful dome and just everything that location offered to us." "If our first shot..." "If we set up for two wide shots, one high and one lower one..." "Yeah, fine." "Again, get a navy, plain foreground, something in the foreground, and just a bit of creepiness." "In the episode the library did give the impression of more than one room." "We are changing the background colour." "We go from blue to yellow to red." "So we only have one location but we kind of give the impression it's more than one room." "Our design team have done a really great job, I think, and when we came here on a recce, the Swansea Council were taking all the books out, which is the opposite of what we wanted." "We wanted this place full of books and, fair play, they have filled it with a mile long of fake books." "There's not a single page behind these covers, they're all pretend." "But I think they look real." "Most people at one time in their lives have been scared of the dark." "There's no monsters in these episodes, the monsters are the shadows and your own imagination." "My job is to translate what is written and the director's wishes into that really." "It's a matter of making shadows that move." "I put lights on high stands and lower them so the shadows get shorter and longer." "And moving flags in front of the lights so the light's in the static position, but the flag might move, thereby giving the impression that the shadow is moving towards the person." "That shadow." "It's gone." "We need to get back to the TARDIS." "Why?" "Because that shadow hasn't gone." "It's moved." "Steven is so clever because he comes up with a monster that's actually invisible." "That's a shadow." "And then he somehow manages to turn that on its head and give you a skeleton in a space suit that chases people." "Back, get back!" "Get back!" "It was great with those movements in those suits, because you've got to have fun with it and be scary at the same time." "I always think it'll be a success if, Monday morning, there's some kid in a playground somewhere lumbering like poor Proper Dave." "He doesn't have to put a suit on, but doing that, it's a classic zombie walk that I know Ailsa came in and worked out for us, and you need it, you need that choreography." "The actors need that choreography, the other actors need it to respond to." "But what's better than classic zombie lurching?" "But this time it's in a space suit." "I just think it's such a strong image." "He suddenly comes out and staggers slightly in the transition stage." "Basically..." "Yes." "It's almost..." "Yes, but don't let it go weak, because remember, out of that, you're suddenly becoming stiff." "♪ Send in your skeletons" "♪ Sing as their bones come marching in again... ♪" "The first input is actually what the script says, how they are." "They're stiff, they're standing awkwardly, they move clumsily, and so that is the essence of the movement." "We've got a walk where you come up and over the top of the foot and then down, so it gives it that slight juddered motion." "And it literally is, it's like a..." "That's it." "I'm gonna do a bit of the sort of beginning of it, then they've got, like, a movement artist to sort of take over." "A bit sort of knocked knees and a bit sort of zombie movements, you know." "And action." "♪ What if I say I'm not like the others?" "♪ What if I say I'm not just another one of your plays?" "♪ You're the pretender" "♪ What if I say I will never surrender?" "♪ What if I say I'm not like the others?" "♪ What if I say I'm not just another one of your plays?" "♪ You're the pretender" "♪ What if I say I will never surrender?" "♪" "Please tell me some kids on Monday are doing that." "Then we've succeeded." "So why has it got a face?" "This flesh aspect was donated by Mark Chambers on the occasion of his death." "It's a real face?" "It's been actualised individually for you from the many facial aspects saved to our extensive fleshbanks." "It chose me a dead face it thought I'd like?" "That statue's got a real dead person's face!" "It's the 51st century." "That's basically like donating a park bench." "It's donating a face!" "The Nodes, I think, are gruesome." "They're a truly gruesome invention in that they're a dead face." "In having come up with the idea, slightly randomly, of there's gonna be an information thing" "I'll make it creepy and put a real face in the statue, that'll be cool." "Please, enjoy." "As ever with Steven's ideas, they sound astonishingly simple and brilliant when you read them, but making them is a nightmare, because that's a prosthetic which..." "The rest of the body becomes a piece of CGI, then there's the build of the actual real Node itself on set to get it turning." "Very complicated idea, but very simple at the heart of it, which is just..." "It's a talking statue." "With the idea you have to chop off the front of the companion's head and stick it on a statue." "That's just the way it goes." "It's nice to be... a cliffhanger." "It's exciting." "I teleported Donna back to the TARDIS." "If we don't get back there in five hours, Emergency Programme 1 will activate." "Take her home." "We need to get a shift on." "She's not there." "I should have received a signal." "The console signal's move, there's a teleport breach." "Maybe the coordinates have slipped." "The equipment here's ancient." "Donna Noble!" "There's a Donna Noble in this library." "Do you have the software to locate her position?" "Donna Noble has left the library." "Donna Noble has been saved." "Donna!" "How can it be Donna?" "How's that possible?" "I think the best cliffhangers will present you with a situation that there is clearly no way out of." "That's the worst possible thing I can think of doing to Donna, therefore I must do it." "Donna Noble has left the library." "Donna Noble has been saved." "The faces on the Nodes are the faces of dead people." "Clearly Donna's dead." "It knocks you, it winds you." "For Donna to be a Node, you have to be dead." "It's like, "Gosh, Donna's dead." Donna Noble has left the library." "Donna Noble has been saved." "I defy anyone at the end of episode eight to know how episode nine begins." "♪ I can feel it" "♪ I can feel it" "♪ I can feel it coming, the beginning of the twist" "♪ I can feel it" "♪ I can feel it" "♪ I can feel it coming, the beginning of the twist" "♪ I can feel it" "♪ I can feel it" "♪ I can feel it coming, the beginning of the twist. ♪" "Donna Noble has left the library." "Donna Noble has been saved." "As ever with Steven, it's so brilliant and classy, the key to all this." "I can't tell you any more!" "♪ I can feel it" "♪ I can feel it" "♪ I can feel it coming, the beginning of the twist. ♪" "Donna Noble has been saved." "Hopefully what you're asking in episode eight is..." "How does it all tie together?" "What's going on with that girl?" "What's her relationship with the library?" "What on earth has happened to Donna?" "Is she dead?" "You'll find out." "Subtitles by Red Bee Media Ltd" "E-mail subtitling@bbc.co.uk"