"From bomb blasts to barrage balloons, Spitfires to spaceships, the Blitz has never been seen like this before." "No." "No!" "It's jumping time tracks, getting away from us." "Doctor Who Confidential is about to track down the men in the firing line who have brought these special effects to life." "Okay." "Maybe not this T-shirt." "Mummy'?" "Recreating the look of war-time London was a challenge for the entire Doctor Who crew." "It's a great episode to look at effects since there's a remarkable number of physical effects that have post-production effects added." "I particularly think that Rose flying over London was extraordinarily difficult to do." "I remember these two episodes landing on my desk." "You know, on page four, Rose flies across London on a barrage balloon during a blitz air raid." "It's a really easy thing for Steven to have typed and it's even easier to read but to try and translate into reality, is a nightmare." "I assumed I'd be reined in and I have to say, they did not rein me in." "They let me do whatever I liked." "Doctor!" "The difficulty about Rose flying over London is that you're talking about 360-degree effects." "The main problem is getting reference for top shots of London." "We've employed a technique, photogrammetry." "Basically, what we've done is taken a top shot reference of London." "We've then, in the computer, created the geometry for the buildings so that there's a kind of rough and crude 3D model." "We then had a start mat painting and an end mat painting and to project the picture onto the geometry of London, which means we can move the camera." "I can shout "ready" for you, if you want." "It took us two separate days to film." "We filmed part of it... with Billie Piper, who was completely game and completely up for doing things like this, suspended from a crane inside our warehouse against a green screen, with a huge wind machine underneath her." "Okay." "I find when acting with green screen... that you have to think twice as hard." "And it can be taxing, it can be quite exhausting." "Then we went to a different hangar that was even bigger." "It was an airplane hangar, actually." "And got an even bigger crane." "And this time... we filmed her basically against the night sky with another huge wind machine moving and just kind of all that flying stuff and the flying around and the big fall from the barrage balloon." "She's not very high up, but she's more high up than I would care to be." "So there's a real drop, there's a real physical danger." "With the CGI element, that sort of makes her look hundreds of feet in the air." "There is a real wind blowing on her." "You can see real bits of rain caught in the spotlight." "The whole picture has a different texture because of that." "Acting to green screens, imagining, it's just like being a kid again." "If I'm supposed to be speaking to a 6'2" alien and, in fact, I'm speaking to a yard brush, if I can pull that off, then... that's what I did all those years training for and it's all acting and it's all good." "The idea of imagining and me jumping over, I mean, it's a hoot." "When we set about fitting the team together to work on Doctor Who, we did have a number of the people in the visual effects community beating on the door to come and work on it because it was Doctor Who, which was great." "The special effects team at The Mill worked for almost a year to create 1,300 effect shots in the series." "Taking center stage was the design of Captain Jack's sporty spaceship." "Bryan Hitch came up with a concept design for Captain Jack's convertible-style spaceship." "It's a very off-the-factory-floor, hand-built, custom-made spaceship." "We went through a lot of talk about Captain Jack's ship and I went completely off down the wrong path, thinking it should be very flash and beautiful, and I'm glad to say, everyone ignored me." "It's a sort of spaceship we see a lot." "It should be sexier and sleeker." " I thought it slightly sleeker and yes, sharper." " Sharper." "Sharper in every sense." "Yeah." "But we ended up with something that I think is absolutely right." "The ship's a bit cobbled together." "It looks like a few different technologies have been jammed together." "Millennium Falcon-cum-camper van." "I think it'd be quite nice if he spent..." "In the middle of it, there's a gas ring." "It's all slightly homemade, in the way that the Tardis is." "A lot of Jack is a sort of different version of the Doctor." "It's interesting when you introduce a new character because, you know, you have to use so many shortcuts to tell the audience about them." "And, of course, you know, the obvious thing with Jack is his spaceship." "I love that chair." "His chair in the center is just beautifully, sort of, old and she's old and a bit battered and a bit complicated and, you know, sort of says, "This character's had a life."" "The best chair in the business." "To see the set for the first time is tremendously exciting and to see one that has come out as well as I think that one has..." "There have been stages along the way where I've seen drawings," "I've seen some computer illustrations and I've seen a very basic