"The old enemy is back." "Disintegrate!" "And in a fetching new shade." "I think the blue one's my favourite." "Cleanse the unclean!" "It's all-new Doctor Who." "What's the other thing we haven't changed?" "Let's change the Daleks." "And all that stands in their way is one man with a blue box and one man with a cigar." "Go to it, Group Captain!" "Go to it." "My ambition with this episode really, was to do a sort of 45-minute Bank Holiday war movie." "Mark Gatiss takes us to Churchill's Cabinet War Rooms..." "We don't know how lucky we are." "..for an inside view on how the war was won..." "I would urge anybody who can to come and visit this place." "..and how Mark pitted The Doctor's deadliest enemy against the best of British." "It's like British icons shoved together." "Bizarrely, the Daleks feel as though they're part of it." "Join us, as we see the Daleks go bigger, badder and brighter." "They've improved." "They're stronger, more powerful, more brilliant." "It's exciting." "It's sort of what it's about, Doctor Who - every monster gets a bit better every time." "In a top-secret military installation, the Doctor Who team are filming the nerve centre of the British war effort." "Can I just ask everybody to go to their start positions?" "B Camera." "And action!" "Action!" "At last!" "Are they ready?" "I hope so." "In the meantime... ..this will pick up Dalek transmissions." "'We are the paradigm of a new Dalek race...'" "It's him!" "It's the Doctor!" "Nice paint job." "I'd be feeling pretty swish if I looked like you." "Pretty supreme..." "He's got company." "New company." "We've got to hurry up." "Go to it, Group captain!" "Go to it." "Broadsword to Danny Boy, Broadsword to Danny Boy, scramble, scramble, scramble." "Danny Boy to the Doctor, Danny Boy to the Doctor, are you receiving me, over?" "Ho-ho!" "Winston, you beauty!" "Danny Boy to the Doctor, come in, over." "Loud and clear, Danny Boy." "Big dish, side of the ship - blow it up." "You heard him, Group Captain - send in all we've got." "Broadsword to Danny Boy, target the dish and stop that signal, over." "Understood, sir." "Over." "We're going in!" "Good luck, lads." "Direct hit, sir!" "ALL CHEER" "Cut." "Cut!" "This episode has been written by long-time Doctor Who contributor Mark Gatiss, who has been asked to work his magic on World War Two." "I remember I took him out for a drink and said "Look, I want you to do the Daleks meet Churchill"." "And initially, he was sort of, "Yeah, OK..."" "I don't think he immediately leapt at it." "The Churchill bit, I went, "Oh..." The Dalek bit I went, "Ooh."" "Because..." "I mean, it's thrilling, obviously it is." "So I just sort of took a deep breath, really." "And I got very, very excited very quickly about the idea of, first of all, writing a sort of war movie, of which I'm inordinately fond, but particularly about sort of doing my own Dalek story and contributing..." "continuing the mythos." "I wondered what sort of a match he'd be for the Daleks, but actually he's been a brilliant match and absolutely adored writing them." "And it's so kind of Doctor Who, that pan in..." "It is, I know, it sort of does something to you." "'To be in anything by Mark' is, for me, a treat because I'm..." "I'm really awestruck by him," "I'm really starstruck." "And he's such a fan of Doctor Who, and he's so good in it." "In the episode he's in, he's so good." "I grew up over there." "A tiny flat above a butcher's shop." "It'll have a blue plaque soon - "Richard Lazarus Lived Here."" "It's gone." "Destroyed in the war, the bombing." "Of course." "1940, do you remember?" "Night after night, explosions, guns, firestorms." "And it's lovely to have such a great big fan write the show." "Like Steven is a huge fan, like Russell is a huge fan, I think... that gives it great heart." "And I think Mark's episode is full of heart." "I knew that he would write Churchill really, really well." "I knew he'd do his research cos Mark always does." "I knew he'd get that part of it right and I knew he'd get the feel of the wartime characters brilliantly." "In his research, Mark visited the Cabinet War Rooms in Whitehall." "Confidential took him back there to experience the real nerve centre of the British war machine." "So here we are, not in the room where Doctor Who is written, although it's very like this, but at the top secret heart of the war effort, otherwise known, Cressida...?" "This is the Churchill Museum and Cabinet War Rooms, which preserves the original Cabinet War Rooms." "How far are we beneath the beating heart of London?" "Only about 10ft." "Disappointing." "Yes." "People here would have felt they were a lot lower down." "And there is how much concrete between us and