"NARRATOR"." "The Doctor's disappeared, his companion's in charge, and time is ticking." "Every second counts, so clock in with Confidential and we'll take you behind the scenes for the making of The Family of Blood." "Stand by, please, Phil." "On location in mid" " Wales, the Doctor Who production team are battling against the elements in preparation for the episode's complex combat sequence." "The shootout in the courtyard was very complicated, and we had a lot to do in not a great deal of time because we had to travel quite a long way to get to Brecon." "It all took a very, very long time." "It was a big one, and the fact that we were being rained on and the wind was whistling through us all really didn't help." "Here we go." "Shooting." "Shooting." "Clear, please." "Shooting, and action." "Cut there, please." "The visual effects team, for many effects, put small explosives within their costumes, and they are detonated remotely." "I must admit, it's the first time we've done bullet hits on scarecrows." "But the technology transferred very well." "Just pre-weakening material." "What it does, it gives you a much bigger hole." "If I was just to fire it on this material, it'd just probably be about that big." "If you pre-weaken it, it'll go from that size to about that size." "Okay." "Thank you, and action!" "Fire!" "Fire four." "That sequence is horrific, and a lot of the boys are terrified by it and are glad when it stops and would rather run in the end." "And I don't think that scene would be justifiable if you didn't say, "Look, this is a terrible thing."" "Are we organized'?" "We can't run the shot, not without our lovely dancers." "In the dance hail," "Martha's solo performance is her biggest challenge yet, single-handedly seeing off the scarecrows and defending the Doctor from the Family." "It's a tremendous story for Martha, in that she's got to look after the Doctor." "It's a huge responsibility for her." "Doctor, get everyone out." "There's a door at the side." "Go on." "Do it, Mr. Smith, I mean you!" "Not only has she got to look after him, but she's got to do it from a position of complete subservience." "This whole story wouldn't work if the Doctor could not trust Martha." "It's in these episodes that she actually has to face the monsters alone, if you like." "Which one of them do you want us to kill'?" "She's actually the leader in this." "She's having to work as a maid, but, actually, she's running it all behind the scenes." "DOCTOR"." "It's all down to you, Martha." "Doctor." "She knows at this point that it's up to her." "There's actually that moment where the Doctor leaves with Joan and she's physically and emotionally alone to face these monsters." "It's not just one of them, there's four of them, and they mean business." "Don't try anything." "I'm warning you, or sonny boy gets it." "The Family of Blood are an interesting enemy in that they're actually quite small-scale for Doctor Who." "They've got one spaceship that they've stolen." "All they do is steal other people's life spans." "Little people with one selfish aim, which has terrible consequences on everyone around them." "NARRATOR"." "Recreating the Great War has come with great difficulty." "Fourteen days of rainfall means the field is now flooded." "In these specially constructed trenches, conditions underfoot are difficult." "We're filming a scene that's supposed to be set in a 1914 battlefield." "And then the crane..." "That's the only reason I can think of for standing knee-deep in mud in Wales in December." "And it wasn't this muddy on the recce, honestly." " Well, that was hell." " That was a night, wasn't it'?" "Could follow them." "In fact, as I remember, it didn't rain on the night of the trenches." "It had been raining before, and it was incredibly muddy." "Incredibly muddy and very cold." "Never work with children, animals and mud, I think." "Yeah." "It's going better than I expected an hour ago, actually." "I was a bit worried that we weren't going to complete, but I'm quite confident we'll be all right." "The special effects guys are doing well on the re-sets." "They're quite quick." "Yeah, I think we'll be all right." " All right, Dan'?" "Phil, Davy'?" " Yeah." " Good." " Turn over A and B, please." "And action!" "One minute past the hour." "It's now." "Hutchinson, this is the time, it's now." " To the right." " No, keep going." "Trust me!" "To the right!" "I quite like these extreme situations because it really does unite people and they do bond, and it is that thing of, "Right, okay." "Pick everything up and charge down" " "and look after each other."" " One minute past the hour." "It's now." "Hutchinson, this is it." "Keep running, and on "action", look up." "And if we can be faster on the zoom, please, fellows, okay'?" "Hutchinson, this is the time, it's now." "Action!" "To the right, to the right!" "We made it." "Thank you, Doctor." "Being blown up was a bit scary." "It was really cool, 'cause you know when you see films and quite often you can tell it's a big green screen shot and you can see an actor dive in the foreground, and it's so separate?" "And when I turned up that night, I had no idea it was going to be real." "No one had told us." "I was thrilled." "I've always, always wanted to be running away and dive on the floor." "And people said, "This is how you do it."" "And you feel like, "You don't have to tell me." ""I've been preparing for this all my life." ""I know how to dive away from an explosion."" "Three, two, one!" "That was one of the funnest things I've ever done." " Oh!" " That is good, running fast." " That's a really good one." " That's great!" "That is great." "NARRATOR"." "For the first time, David is getting the prosthetic treatment and a brief glimpse of life as an old man." "Obviously, on this show, the prosthetics team do some incredible work, and it's a peculiar excitement to suddenly have it done to you." "Obviously, they take a cast long before, so they've got a mold of your head that they can then work these prosthetics out from." "And I think it's fair to say that aging make-up is one of Neill Gorton's particular specialities." "With David, obviously, he ages up and it's only one scene, so I kind of felt it was important that he be as recognizable as possible, because otherwise you could be watching this one scene and thinking," ""Who's this old bloke'?" "What's that got to do with the rest of the story?"" " Thank you very much." " Thank you very much." "It's been an extraordinary experience." "Different, like, isn't it'?" " It really is." "Right, we will..." "Really frightening." "We will..." "Yes." "See you down there." "The John Smith version of the Doctor is a very real and small, intimate love story." "I never..." "He has fallen in love with great big headlights, as a Time Lord..." "Was this his real..." "It just allows the opportunity for the Doctor to see a new side of life." "Er, just to retrieve..." "I'll tell you what." "If you could take these..." " Okay." " That would be quite..." "You extraordinary man!" "Nurse Redfern." " This is going to sound silly." " Tell me." "You have quite an eye for the pretty girls." "Miss Redfern, might I invite you to the village dance this evening'?" " We make quite a team." " Don't we just'?" "He won't love you." "If he's not you, then I don't want him to." "I sometimes think how magical life would be if stories like this were true."