"Day four, Take 3, A camera." "All right?" "The concept is, um, we always sort of wonder, what goes on in the Tardis in between episodes?" "What's a normal day in the Tardis?" "What's a normal conversation that they actually have?" "Rather than sort of being on this mission." "And that's what these scenes are all about." "So it's kind of really insightful." "And fun." "We shot the fourscenes over two days." "We deliberately did the two parts of the Tardis paradox, landing in itself scene, on one day, essentially because that's..." "It's really one long scene with a cliffhanger in the middle, so it made sense to do it all in one day." "All the costumes are the same, everything is the same." "So, we did that in about 12 hours." "And then on the second day, we then did the other scenes, the goldfish scene and the euphonium scene." "In the first scene, Amy is woken up when the telephone rings in the Tardis at night." "Hello?" "And by answering it, accidently throws herself into a crazy adventure." "Hello?" "Ah!" "Yes, everything's fine." "Don't worry." "Well, exactly." "Why should you be worrying?" "Who even mentioned worrying?" "She's fine." "No, your mum is..." "Your mum is fine." "Don't answer this phone, I answer this phone." "The Doctor's been out at a party and got himself in a little bit of a scrape." "And the Queen of England, bless her, has been turned into a goldfish." "Or Liz Two, as we prefer to refer to it." "It's your son, ma'am, he wants to talk to you." "We can't let him see you like this." "Well, hear you." "Not that he could hear you, you're a fish." "How do you direct a goldfish?" "You don't direct a goldfish." "You pop it in its bowl very carefully, with the help of the goldfish wrangler." "Actually, we had two goldfish wranglers, qualified individuals, who were on hand, to look after our fishy friend throughout and plop it in its lovely little bowl." "And then you have to make sure or hope, if you like..." "There is no way of making sure." "You have to hope that when you're shooting it, that it's doing what you want it to be doing." "And in the wide shots, when it's there and it's quite small, it doesn't matter." "But when you're doing the big, big close-up of the goldfish and the Doctor's holding the phone up to the fish," "there's no way of making sure that the fish is in the right positioning for that." "So, it was difficult." "And the answer is when you're trying to get a shot like that you roll all the time and you do it eight times." "And one of them will be good." "River, we've got the wrong fish." "Look, sorry, you two, I've made a mistake." "I've got three hours to save the Commonwealth." "What happens in three hours?" "The pet shops open." "Six, Take 1, A camera mark." "B camera mark." "I was just helping out a possessed... orchestra on a moon base." "And before that, I prevented two supernovas, wrote a history of the universe, all in jokes, and did a bit of locum work in Brixton." "Lovely practice, very short-staffed." "What's wrong?" "We're all such tiny parts of your life, aren't we?" "All the friends you make just flicker in the night, you must hardly notice us." "Amy, you are enormous parts of my life." "And you are all I ever remember." "Speaking of which..." " My life doesn't make any sense." " I know." "For me, one of my favourite things about the scenes is, hopefully, even though they all feel very different, is that Steven's very cleverly managed to glue them together with this theme of" "Amy desperately trying to ask the Doctor something really important to her." "And the most clever thing about that is that it's not just to do with these scenes, in that it nods to everything that happened in Series 5 and her sort of ongoing mindset as she comes into Series 6." "That's what I've been trying to talk to you about." "I know." "Amy has a big question for the Doctor which she needs answering." "But he's very kind of reluctant to answer." "When I first met you, I didn't have parents." "And I'd never had parents." "And then you did whatever it was you did and rebooted the universe and suddenly, I... had parents." "And I've always had parents." "And I remember both lives in my head, both of them in my head at the same time." " And its fine, isn't it?" " Yeah, but it shouldn't be." "She's worried that at any moment, that it could all disintegrate." "And it could destroy, you know, who she is, in her head." "The thing is, Amy, everyone's memory is a mess." "Life is a mess." "Everyone's got memories of a holiday they couldn't have been on or a party they never went to." "Or met someone for the first time and felt like