Doctor Who- Unleashed - Season 2 Episode 07- Wish World (1)
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00:00In this episode, we've got a doctor who thinks he's a smith.
00:06He just wants to work at the Unified National Insurance team.
00:11Oh, look at that. He's remembering it.
00:13Nice one. Come on.
00:15I don't know if I am.
00:15Spot the professional.
00:16I don't know if I am.
00:18We've got not one, but two Rannies.
00:21I just thought it's Doctor Who, it's the Rani, it's Anita Dobson.
00:26I had three words in my head.
00:27Yes, yes, yes.
00:30We've got ducks, an owl, and a horse with a weak bladder.
00:38And spoiler alert, we've got an exclusive clip from the series finale.
00:44Welcome to John Smith Unleashed.
00:46This is it, then. The beginning of the end of season two of Doctor Who.
01:01No, no, no, no, no, no, no.
01:02What are you even talking about?
01:04And we're here to lift the lid on episode seven, Wishworld.
01:09The first of a two-part finale brimming with elaborate sets, multiple locations, an ensemble cast, and mind-bending VFX.
01:18RANNY!
01:19Are you ready to take the plunge?
01:22RANNY!
01:25Welcome to Wishworld, a parallel universe conjured by the imagination of conspiracy theorist, Conrad Clarke.
01:34Last seen being sprung from jail by Mrs. Flood at the end of the episode, Lucky Day.
01:39Who are you?
01:41Oh, I'm the governor.
01:43And it's your lucky day.
01:47But what exactly is this dystopian alternate reality?
01:51It's a partly remembered and a partly invented world.
01:54It's all from Conrad's mind.
01:56Happy morning, everyone.
01:58He's desperately inventing a whole world.
02:01So he's imagined very simple templates.
02:04It's just that if he's put everyone into couples.
02:06And you're John Smith's wife.
02:08I certainly am.
02:09And women who don't quite fit into those couples, don't quite fit into the world.
02:12They have no role.
02:13They're alone.
02:14They're considered to be a bit strange.
02:16But he thinks it's natural.
02:17He thinks it's normal.
02:18He's not from that good a home himself.
02:20So he's trying to imagine a better home.
02:23Morning, darling.
02:24Morning, sweetheart.
02:25John Smith and Belinda.
02:27They're married.
02:28And they have a child together.
02:30But having been busy mates with Belinda for the past six episodes, it was a weird transition.
02:37But fun.
02:38Me and V thought it was very funny.
02:41I thought we were waking up in bed beside each other.
02:45Did you see a cat?
02:46Meow.
02:47Is that you wanting a cat?
02:49Yeah.
02:49It's like playing house with your best friend.
02:53Seeing Shooty be like a dad figure was very different to how I know Shooty to be in real life.
02:59Like, neither of us are grown up in any way in real life.
03:04We're like kids.
03:05So it's just very funny to see us both kind of switch into, like, parent mode.
03:08Is it okay out there?
03:11Is it working?
03:13It's all hanging on by a thread.
03:15It's not real.
03:16And it's desperately rattling at the edges.
03:18And that is the point, as you discover at the end of the episode.
03:22That's actually the Rani wanting to create a reality that wears thin.
03:26That starts to fall apart, that that's her plan, to break the world apart and to reach the world underneath.
03:34So let's take you even further behind the scenes of Wishworld.
03:38A world in which the Doctor is now plain old John Smith.
03:42Today is the 11th of April, 2024.
03:48And what's being filmed just behind me is the scene where John Smith walks in to work.
03:55Cutting it fine.
03:56Another two minutes and you'd have been late.
03:58I did work late last night.
04:00Time carries no favours.
04:02I enjoyed watching you being John Smith.
04:06Dear John, dear John.
04:08Yeah.
04:09I enjoyed watching you strolling into that room in your very sharp suit and encompassing a different part of the character.
04:15I thought it was really fun.
04:16Did you enjoy that?
04:17Yeah, I did, because it was just so different.
04:19And he's just so normal and so human and has got no intention of saving the universe.
04:24He just wants to work at the Unified National Insurance Team.
04:30Oh, look at that.
04:31He's remembering it.
04:32Nice, man.
04:33Come on.
04:34I don't know if I have.
04:34Spot the professional.
04:35I don't know if I have.
04:39Happy morning, Unified National Insurance Team.
04:42How can I help?
04:43It was a lot to get my head around.
04:46Because you get so used to the character of the Doctor.
04:48He just walks into rooms and decides to take charge.