the pavement?" "There's about three metres, there's a great big slab with reinforced iron rails in it, protecting us a bit." "They had the rooms ready before war even broke out, in 1938, and they moved in here more permanently during the Blitz in 1940." "Before we go inside, tell us what this is, because it's fantastic." "This, originally, was a light push, but somebody has cleverly adapted it to make a cigarette lighter." "You know, like in cars?" "So obviously that filament lights up." "Cos this is the Map Room, full of paper, and naked flames just wouldn't have been a good idea." "You could actually plug your sat nav into that." "Speaking of which, let's go inside." "So this is the Map Room?" "Yes." "Now, our version in Doctor Who is considerably bigger, and has one of those big tables with a map of southeast England and WAAFs pushing..." "That obviously never happened." "Those are real, though, aren't they?" "But not here." "Those would have been in the RAF bases." "This was a sort of combined services, bringing all the different services together and co-ordinating the information." "This was manned 24 hours a day throughout the entire war." "Good Lord." "And it would have been, I suppose, in a fug of tobacco smoke and everything else?" "Yeah, you can see the huge cigarette end boxes." "As far as we know, pretty much everybody smoked." "It would have been horrible." "Gosh, it's amazing they lasted through the war." "The map is absolutely covered in tiny drawing pin marks." "Yes, this is the convoy map, so it would have been plotting the individual convoys of ships, which were coming across the Atlantic bringing vital supplies and men, battling against the U-boats." "So this..." "The entire place was sealed in May 1945?" "In September 1945, after the end of the war with Japan." "And erm..." "was left exactly as it was?" "Yes, the most important rooms, so this room and the War Cabinet Room, for example, were left exactly as they were and very few people came down here." "A few people requested to go on tours and they'd come down with torches, but it wasn't open to the public." "Spooky." "Was it sealed up because of the secrecy, or because they had a sense that it was an important place?" "I think they understood the historical value." "Yes." "Extraordinary." "So on this noticeboard, they were keeping the score of the Battle of Britain from down here." "Somebody's painted it in for September 15th, 1940, which was Battle of Britain Day, when the tide of the battle changed finally in Britain's favour." "God." "Extraordinary thought, isn't it?" "They were realistically down here being aware that they could be invaded." "There are rooms further down the corridor where they were planning the defence of the country." "What was it, rifles?" "Down here they had rifles." "People working here would have been expected to defend themselves, defend the site, but it's things like barbed wire on the beaches and things as well like that." "God." "We don't know how lucky we are." "And Doctor Who, as usual, found its own particular way to pay tribute to those magnificent men in their flying machines." "It was Steve's idea." "He just said, "We've got to have Spitfires in space." ""How can we make that happen?" Danny Boy to the Doctor..." "Tally-ho!" "I wanted to fly one of the Spitfires." "I get the TARDIS, it's cool." "It's such an icon, isn't it, the Spitfire?" "It remains with you." "To realise the dream of Spitfires in space, the team go into the studio for some camera trickery." "I think you can go real RAF, "Danny Boy!"..." "A little bit like that." "We shot a lot of the Spitfire with the pilot against green, to create the CG dogfight in space between the Spitfires and their pilots and the Dalek spaceship." "So what we did in order to help with those CG shots is to shoot the live-action element, which is the cockpit and the main fuselage of the Spitfire." "Cut there." "Cut it." "Well, we have a World War Two replica Spitfire here in the studio today, in the green screen studio." "And this afternoon we're shooting the live-action element of what will become a CG Spitfire dogfight in space." "Pull out, pull out!" "I wouldn't want to go in a Spitfire." "I just had a look in the cockpit and I just don't know how those guys managed to fend off the Luftwaffe in those things." "You look in that cockpit, it's cramped, the controls are confusing, you can't see out of the cockpit ahead of you, because the engine is so high in front of you." "I just don't know how they did it." "There were amazing guys, those pilots." "Absolutely amazing." "Danny Boy to the Doctor, come in, over." "With CG these days, you can pretty much do anything you like, but in order to get to