they've known them all their lives." "Time is being rewritten all around us, every day." "People think their memories are bad, but their memories are fine." "I think it's brilliant how Steven managed to create that as a theme that runs through all these very different episodes, but also as something that connects them back to the series as a whole and Amy's experiences with the Doctor throughout all the series." "The past is really like that." "That's ridiculous." "Ah, now you're starting to get it." "Okay, ready, guys." "Ready?" "And action!" "What are you doing?" "Helping the Doctor." "Um, it's humming, is that okay?" "Yeah, it's fine." "We're just entering conceptual space." "Imagine a banana or anything curved." "Actually don't, 'cause it's not curved or like a banana." "Forget the banana!" "Rory is helping the Doctor fly the Tardis." "Well, mend the Tardis, much to Amy's disgust." "And action!" "Okay, attach thermo couplings two, seven and 11, like I showed you." "How come he gets a go?" "You never let me have a go!" "Uh, Doctor, don't." "Seriously, I let her drive my car once." "Yeah, to the end of the road!" "Yeah." "Where, according to Amy, there was an "unexpected house"." "Aw, he's jealous because I passed my test first time." " You cheated." "You wore a skirt." " I didn't wear a skirt." "It all begins with a short skirt that Amy Pond is wearing." "Rory, um, catches a glimpse up it and actually drops..." "Drops a thing, one of the things that makes the Tardis work." " It was my fault." " Of course it wasn't your fault." " It kind of was her fault." " How could it be her fault?" "Because it was my skirt and my husband and your glass floor." " Oh, Rory!" " Sorry." "We're doing this scene which... where the Tardis materialises inside the Tardis, because I've dropped something." "I think for me, one of my favourite moments of all of it is that huge jib shot, as it pulls back away from their faces and spins round to reveal the Tardis." "Is that supposed to happen?" "Take a guess." "No?" "The Tardis appearing inside the Tardis." "You know, in 40 years of Doctor Who, no one's ever done that before." "It's a little bit of a brain melt, the whole process of doing it." "And, you know, it was really fun to do." "We didn't just feel that we were enjoying ourselves, we felt that we were making a little bit of Doctor Who history while we were at it." "Now that we're stuck here for all eternity, at least you won't get bored." "The inside of the Tardis is now joined to the outside of the Tardis." "Worse than a time loop, a space loop." "Nothing can enter or leave this ship ever again." "I think Steven is brilliantly bonkers, the stuff that he comes up with." "We get locked into a space loop, which is worse than a time loop, apparently." "So says the Doctor." "And then..." "And then another Amy comes into the Tardis." "Okay, kids, this is where it gets complicated." "So, two Amys are face to face." "But she's from the past." "I don't understand." "Neither do I." "It's really complicated." "No, she's from the future." "That's one of my lines." "I'm just remembering what I heard myself saying when I was standing where you are now." "You can go in the Tardis and then come through." "But then one of the Tardises jumps ahead in time and you end up going back in time if you go through the same doors." "Back in history, so you can tell yourself things that you don't know yet." "She basically has this..." "She's locked in a loop." "Amy's locked in a loop." " I still don't understand." " You still don't." "Whoa, what are you doing?" "I have absolutely no idea." "Okay, that is a bit weird." "We used three different methods to create the illusion that there is more than one Doctor or more than one Amy." "The first method was the whip pan, which is basically when you shoot two shots where you whip quickly across them." "And you shoot the front half with the Doctor in it, and then you shoot the back half with the Doctor in it." "And then you just cut them together." "And because of the motion between the shots, hopefully, you can't see the join." "So we've got a shot here which is Matt stepping into the Tardis." "And then the camera whips off to the door." "Obviously he's not there because, you know... the Tardis isn't real." "And then the second half of the shot shows..." "Goes from the Tardis door and it whips into Matt stepping into shot." "Now, when you cut those shots together, hopefully, if you've done it right, hopefully, he steps in and he steps out." "And you can't see the join." "Magic!" "That is actually pretty cool." "Oh, I'm glad you're entertained!" "I