04:51Yeah.
04:52And John is so the antithesis of that, that it was a nice challenge.
04:56Yeah.
04:56Yeah.
04:57Would you be good 9 to 5?
04:59No.
05:00In an office?
05:00No, I wouldn't be good.
05:01But I do enjoy it, though.
05:03When I was temping, I found having an Excel spreadsheet in front of me the most exciting thing.
05:12Are you an Excel guy?
05:13Yeah.
05:13Spreadsheets man shooting?
05:15I've worked in many a receptionist office and, yeah, loved it.
05:20It was just so much fun.
05:22Nothing ever got entered into it.
05:24No.
05:25Productivity was low.
05:26Productivity was very low.
05:27But you were having a great time.
05:28But I was happy to be there.
05:29Yeah.
05:29Yeah.
05:30You could see that channeled in your John Smith.
05:32The old cliché says never work with children or animals.
05:41So what did Russell write into the opening scene of this episode?
05:44A baby and...
05:47Animals.
05:48Lots of animals.
05:50We had a day with ducks.
05:53And we had an owl.
05:54We were about to have a right.
05:56Have your time set.
05:58And we had a horse.
06:06Well, apart from the horse mixturating in the middle of the take, it was fantastic.
06:11I happily write six ducks knowing I won't be there on that day.
06:16Knowing it's going to be chaos and a nightmare.
06:19There was probably a duck wrangler.
06:20Was there a duck wrangler?
06:21There was a duck wrangler.
06:21I knew it.
06:22One, two, three.
06:29I wonder if there's any way to spread them out.
06:32I'll try.
06:32Good feeling, isn't it?
06:35It all went fine.
06:36It all went absolutely fine.
06:38Never want to film with ducks again.
06:40OK, we'll cut.
06:42And if you thought that was quackers...
06:44Hello, boys.
06:46...added to the mix were six young children,
06:49the aforementioned baby,
06:50and it's stunt double.
06:52Come on in, back to you, Winnie Baker.
06:54But what nobody ever tells you
06:56is there are worse things to work with than animals and children.
07:00All right, Leisha.
07:01Everybody.
07:03Hello, Leisha.
07:05There are about 500 million midges.
07:08All the midges in Wales have come here
07:10and they're around my head
07:12and it's really, really annoying.
07:15Bugs are eating us alive.
07:17Trying the dots.
07:19I'm just itching.
07:19It's a good idea.
07:21They love our curls.
07:21They love our curls, unfortunately.
07:23So, yeah, they're sticking to us.
07:25Shake around a bit.
07:26You'll see loads come off.
07:27Yeah.
07:27I'm in disguise hiding from the midges.
07:30You should see Ralph, actually,
07:35because he's got bites all over his face.
07:37Oh, my God, you've got so many bites on your face.
07:39Brilliant.
07:40Oh, my goodness.
07:41Have I?
07:42I don't think so.
07:43Yeah, I've got one for you on my nose, Matt.
07:48Not quite entertaining as I thought it'd be.
07:51This isn't what I signed up for.
07:53These little flies
07:54are from the pits of hell.
07:57Let battle begin.
08:06Right, then.
08:07In the last episode of Unleashed,
08:09we promised there'd be more
08:10on the bombshell reveal
08:12that Mrs Flood was one half
08:14of a bi-generated four
08:15not seen on our screens in decades.
08:19Our name is the Rani.
08:21Although she's become a Rani,
08:24while I'm the Rani.
08:28This is the arrival of Archie Panjabi
08:30as the Rani.
08:31The Rani in the old days
08:32was played by a fantastic actor
08:34called Kate Amara.
08:35Seal it and label it.
08:37Really phenomenal actors.
08:39This is dedicated to her, in a way,
08:41because she was wonderful
08:42and created a villain all those years ago
08:44that has lasted in Doctor Who legacy
08:46ever since.
08:47You know, she's a great part of the show.
08:48It's amazing that the Rani
08:49hasn't been on screen
08:50for a million years.
08:51Well, well, well.
08:55The Rani.
08:57You were expecting to see the master?
08:59First appearing in The Mark of the Rani
09:01back in 1985
09:02opposite Colin Baker's Sixth Doctor.
09:05I think I've got it.
09:06You're extracting a chemical
09:07from the brain.
09:08The renegade Time Lady
09:10returned in 1987's
09:12The Time and the Rani
09:13in Seventh Doctor
09:14Sylvester McCoy's
09:15debut episode.