that place where it's believable, you have to use the real thing." "And although this isn't a real Spitfire, it's a replica, it looks pretty amazing." "It's "Print the legend" again." "Everybody thinks of the Spitfire as the plane that won us the war and it's more or less true." "So it just had to be, you know." "Danny Boy to the Doctor, going in for another attack." "Just to have a Spitfire in space, only in Doctor Who could it ever happen, which is why this show's so brilliant, I think." "Spitfires in space with Churchill and the Daleks and a force-field round them, and the TARDIS... and really posh men going "Danny Boy, over and out."" "Only Doctor Who." "In the Second World War, Britain needed a leader, and that leader needed a war room." "So Churchill said he would run the war from here?" "Yes." "How much of it did he?" "Well, this is the War Cabinet Room and he was here for one in ten of all the War Cabinet meetings." "So it's 115 times they met down here." "Blimey." "It's amazing to think what happened in this room." "Really important decisions and discussions on the bombing of German cities." "And terrible rows, I imagine." "Yes, I'm sure it was very heated." "This is Churchill's chair?" "Yes, Churchill was sat in the middle here." "And we've got scratches on the end of the arms." "Apparently he had quite long fingernails and a signet ring, and he'd scratch the ends of the chair." "In sheer frustration." "Yes." "He was apparently a very difficult boss, but everyone was utterly devoted to him." "Yes, they were very loyal to him." "But I think he liked to have his own way." "The air is filtered all the way round?" "It's not actually air-conditioned air, just forced air from outside." "Not filtered, so very dusty and coming right down." "And so from Whitehall, they'd be full of fumes, and from the air raids, full of dust." "Yeah." "Full of dust." "So probably better not to..." "One of the typists who worked down here, who's still alive, was telling us that she got really bad catarrh, and big problems with her lungs, and had to stop working here because of the fumes from the filtration system." "Amazing." "What I think you do get very strongly from the whole place, particularly a room like this, is that everything is a kind of nicotine colour." "The light is so low and the ceilings are so low, and it's an amazingly evocative place to be, isn't it?" "Yes." "I think more so than many of the wartime museums, because obviously there's much more of our daily lives infiltrating them." "But this is IT, isn't it?" "Yes, it's a real place where they were making these decisions." "And so many people were working down here as their daily lives." "Extraordinary to get this close to history." "I mean, I would urge anybody who can to come and visit this place." "It's a museum, but it's an amazingly authentic experience." "I mean, I would be very, very, very happy if people who watched it and enjoyed the episode would then come here to find out more about it, because" "I think, as I say, it's a testament to an extraordinary group of people and an extraordinary time." "And our fictionalised version, I would like to think, in the best possible way, opens a door into finding out about history and about the Second World War in particular." "God, I think those who worked in the real Cabinet War Rooms must have had a tough time." "If it was like it was, you know, it's not particularly pleasant and there's people constantly losing their loved ones." "German bombers sighted over the Channel, sir." "And it must have been utterly exhausting and terrifying, but I imagine quite exciting at times as well." "There's a great sense of victory when there is victory, and I think there's a lovely beat in the episode where that happens, where there is real jubilation at getting one up on the Daleks, which are, you know, as bad as the Nazis." "Direct hit, sir!" "ALL CHEER" "To recreate that claustrophobia, the Doctor Who team take a trip to an old army centre." "Episode Three was a joy, to recreate the War Rooms." "We were just lucky that in Swansea we found this old command centre, in West Cross." "It's just an incredible space, it hadn't been touched since the war and it was sitting there empty, and we were just able to move in and recreate exactly what we wanted to - repaint, redecorate and create the fantastic space." "And then just to top it all off with putting Churchill in there was amazing, you know." "We're in the Joint Resilience bunker at Swansea Council, down in the Mumbles." "It's..." "It's a purpose-built sort of command centre for during the war." "This was built just after the war, I think, and it's used as a training centre for various military exercises." "There's