"Join Doctor Who Confidential on a journey." "A journey with a writer living his fantasy." "It was just a great, big, colorful idea." "I mean, really, for the early '50s, that is the one." "You can read a page of the script and you can tell that it's Mark's." "You can watch it." "You can..." "There's an essential Mark Gatiss that creeps through and it's a very enviable thing." "And we're lucky to have him." "It's time to put on your blue suede shoes, bright-pink skirts and take a trip back to the 1950s." "Straight from the fridge, man!" "From a very early stage, I kind of wanted the climax to be at Alexandra Palace." "I thought with the huge mast remaining, it gives a kind of King Kong resonance to it, which is quite nice." "I remember getting that script for the first time and turning that page when you realize the end battle is going to be on the mast of Alexandra Palace, and thinking, "Oh, God!"" "You never know because of the constraints of filming whether it's going to be possible." "There was also a bit of," ""Actually, we can do this and we can do this really well."" "Look up to where Magpie is." "Action." "I can't do this!" "Please!" "Please, don't make me." "This is the scene of my death where I get fried because I..." "I suddenly, having been the intermediary, the servant of the monster of Maureen Lipman..." "She orders me to kill Doctor Who and I say, "No, I'm not going to do it,"" "and she fries me with electric pulses and things like that." "You promised me peace." "Then peace you shall have." " Magpie's on that bit, isn't he'?" " He is, yeah." "We're shooting on the helipad in Cardiff today." "There are a few technical issues when we're looking down on the transmitter." "We need to contain the actors within a green screen." "It's a composite shot involving two or three elements, you know, a matte painting based on a live-action element of Alexandra Palace, shots of the Doctor and Magpie on a part of the transmitter." "I was expecting it would be one of those days when you were harnessed up with endless, kind of, safety wires." "Which is always a bit boring, frankly." "But because we were only on a stretch of full pylon, which is only about 20 feet tall, we were allowed to climb up and down it relatively freely." " Just climbing, no lines in this bit, is there'?" " No." "You become very precious about lines, particularly lines you love, and it's always awkward if you feel they've gone." "But in the end, it's not for malicious reasons." "There was a lot of wonderful stuff in Mark's script which didn't make the final cut just 'cause there was too much of it." "There were some fantastic speeches that I had that we just never got to film because it was such a rich and full episode." "Cutting stuff is just an economy." "It's a briskness." "It's a confidence, actually." "It says, "This is working."" "The natural enemy of all writers is blank paper." "It's what offends us and scares us the most in the whole world." "The best way to overcome it, I find, is just to write." "And it means you write quite a lot of nonsense at first, but you just have to kind of plow through that." "In any other drama, you type scene 1, day, street." "Or scene 2, pub." "Scene 3, bedroom." "And with Doctor Who, you're sitting there going," ""You can be on a space station or a different planet."" "The brief was a '50s story, uh, quite rock 'n' roll." "Is there any other way to go, daddy-o'?" "Three, take 3." "The main unit is filming Maureen Lipman, as The Wire, inside the old TV studio where she would actually have done it if she'd really been Sylvia Peters or one of those people." "Oh, dear." "Has our little plan gone horribly wrong, Doctor'?" "This is the place where television began and so, historically, you can smell the buzz in this room." "You really can feel the electricity." "The role of The Wire in episode 7 is based on the archetypal BBC presenter." "And everything's incredibly proper." "We wanted an actress who'd have some fun with it but who'd also be able to command authority and be properly scary." "And Maureen Lipman combined those two things perfectly." "Now, are you sitting comfortably'?" "Good, then we'll begin." "Feed me!" "And I'm hungry!" "It's quite good to be able to just go round the corner to Ally Pally and be absolutely nasty." "Really horrible." "Horrid." "I knew as soon as she said, "I shall consume you, Doctor,"" "that she knows what to do in these circumstances." "Mark was on set a lot of the time, which is just wonderful to have the writer there." "You can never go back." "That's your tragedy." "Is that personal to Magpie'?" " No, it's about..." " it's general for the world." "They're forging ahead regardless of consequence, I think." "Mark writes these fantastic characters." "Characters like Magpie." "Please." "You're burning me." "Inside." "Behind my eyes." "There's a goodness that comes out, um, in his characters." "There's a marvelous faded elegance about Magpie." "He describes, you know, this man who's been disappointed by life." "He sat there in his vest, kind of in his little shop." "And it's incredibly evocative and incredibly detailed." "Well, the thing is," " Detective Inspector Bishop..." " How do you know my name'?" "It's written inside your collar." "There's a particular scene between Bishop and the Doctor which is an interrogation scene and it's, essentially, an inversion joke." "He starts with a light in the Doctor's face saying, "Tell me everything you know."" "By the end, the Doctor is standing up and he's sitting down and the Doctor's saying..." "Start from the beginning." "Tell me everything you know." "It was just trying to work out what the tipping point was, where the Doctor could rise and Bishop would sit down." "Quickly, where was she before this happened'?" "Seeing it realized is always a curious moment." "It's never quite the way you imagine." "The detail's everything and I think that's what's great about being able to visit the set." "It's not just about the Coronation, it's about the whole flavor of the time." "Doing a period episode like this is probably one of the most difficult things that we do." "On this show, I've got a fantastic team that, you know, I can absolutely rely on." "So that scene is only as good as they can manage." "And they've dramatized it brilliantly." "As you can imagine, this whole street has had to be closed off now." "Some of the doors have been replaced." "Some of the windows have had to be replaced so they look authentic and they look like 1953." "We've got all these wonderful motorcars, look." "Cue the car, look." "This looks fabulous." "I thought we'd be going for the Vegas era." "You know, the white flares and the chest hair." "By having them think they were going to '57, we get Billie in the beautiful dress." "And we were always, all of us, so keen on this to get something really iconic with the two of them to get the fun of the 1950s." "Yeah, well, me and Mum, Cliff Richard movies every Bank Holiday Monday." "Cliff!" "I knew your mother would be a Cliff fan." "And so ends the writer's tale, leaving the Doctor and Rose once again united." "From The Idiot's Lantern onwards, it is the Doctor and Rose." " Hi!" " Hi!" "These two best friends traveling together and what they mean to each other." "The Doctor and Rose love each other." "I think it's that simple." "That's what I like about you." "Anyway, I'm the Doctor and this is Rose." "Hell of a right hook." "They have battle after battle after battle to stay together." "Magpie, help me." "It's like the universe is becoming rougher around them." "The challenge to the two of them is becoming tougher and tougher and tougher." "They left her in the street." "They took her face and just chucked her out and left her in the street." "The Doctor is beset by grief and that kind of drives him forward to..." "You know, that's his big motivating factor." "To save the planet and to save Rose." "There is no power on this Earth that can stop me!" "Come on!" "And there's just something twinkling away at the back saying, "Are they actually having too much fun?"" "There's an increasing feeling, a threat, that someone somewhere is going to have to pay the price for this." "Good night, children."