09:16The Rani!
09:18Stay back!
09:19Since then,
09:20the character has appeared
09:21in audio dramas,
09:22novels and comics,
09:23but aside from a
09:24brief appearance in 1993,
09:27not on TV.
09:29So why now?
09:30That was a villain
09:30that I really wanted to face
09:31and I'd asked Russell.
09:33Oh, I do?
09:33You asked him?
09:34Yes.
09:35She's so, like,
09:36fabulous.
09:37Yeah.
09:38I want to face off of her.
09:40Time Lord v. Time Lord.
09:41How cool.
09:42Oh, yes, Doctor.
09:45I've always liked the Rani
09:46and I've always thought
09:47I'd bring her back somehow,
09:48but that was like a request.
09:50When your lead actor
09:51requests something,
09:52I'm here to obey.
09:55Stepping into the iconic
09:57red suit and black boots
09:58this time around
09:59is Emmy award-winning actor
10:01and star of The Good Wife,
10:03Shetland,
10:03and bend it like Beckham,
10:05Archie Punjabi.
10:07So how did it happen then, Archie?
10:08How are you sat here
10:09as a very famous Doctor Who character
10:11back reincarnated as the Rani?
10:14I was just sitting at my desk one day
10:16and then I got a message saying,
10:18would you like to be in Doctor Who?
10:19And I thought, ooh,
10:21that could be interesting,
10:22but what's the character?
10:23Yeah.
10:24And they said, the Rani,
10:25and I thought, wow, oh, wow.
10:28And the Rani obviously means queen.
10:30And all I could think about,
10:31honestly, the first reaction was
10:32my entire Indian community
10:34would be so over the moon
10:35because the Rani is queen
10:37and I'm married to Raj.
10:39Yeah.
10:39The king, so I thought
10:40that would be lovely.
10:41And I just thought,
10:43it's Doctor Who,
10:44it's the Rani,
10:44it's Anita Dobson.
10:46I had three words in my head.
10:48Yes.
10:48Yes.
10:49Yes!
10:49And what's it been,
10:50has it sort of lived up to that,
10:52your expectations then?
10:53It's succeeded.
10:53Has it?
10:54I mean, look at this.
10:55This is my palace.
10:56Our palace.
10:58Yes, ma'am.
10:58Yeah.
11:02Archie Punjabi is amazing.
11:05I mean, the charisma
11:07and the presence
11:09that she holds in the room
11:11and she's so, so lovely.
11:13She's so cool.
11:14Nice of you to join us, Doctor.
11:18Like when I was younger,
11:19there weren't a lot
11:20of South Asian actors on screen
11:22and she was one of them
11:23and I always looked up to her.
11:24I thought she was stunning
11:26and sassy and smart.
11:31The Rani's relationship
11:32with Mrs. Flood is quite funny
11:33because they're both the Rani
11:36and she considers herself
11:37a lot more superior to Mrs. Flood
11:39and treats her very badly.
11:41It's not very nice.
11:43Sandwich, obviously.
11:45But it does also make you laugh.
11:46Oh.
11:48Right.
11:48Because they're both so funny
11:49when they're together.
11:50You still go everywhere together now.
11:52Is this a new thing?
11:53Yeah.
11:53It's sort of happening, isn't it?
11:54We feel like we've known each other
11:56for...
11:57Ever.
11:57Ever.
11:58It's very strange.
11:59Yeah.
12:00Because this afternoon
12:01you're filming the bit where you...
12:02We move the same.
12:03Did you see that?
12:04Yeah.
12:04Yeah, we even say things
12:06at the same time.
12:07Yeah.
12:07Finish each other's sentences.
12:08Yes, we do.
12:09Yeah, yeah.
12:10Yeah.
12:11I was so excited
12:12I couldn't wait to meet her
12:13and then I suddenly panicked
12:14and thought,
12:14what if we don't click?
12:16What if there's no magic?
12:17And then she walked onto the set
12:18and it was like...
12:19There it was.
12:20Yeah.
12:21It could be said
12:22that you sprang from my loins.
12:27That's the most disgusting thing
12:29I've ever heard.
12:34Every Doctor Who set has its challenges
12:37be it a retro unit set
12:39a peasant cabin in the Bavarian woods
12:42or a palace made of bones
12:45although none of those
12:47were the most challenging in this episode
12:49that accolade goes to this set.