model of the spaces, but that's nothing to the feeling you get when you see it dressed as intricately as that." "There is an element of a romantic encounter between the spaceship Captain and Billie... and we'd like to emphasize it with color." "So I've chosen yellows, browns and orange color to emphasize... the little bantering between the two." "You got lights in here'?" " Hello." " Hello." "Hello." "Let's not start that again." "I'm having the time of my life coming in here and playing." "Being paid to play." "You know, being paid to be somebody else, to play and play with guns and electronic stuff and all this zhoosh." "It's just fantastic." " That all right'?" " Yes, that was very all right." "Thank you." "Do you want to do it'?" "So, you used to be a Time Agent and now you're trying to con them'?" "If it makes me sound any better, it's not for the money." "Your friend over there doesn't trust me." "And for all I know, he's right not to." "Captain Jack in a nutshell is from the 51 st century." "He is a Time Agent." "Who are you supposed to be, then'?" "Captain Jack Harkness, 133 Squadron, Royal Air Force." "American volunteer." "He starts out to be not a very nice guy." "He falls for Rose." "I think she looks great hanging from that balloon." "Particularly with what she's wearing." "Excellent bottom." "He starts out as being a con man and then he, kind of, gets on the team with them and decides, you know, "Okay, I'm gonna help them out."" "The Doctor's very suspicious of Captain Jack when he first arrives." "Thinks he's a meddler, thinks he's a mercenary, thinks he doesn't have any heart." "When Rose first meets Jack, she really fancies him." "And he really, kind of, seduces her and plays her." "And she just loves him, she just falls for him." "It's 1941." "The height of the London Blitz." "The height of the German bombing campaign." "And something else has fallen on London." "A fully equipped Chula warship." "Mummy." "Will even Captain Jack be able to save Rose from the menace the design team have dreamt up'?" "Mummy." "So, what do these gas masks look like'?" " They really are scary." " It's amazing." " There's hair behind it." " Oh right, brilliant." "It was tricky, the gas mask one, 'cause it's actually one of the most scary effects," "I think, we've probably got." "Mummy." "What's happening'?" "I don't know." "The description is fused, as if by burn." "I think it should sort of develop in, as if somehow this is..." "This has actually grown into this form." "This is impossible." "I know we won't go close-up on to extras." "We've got to have good shots of extras when..." "You know, and they'll be wearing gas masks and there will..." "There'll be gaps, there'll be lines." "There will be." "If that was emptied and you shone a light through, what you'd be seeing is the inside of the back of his helmet." "That's how..." " The light gets through." " Yeah." "The idea was we were gonna just copy a real gas mask and try and make them blend into the face." "You can't get them anymore." "Mummy." "Kind of at the eleventh hour, we got a call saying that, you know, we're having real problems with these gas masks and we had to dive in there, and in about a week and a half" "we had to sculpt the model up and make, from scratch, complete gas masks for, I think, about 28 people." "But one of the things it did give us the advantage of was we could then design it the best way we wanted." "The director could say, "Well, actually let's make the eyes like this."" "Because, otherwise, if you used a real gas mask, you're stuck with that design." "My character that I play is Dr Constantine." "And I have a hospital full of people." "They look as though they're wearing gas masks, but in fact, they're morphed." "The gas mask is them." "You'll find them everywhere." "And, I'm about to go the same way." "You're very sick." "Are you my mummy'?" " Cut." " Thank you." "What he was trying to do was, do the whole, "Are you my mummy?" and then... shut down, it was fantastic." "I know." "I was feeling guilty about putting him through that every time." " Thought he was gonna have a stroke." " Oh, actors love it." "Gonna quote you." "Call you back in." "Showing off." "We all love a death scene." "Are you my mummy'?" "The morphing gas mask out of Richard Wilson's head... has been a nice, challenging effect to create." "Chris Petts modeled Richard Wilson's head in 3D." "And part of our aim was for it to look like a very organic, coughing up from within of this gas mask here." "So that was obviously crying out to be CGI rather than do that in sort of prosthetic stages." "That absolutely looks like a really terrible, nasty thing to happen." "And, you know, there are limits." "You think of six-year-olds watching this, how much physical pain people can stand to watch." "I'm glad we pushed it 'cause I think they're absolutely terrifying" "and fantasy-like enough not to really disturb very young kids too much." "But they're right to the limit." "That's what Steven's script does all the way through." "Pushes the fear and a certain level of body horror, actually, all the way to the limit." "That's brilliant." "Mummy."