an army bunker next door, there's a TA centre." "We know of quite a few bunkers around Cardiff and Newport and we've used them in the past, and in the script didn't quite lend itself for this." "We were thinking of building it, so we looked at various options, and just did more digging around, and just finally came up with this." "They were quite miffed how WE found it, cos they think it's a secret bunker, but now it's all over Doctor Who." "Right, on action." "Action!" "At last!" "Are they ready?" "I hope so." "But in the meantime..." "The tables, the phone..." "That's all very authentic and real, that's taken from the real place, you know, down to the minute detail." "But the space... the location, the actual room itself is more of a command centre." "The mock-up of the War Rooms - they were better than the actual War Rooms, I think." "They were brilliant." "The art team did fantastically well, and erm...it was quite dingy, actually, and quite sort of damp." "And I thought, "I really wouldn't want to be under here for two, three months at a time." I just thought..." "Those scenes have great energy." "Lots of people coming and going and stuff." "It was just really interesting to think that that's how things really were, and I suppose it was quite dingy, in a way, but it had this real feel to it that kind of made it feel really real." "PHONE RINGS" "Hello?" "Sorry, who?" "No, seriously - who?" "Winston Churchill, for you." "The Doctor is called in by Churchill, but he's late, and they're old friends." "It's..." "One of the interesting ideas Steve had is that instead of being the time he meets a historical figure, he actually has an ongoing relationship." "Hello, dear!" "What's up?" "Tricky situation, Doctor." "Potentially very dangerous." "I think I'm going to need you." "Send in all we've got!" "Well, what does he expect us to do now?" "KBO, of course." "What?" "Keep Buggering On." "Winston Churchill is kind of this great heroic role in the episode." "As he should be, it's Churchill." "My old friend." "Ha!" "Every time." "He has a lot of kind of..." "similar traits to the Doctor, which is why they get on." "He's ferociously intelligent, quite dogmatic, very brave." "He and Doctor Who have got a great... relationship, because they go way back." "They've obviously worked with each other lots of times before." "Think of what I could achieve with your remarkable machine, Doctor." "They're old sparring partners." "They get on very well, but they're not afraid to say a cross word to each other." "They're called Daleks." "They are Bracewell's Ironsides, Doctor!" "Look - blueprints, statistics, field tests, photographs." "He invented them." "Oh!" "No, no..." "No." "Yes." "And I think the Doctor actually really loves Churchill and has a lot of time and affection for him, and will always go back and visit him." "The world's got Winston Spencer-Churchill." "Have a cigar." "No." "Action this day, action this day." "Yes, sir." "I kind of wanted to get the Churchill from the posters, and examine to what extent that was true." "We will mete out to the Germans the measure - and more than the measure - they have meted out to us." "Churchill is a mass of contradictions, which is partly the reason we're still so fascinated by him." "The Second World War, which people call "the last good war", needed a man of his absolute pragmatism." "The extraordinary thing was he became absolutely the man and the hour, the perfect war leader for the Second World War." "He's an extraordinary figure - brave, tenacious, a brilliant speaker..." "We will have no truce or parley with you, or the grisly gang who work your wicked will." "You do your worst... and we will do our best." "He was simultaneously illiberal... and curiously liberal in some ways." "He was vehemently opposed to the Nazis from very early on, and never wavered from that." "How long that wicked man will torture and afflict the nation, how often or in what direction he will set his murder machine in motion... we cannot tell." "I mean, he had extraordinary people around him." "His generals were extraordinary, I think, lots of them, and it's just that extraordinary thing that can happen every now and then, that the right person comes along." "He's not a universally loved figure at all, very controversial, so to some extent you have to be very careful where you're treading." "I think in the end it came down to sort of printing the Churchill of legend, because Doctor Who is not the place really to examine those sorts of things - except wherever possible, as it were, in the gaps, in the shadows, you can suggest his pragmatism." "So in this episode, despite the fact the Doctor is telling him that the Daleks are the