12:52We are in Central Cardiff
12:54and we have created
12:55the Camp of the Dispossessed
12:57which is an area where
12:58everyone with a disability
12:59he kind of has sort of forgotten about
13:02and they get sort of placed in this place
13:04so obviously because of the storyline
13:05all our sporting artists
13:06they're all people with visible
13:08and non-visibility
13:09so another reason why we selected this location
13:12is obviously because it's fully accessible
13:14and workable for people
13:16with all their different specific needs
13:17and requirements
13:18so it's been a really interesting challenge
13:20but trying to make a location
13:21that's sort of
13:22that's not just serviceable
13:23for a standard film crew
13:25but also for people
13:26who've got slightly more specific needs
13:27and requirements.
13:28Morning Winnie Love
13:29another day in paradise.
13:31So I am what they call
13:32an access coordinator
13:34so it's my responsibility
13:35to work with the production as a whole
13:37to make sure any cast
13:39or crew
13:40or production team member
13:42who's deaf, disabled
13:43or neurodivergent
13:44work with them
13:45and put any access requirements in place
13:48and that could be anything from
13:49a ramp to the front door
13:51to a quiet room in the production office
13:54it's all about making
13:56the entire process accessible
13:58to people who are disabled.
13:59I am crowd-aid-ing
14:03and also essay-ing
14:04because I'm a crew member
14:05with a disability
14:06so they asked me to
14:09help out with all the essays
14:10as well as acting as well.
14:13They clearly heard the words
14:14camp and disabled
14:15and thought let's call Ben.
14:18You know what?
14:19Having an access coordinator on set
14:20makes everything so much easier.
14:23All of those little things
14:25that other people might not notice
14:26the people who it's done for will
14:28and I think that's really special.
14:30So it was about
14:31OK, let's have different coloured tents
14:34because if you were visually impaired
14:36or you were blind
14:37or nearly blind
14:38but you could see a bit of colour
14:40if you had all the tents in one colour
14:42and as a blind person
14:44or visually impaired person
14:45you'd knock into things.
14:46So you'll see there's different tents
14:48in different colours
14:49and then there's ribbons round about.
14:51We looked at the access
14:53how to get into the tent
14:54how to get out
14:55because tents
14:56I don't know if you noticed
14:57but they have a lip at the bottom
14:59so if you were in a wheelchair
15:00you couldn't get into it
15:02so it's all about
15:03making the whole thing accessible.
15:06You know what?
15:07It looks really beautiful
15:08but I could spend a weekend here.
15:10How nice!
15:11Everyone just having a nice little jolly.
15:13It feels really colourful
15:14and vibrant
15:15and to see
15:16so many disabled people
15:18just living
15:18like that
15:20thinking
15:20oh actually that could be real.
15:23This is...
15:24quite moving in a way
15:26how happy everybody is as well.
15:29Yeah what a great place to film.
15:30Just tell me what the hell is going on.
15:32When you're disabled
15:33you know that
15:34with just a few
15:36access requirements
15:37put in place
15:38it makes such a big difference
15:39it means you can turn up
15:40and you can be creatively brilliant.
15:43So when we make
15:44our film and TV industry accessible
15:47we open ourselves up
15:48to lots of
15:49very talented people.
15:51still to come
15:56on Doctor Who Unleashed
15:57we go dancing with the stars
16:01what's we even dancing now?
16:02You're coming
16:03you're going to
16:03tell me you
16:04they'll have me on strictly now.
16:07Production designer
16:08Phil Sames
16:08reveals the inspiration
16:10behind the awesome
16:11Bone Palace.
16:12There's a lot of bird references
16:14in it
16:14a lot of avian references.
16:15Okay that's interesting
16:16why did you go bird?
16:18We just thought they looked cool.
16:19And spoiler alert
16:22we've got an exclusive clip
16:24from the season finale
16:25but first
16:28So every week
16:32on Doctor Who Unleashed
16:33I do some work experience
16:34with a different department
16:35that make Doctor Who happen
16:37and this week
16:38I'm with the script team
16:39and with Molly
16:40on the script team
16:41and I think
16:42their job is actually
16:43one of the most stressful
16:44on set.
16:45Why?
16:46Let's go find out.
16:47And action!
16:51Okay Molly
16:51let's start
16:52right to the basics.
16:54Hello.
16:54Well hello
16:55yes that is the basics.
16:56That's a good basic
16:56to start yeah.
16:57Hello yeah
16:58my manners
16:58yes thank you very much.
17:00Tell me about the script team
17:00what do they do
17:01what do you do
17:01what's your job title?