think the hardest thing was having more than one Amy and more than one Doctor and more than one Rory." "What's my first line again?" ""Okay, kids, this is where it gets complicated. "" "Gotcha!" "So, if you want to see two people at the same time, the easiest way to do that is the split-screen technique." "So, what you do is you shoot the same shot twice, and you hold the camera very still throughout that so that you can then stitch the different halves of the shot together." "So here we've got the first version of the scene we shot there with real Amy on the left and stunt Amy on the right, yeah!" "And then you do exactly the same thing, with the camera very still, you swap them over." "And you repeat the lines of dialogue and the performance with real Amy on the other side." "Now, the reason that we've got a stand-in Amy is so that" "Karen has someone to look at, someone to read the lines with, someone to bounce off of her performance." "And then what you do is you can isolate each of the Karens individually and then paste them back together into one shot." "There you go." "So you've got real Karen on the left and real Karen on the right." "Okay?" "Fake Karen." "Real Karen again." "And hopefully you can't see the join down the middle." "What are you doing?" "You told us to get into the police box." "Well, from your point of view, you're about to tell us to get into the police box." "From our point of view, you just told us to get into the police box, which is why we got in the police box, which is why we're here." "I've got to remember all of that?" "It just sort of happens." "The third method that we used to give the impression that there was more than one Amy and more than one Rory was using stand-ins or body doubles." "They're the same height, specifically selected to be, you know, of a similar build." "We put wigs on them so they look pretty much from the back or from the side like the main character, the main actor or actress." "And usually you use them, you know, from the back or over the shoulder, where it's not going to be obvious that they're not the other person." "And what this allows you to do is it allows you to film much more quickly, because you don't have to do everything twice and split the screen down the middle." "And it also allows you, if you want to, you know, to move the camera more easily, which you can't do if you're trying to cut the screen in half, and put two people together." "Yeah, okay, okay, stop that." "Amy, Rory, you get in the police box now." "Run!" "Lovely." "Can we swap you out, guys?" "'Cause you'll now be stood here." "We'll follow you down doing that." "You don't need to go in the Tardis." "And then we'll pick you up here." "Okay?" "It was a little bit weird on set seeing sort of lots of Amys and lots of Rorys." "Because it is someone dressed identically to me." "And then there's like three of Karen." "There's meant to be three of Karen when she goes out and comes in again." "We've got another girl who's dressed up in the same outfit with a big ginger wig on, so that's quite funny." " I don't understand." " Neither do I." " But you just said it." " No, I just repeated it." "I'm just remembering what I heard myself saying when I stood where you are now." "And I'm just repeating this." "And this, and this." "Oh, I still don't understand." "So here's an example where we've got a wide shot of Amy and Amy Two and Rory and Rory Two and the Doctor, all in one shot." "And the easiest way to achieve that in a wide shot is to use two body doubles." "So at the back of the screen you've got Karen and Arthur, the genuine article." "Looking towards us and in the foreground, you've got our stand-in Amy and our stand-in Rory, wearing identical costumes looking back the other way." "And hopefully, if you use that shot quite quickly, then people don't take in that they're not the actual person." "And hopefully they look, in the run of the scene itself..." "You told us to get into the police box." "Well, from your point of view, you're about to tell us..." "Hopefully they look just like the real thing." "At least, that's the plan." "Okay, we're back in normal flight." "The Tardis is no longer inside itself, the localised time field is longer about to implode and rip a hole in all causality." "But just in case," "Pond, put some trousers on." "I was emailed the script about two weeks before we had to shoot the scenes." "And I was absolutely thrilled to be able to play with just the three main characters in the main set for what turned out to be 15 minutes of finished programme." "It was sort of a dream come true, really."