worst thing in the entire universe, he thinks, "I can end the war quicker, I can save lives."" "So that sort of thing was interesting to play with." "But I did..." "You know, it just isn't the place to try to have those conversations, because it's an adventure series." "Churchill's pragmatism leads the Doctor Who team onto a roof in Cardiff, to meet Winston's rather..." "unexpected allies." "Action!" "Ready, Bracewell?" "Aye, aye, sir!" "On my order, fire!" "LASERS FIRE" "Show me what that was!" "Advance." "Our new secret weapon." "Ha!" "When the Doctor first sees the Daleks on the rooftop, it's just, you know, that frightening sort of... ..surprise and, you know, you meet your greatest enemy who is suddenly reformed, and you're the only one that knows, "No, there's no way that this person" ""could possibly be that kind or that nice or that sensible or that anything."" "So it's fear and anger and terror and annoyance." "This is one of my Ironsides." "Your what?" "You will help the Allied cause in any way that you can?" "Yes." "Until the Germans have been utterly smashed?" "Yes." "And what is your ultimate aim?" "To win the war!" "They are appearing to be something other than they are." "When they're first encountered, they are khaki Daleks with these Union flags on them and they appear to be a British secret weapon." "And part of the fun of writing them like that is to give them things they could never normally have." "They're servile and... they offer people cups of tea." "Would you care for some tea?" "To actually be able to write, "Would you like a cup of tea?", in a Dalek's voice box is rather thrilling." "Can I be of assistance?" "Shut it." "# Because we are your friends" "# You'll never be alone again" "# Well, come on" "# Well, come on" "# Well, come on" "# Well, come on. #" "We seek only to help you." "I think Russell T Davies has said that there is something very World War II about them." "It is actually possible, you know, because they don't goose-step, but they do do that." "I think, essentially, you can overplay it, but I think that's probably the root of them, definitely." "The idea of the original story of them seeking to destroy anything unlike, anything other, is a very Nazi concept." "And the concept of total Dalek racial purity leads to a new paint job for the new kids on the block." "Ah, I love the new Daleks." "It's all-new Doctor Who." "What's the other thing we haven't changed?" "Let's change the Daleks, too." "We wanted them bigger and more colourful, and we wanted more of them." "My heart skips a beat when I open a script and it says, "The Daleks", because you just know it's going to be fun." "Behold the restoration of the Daleks, the resurrection of the master race." "They're just magnificent, they're really cool." "I think everyone's going to like them." "The question is, what do we do now?" "Either you turn off your clever machine or I'll blow you and your new paradigm into eternity." "And yourself." "Occupational hazard." "The blue one's my favourite, and they've all got, sort of, different classes." "There's a warrior, there's a scientist, there's a drone, and the white one is the Supreme, and he's got the big, great deep voice." "You are the Doctor." "You must be exterminated." "Don't mess with me, sweetheart." "I must admit, I still can't quite get my head around the fact that" "I was the director that got to shoot eight Daleks in one room together." "It's the best job in the world, really, for a director on Doctor Who, to have the new Daleks." "Scan reveals nothing." "TARDIS self destruct device non-existent." "All right, it's a Jammy Dodger, but I was promised tea!" "They're cool, they're like these massive..." "They are taller than me!" "The original ones are smaller than me, so they've made them huge and they're all these primary, bright colours." "These are the kind of Aryan Daleks." "They are 100% old-fashioned, pure Dalek genome, that's what the story is about." "The last of the Daleks are trying to find their purest form." "So it gave us an opportunity to restore them." "The Progenitor is activated." "It begins." "Having come back in the last five years, they sort of go away again and really, the idea was to sort of make sure that, you know, they're always with us." "By having a drone, who sort of feels like the foot soldier, a scientist, a strategist, a supreme, obviously, and an eternal - mmm..." "Who knows?" "It felt like you're sort of saying," ""This is the new team", and from this you could, I suppose, have a story that was entirely staffed with red Daleks, because they're all drones." "Cleanse the unclean." "Total obliteration." "Disintegrate." "Mark and I had great fun making up names for the