17:02My job title
17:03is a little bit of a mouthful.
17:05Okay that's a good start.
17:06Yes
17:06I am the trainee assistant script supervisor.
17:09Trainee assistant script supervisor.
17:11I am indeed yeah.
17:12It's a bit of a mouthful.
17:13It is a little bit yeah.
17:13What do they do?
17:14They assist the script supervisors.
17:17Molly assists script supervisor Richard Pasch.
17:21Between them
17:21they have some serious responsibilities.
17:24It's their job
17:25to keep detailed notes
17:27of dialogue, action, continuity
17:29and all the slate
17:30and sea numbers.
17:32On top of all that
17:33during filming
17:34they have to closely monitor
17:36what's happening
17:36to check no dialogue is missed
17:38and that the movements
17:40and the eyelines
17:41of all the actors
17:42match
17:43take after take
17:44after take.
17:45And what's with the stopwatch?
17:47We help our production
17:48with timings of the day
17:50when we start
17:51when we finish
17:51when we call for lunch
17:52how much of the episodes
17:54that we've shot already
17:55like 15 minutes in
17:5620 minutes in
17:57whether we're over running
17:58so before we start shooting
18:00we have to time the script.
18:02We come up with a guess
18:04a guesstimate
18:05of how long
18:05the episode is going to take
18:06and then we try and match that
18:08as much as possible.
18:09Occasionally
18:10Molly has to deliver
18:11some bad news.
18:12Now I've seen some of your
18:13colleagues
18:14go in
18:15with scripts in hand
18:16asking for scenes
18:18to be redone
18:19so the scripts
18:20match the writing
18:21is that that's a big part
18:23of the job as well?
18:24A big part of the job
18:25is learning
18:25when to go in
18:27and when not to
18:28so it's a lot of talking
18:29with the director
18:30like oh the line
18:31maybe changed a little bit
18:32here or should I go in
18:34and change it
18:35should you remind the actors
18:36what the line is
18:37that kind of thing
18:38and sometimes it's yes
18:39and sometimes it's
18:40oh it doesn't matter.
18:41It's not a big deal.
18:42So were you always interested
18:43in drama growing up
18:44or was it sci-fi
18:45that you liked
18:46or what was it?
18:47Well sir
18:47it was actually
18:49a behind the scenes episode
18:50of Doctor Who
18:51that I watched
18:52when I was a kid
18:53Was it?
18:53That's what I want to do.
18:54And here you are
18:55on behind the scenes
18:56of Doctor Who
18:57It's like a real
18:58full circle moment.
18:59Exactly.
19:00I bought some books
19:01I read them
19:02and when I
19:03I was doing
19:04lots of running jobs
19:05on short films
19:06and I just said
19:06hey can I
19:07either shadow
19:08or sometimes
19:08when they don't have
19:09a script supervisor
19:10can I give it a go?
19:11Amazing.
19:11So you've done
19:12a real self-starter
19:13then Molly
19:13you were like
19:14that's the thing
19:14I want to go and do
19:15did all your own research
19:16and here you are.
19:17And here I am
19:17on Doctor Who
19:18behind the scenes.
19:18That's so brilliant
19:19isn't it Jack?
19:22Right
19:22time for me
19:23to step in
19:23as the assistant
19:24to the assistant
19:25script supervisor.
19:28As night falls
19:29and rehearsals begin
19:30Richard and Molly
19:33are on hand
19:34to liaise
19:35with the director
19:36and help the actors
19:37double check their lines.
19:39So if they're getting
19:39the lines right
19:40you want to make sure
19:40they're getting the lines right
19:41here as well as later.
19:43Yeah.
19:44We don't want panic.
19:45We don't want panic.
19:46Nobody wants panic.
19:46No no no.
19:47Let's turn over.
19:48A and B.
19:50With the cameras
19:51about to roll
19:51Molly and I
19:52will be monitoring
19:53the action
19:54from a small tent
19:55side of set.
19:56In between
19:57takes I listen
19:59to what the director
20:00is saying
20:00so that I can put
20:01down on my notes
20:02if there's anything
20:02that he liked
20:03or didn't like.
20:04So you're eavesdropping?
20:05Yes.
20:06All the time.
20:08Everything you hear
20:09the more information
20:10you can put down
20:12the better.
20:13Set.
20:14And action.
20:15You recognised
20:18your husband's doubt
20:19because you've been
20:20expressing doubt
20:20yourself.