Daleks, and we were particularly specific that those names must never reveal too much." "And Mark came up with four and threw up his hands and said, "I can't think of any more."" "And I suggested Eternal." "And he said, "Well, what's an eternal?" And I said, "I don't know."" "I haven't a clue to this day what the Eternal is, but it sounds cool and I bet it's really important." "And some day, I bet you that Eternal will be really important in a future Doctor Who." "With a whole host of brand spanking new Daleks to play with, the new operators are put through a Dalek driving school." "What we're doing here today is we're trying out the new Daleks for the first time." "We've got some new guys to go inside them as well." "Barnaby and I are doing our best not only to familiarise ourselves with the new Daleks, but to help the new guys out as well in just some basic techniques of travelling, turning, moving, using the plunger and the gun and all those sort of things." "Beautiful plunger action." "We are discovering things, of course." "A few little teething troubles, but it seems to be going really well, yeah." "OK, so let's start off with some quite straightforward stuff." "Heads to the left." "Just glide between these two white posts." "That's good, that's good." "OK, very good." "Very good, indeed." "That's very well done." "Give it your best shot." "Beautiful." "Textbook stuff." "Fantastic." "You're doing really well, guys, I'm very impressed." "Gosh, they're much bigger." "We haven't seen Daleks this big before." "And bigger means heavier, but also I think they move in a much more sort of menacing fashion because they're just so big and they're so heavy." "They trundle along like tanks, and we're having difficulty stopping them!" "The stopping distance is considerably..." "I hope we don't have to come down a big slope and hit them." "The good thing is there's so many different layers, like a wedding cake, to take it all apart, you all have to sort of look after each other, and I think that..." "Once you've been inside a Dalek, you know how uncomfortable it is and how awkward it is, the great thing about the new guys that we've had is, they've instantly fallen into a routine of, you know, "Let's see if we get him out"," "and, "I'll get the steps and pull him out", and things like that, so it's much better." "Yes." "It's great camaraderie, isn't it?" "Oh, it is." "Very good." "It's like a family." "It's like a little family getting back together." "Right from the start, I wanted them to be very colourful." "The Dalek movies seem to cast a bit of a long shadow, suddenly." "But I think that's great because for me, as a kid, those two films were the only versions of those two famous Dalek stories we ever had apart from the books, you know?" "I'm terribly fond of them." "And there's something so gorgeously impressive about those big, big bloody Daleks with their colourful liveries." "They kind of look like Minis." "You kind of feel like you can get in one and drive one around." "So, I just thought, "Let's go for it." Happily, everybody else thought the same." "You can't go too far with that design." "We tried a few different things that were a bigger departure and you just go, "Oh, it's not a Dalek now"." "There are certain cues you need." "You need those strange baubles, you need that dome, you need that eyestalk." "But it was time just to have a different...a different... a really, noticeably different and more frightening Dalek." "We'd initially designed the original Daleks for the new series to be the same eye height as Billie, so that the eyestalk was the same eye height as Billie." "On this, we had a much taller assistant which means the eyestalk could go up, you know, which meant we could make them much bigger." "So that's exactly what we did." "And there's a lot of Art Deco in there." "There's a lot of new angles, shapes to them." "They're much stronger." "Most of the things are still there." "The sucker's there." "The eyestalk's there." "The little round bombs on the sides are there." "When you actually see them now next to the Daleks gone by, they are much more scary, I think." "Blimey." "What do you do to the ones who mess up?" "Steve had a fantastic idea, which is here, of giving them a living eye." "Just to remind people that within this sort of tank, there is this creature." "If you look at Terry Nation's original script, he does talk about the eye being live inside there." "And it never really happened." "There's one or two moments using an iris contracting." "I just thought, "Instead of just a painted on blob or a light," ""why not actually remind people there's a living thing in there?" ""There's a nasty squidge of matter."" "I imagined there's an optical nerve all the way up and through his eyestalk." "You have a living eye sitting inside there." "It sort of icky and frightening, but rather great, I think." "HE SCREAMS" "The Daleks are scary." "I think because we're all aware of the ruthlessness of them and the fact that they will never ever show any mercy, and they will just exterminate when they can." "I think that sort of knowledge of them really scares me." "They're very exciting things to be around because..." "Look at them - there's one now." "I'm sort of in love with them." "That's the problem." "They're my arch, greatest enemy, of course, but..." "It's like when I saw the TARDIS for the first time and the blue of it, and you go, "Wow!"" "It's the same with the Daleks." "There's something so striking." "Everyone in Britain knows what that is, don't they?" "It's like British icons shoved together, you know?" "Churchill's a British icon." "The Union Jack is a British icon." "Everything about the War somehow is." "It's our noblest hour surviving that Blitz." "Bizarrely, the Daleks feel as though they're part of it... in their design." "They just look so right." "When you slap those Union Jacks on them, it's scary how right that looks." "And I'm going to prove it." "I'd been to that underground bunker quite shortly before we started work on that episode and I couldn't get out of my head that how seeing a Dalek would look so appropriate motoring around those desks and maps." "We stand in a crossroads, Doctor." "Quite alone, with our backs to the wall." "Invasion is expected daily." "I was just really excited to see who was going to play him because he's such an iconic figure in history." "And then Ian McNeice came in and did this great version of him." "So I will grasp with both hands anything that will give us an advantage over the Nazi menace." "Ian McNeice was great." "Very funny." "Me and Karen loved him." "I've never seen such a fine uppercut in my life." "My whole 65 years." "That's Winston Churchill telling me that." "It's true." "It's true." "Since Rocky Marciano." "I think Ian just plays him brilliantly and captures all that stuff, all that iron, all that grit, all that determination, all that class and humour, and fun that's in there as well." "You know, it's very ironic and quite funny and naughty." "I don't give a damn if you're a machine, Bracewell." "Are you a man?" "Rather than doing like a Mike Yarwood impersonation," "I tried to get the essence of the man." "He was such an incredible iconic character that it's a tough call." "So not everybody will get what I'm doing but it's really the essence of the man rather than an impersonation." "His humour, his wit, his bluster, his...his courage, his compassion, all those things you've got to put into it and try and give an overall feeling of Churchill." "With someone like Churchill, there's so much news footage and stuff like that." "And all his speeches, as well." "So he has a special way of speaking, too." "So, yes, I mean, it's a challenge." "It's a huge challenge to try and pull all that off." "Churchill had a journalist's eye for a great quotation and a way of speaking, and a way of making words land for maximum effect which I think he basically perfected once he was into Parliament." "'We can fight in France." "'We can fight on the seas and oceans." "'We shall fight with growing confidence and growing strength in the air.'" "The voice is based basically on a lot of the speeches that you can still hear." "'We shall fight in the fields and in the streets." "'We shall fight in the hills." "'We shall never surrender.'" "The cadences go up and down like that." "It's that sort of feeling, really." "You know, it's very, sort of, earnest, very ponderous, very, very... very Churchill." "'..so bear ourselves but if the British Empire and its Commonwealths 'last for 1,000 years, 'men will still say 'this was their finest hour.'" "When he gives that speech about the coming of the Battle of Britain, he times it like a piece of music." "You know... the, "If the British Empire and its dominions lasts for 1,000 years," ""men will still say, this was their finest hour"." "And he hits that so much, you actually sit up." "And then actually it fades away." "He knows exactly where to hit it, like a conductor, you know?" "It must have been an incredible thing to listen to." "They don't come along very often, I think." "You only have to look at how rarely a politician's speech actually makes people get stirred or emotional or proud or anything these days." "Being a good politician requires having good people around you." "Churchill recruits the brightest of the bright." "Bracewell is a robot and the Daleks have invented him, created him, to back up their story." "But he has a sort of Pinocchio-like existence because he remembers real things." "They made me." "I can remember things." "So many things." "The last war." "And the squalor and the mud and the awful, awful misery of it all." "It came as as much of a shock to him as it would to any of us." "And, of course, all that that means, in terms of psychological trauma, when you think you're one thing and you're told you're something else," "I think that stands to reason that he would be upset." "41." "Take one, A camera only." "Background action." "Action." "Doctor!" "HE SCREAMS" "Sorry, Professor, you're a bomb!" "An inconceivably massive Dalek bomb." "What?" "!" "There's an oblivion continuum inside you, a captured wormhole that provides perpetual power." "The Doctor is trying to get Bracewell to engage with his humanity." "To remember that he's not a robot, he's a human being." "And if he thinks human thoughts that this bomb won't explode because he'll be able to control it." "There's a blue wire you have to cut, isn't there?" "There's always a blue wire." "Or a red one." "You're not helping." "It's incredible." "He talked to us of his memories of the Great War." "Someone else's stolen thoughts implanted in a positronic brain." "Tell me about it, Bracewell, tell me about your life." "When the clock is at one minute to twelve, as it were," "Amy comes in with, "Have you ever fancied someone you shouldn't?"" "And it's really a sort of..." "It's actually the one that's most likely to make you feel the most human." "It hurts so much." "Good, good, good." "Brilliant!" "Embrace it." "That means you're alive." "They cannot explode that bomb because you're a human being." "You are flesh-and-blood." "They cannot explode that bomb!" "You are Professor Edwin Bracewell." "You are a human being." "Hey." "Paisley." "Ever fancied someone you know you shouldn't?" "What?" "Hurts, doesn't it?" "She saves the day again in a very brilliant way." "But kind of a good hurt." "I really shouldn't talk about her." "Oh!" "And she just very tenderly allows Bracewell to remember." "What was her name?" "Dorabella." "Dorabella?" "!" "It's a lovely name." "It's a beautiful name." "What was she like, Edwin?" "Such a smile." "Sometimes the Doctor lacks a bit of understanding of human emotions because, at the end of the day, he is an alien and he's from another planet." "And that's kind of where Amy, sort of, makes up for that." "And that's why they make such a good team." "Her eyes..." "Her eyes were so blue." "Almost violet." "Like the last touch of sunset." "I'm very fond of it as an ending because it's not just about having a huge explosion." "You actually have all the grandeur of the Spitfire dog fights and the Daleks in space." "But, actually, in the end, the thing that saves us is a piece of common humanity and slight embarrassment, which is probably the most human thing of all." "Dorabella." "Before I wrote this script, I'd read an awful lot of stuff." "Diaries and first-hand accounts form the Battle of Britain which," "I mean, I admired enormously anyone who'd been through that war." "But by the time I'd finished, my admiration had gone through the roof." "It's the most extraordinary period." "It's sort of..." "Almost everybody was amazing in their small way." "However they coped or didn't cope." "It's the sort of thing we simply can't imagine today." "The idea that you would see someone like this and then the next day, maybe everybody else in this room is dead." "I was reading some extraordinary things about the RAF." "Basically, in order to cope with the loss of their best friends, when they got back from a mission, a lot of them would just get utterly hammered." "Understandably." "But the next day they had to be back in the air." "So they used to get up the next morning, go and sit in their planes and put their oxygen masks on just to sober themselves up." "This is the way the war was won and it was a... hair's breadth between victory and defeat." "Absolutely extraordinary time." "I suppose it was a bit like if everybody had a newborn child." "People would go to work and they hadn't slept at all because of the bombings." "Cumulatively, everyone got rattler and more filthy and exhausted." "And then they got used to it and then some people got slightly more scared and other people got incredibly blase." "They started to quite enjoy it." "People go through all kinds of odd things." "It's the sort of thing that, in our existence, it would traumatise you for the rest of your life, and probably did then." "But as an accumulation of horrors and extraordinary experiences, it's an amazing time." "Subtitles by Red Bee Media Ltd" "E-mail subtitling@bbc.co.uk"