20:21That's what it does
20:22Mrs. Smith.
20:23It contaminates.
20:25It breeds.
20:26It festers.
20:27And it's my job
20:28to cut it out.
20:30Oh no!
20:31Don't, don't drop me out!
20:32Don't, don't make her
20:33ashamed of me!
20:34Don't, I love her!
20:36Take her away!
20:41Look at her.
20:43She missed that line.
20:45Do you want to come?
20:46Let me see if we have time?
20:47Yes.
20:48Oh no.
20:49Come on.
20:50Time to deliver
20:51some bad news.
20:52Back to once.
21:01We go again
21:01straight away.
21:02Thank you too.
21:04So, um,
21:05no, I'm just
21:05passing on notes
21:06so I'm just learning.
21:07So in your line
21:09can you please
21:09remember to also say
21:10look after her?
21:12So don't forget
21:13that line please.
21:14Thank you very much.
21:16A beautiful performance
21:17though, really moving.
21:18Oh, thank you.
21:19That's not your job.
21:21I was just
21:22giving you a...
21:22That's actually
21:23not our job.
21:23What are we not
21:24allowed to do that?
21:24We can't.
21:25Shall we go back
21:26to the tent?
21:27I'm so sorry.
21:28I'm so sorry.
21:28Just look after her.
21:29OK, take two.
21:32Anna!
21:33Don't tell Bobby
21:34I have doubt.
21:35Don't make her
21:35ashamed of me.
21:37Look after her!
21:38Tell her I love her!
21:40She nailed it
21:41words-wise there
21:42though.
21:42Every single word
21:44has written.
21:47Well done,
21:48Bea.
21:49Thank you very much.
21:51Very good work
21:52Anita, Bea.
22:00Bringing to life
22:01the wish world
22:02of Conrad's imagination
22:03allowed the
22:04production design team
22:05to go to town
22:06on the sets.
22:08It also got me
22:09all excited
22:09when I first saw them.
22:11Right, OK.
22:12Now this
22:12is a space
22:13that I know of
22:14and you know of
22:15as the unit
22:15headquarters.
22:17It's the
22:17ultra-modern
22:18full of
22:19jazzy tech
22:20place where
22:21Kate Lethbridge-Stewart,
22:22Gemma Redgrave
22:23sort of runs
22:24the show
22:24but it's been
22:25transformed.
22:25Oh wow.
22:27Look how
22:27different it looks.
22:28Firstly,
22:29you can't see this
22:30but this feels
22:31different
22:32because it's
22:32springy.
22:33This is a carpet
22:33and before
22:34and before it's
22:35all like super slick
22:36but look at those.
22:37This is what
22:37people used to
22:38type on.
22:39They don't
22:39anymore.
22:40Obviously it's
22:41been transformed
22:42to like mid
22:4220th century
22:43vibes.
22:45Gemma, for you
22:46who spends
22:47a lot of
22:48time in this room
22:49it must be an
22:49odd sensation
22:50being here and
22:51seeing it look
22:52like this.
22:52I think it looks
22:53magnificent.
22:53Doesn't it look
22:54great?
22:54Doesn't it look
22:55like an episode
22:55of Mad Men?
22:56It does.
22:57Slightly.
22:57With a sort
22:58of unit twist.
22:59Absolutely.
23:00I want to know
23:01if Jonah's
23:01seen these
23:02because if I
23:02was him
23:03I'd be thrilled
23:04and a bit
23:04freaked out
23:05at the same
23:06time.
23:07It's odd
23:07seeing you
23:08in a suit
23:09though not
23:09in your
23:09big body
23:10armour.
23:10I know.
23:11I mean it
23:11looks fresh.
23:12It does look
23:13fresh.
23:13It's very
23:13it's the first
23:14day actually.
23:16What did you
23:16feel like when
23:17you walked in
23:17here because
23:17this is your
23:18home when
23:19you're on
23:19set filming
23:20this is where
23:20you spend
23:21most of your
23:21time.
23:21It looks
23:21totally
23:22different.
23:23Completely
23:23different.
23:24We walked
23:24in this
23:25morning we
23:25just did
23:27while the
23:30retro unit
23:31set evokes
23:321950s
23:33nostalgia
23:33the Bone
23:34Palace is
23:35a brilliant
23:36sci-fi
23:37meets
23:37gothic
23:37horror
23:38mash-up.
23:39I love
23:39this.
23:39This is
23:40the one
23:41set that
23:42we've done
23:42where it's
23:42been entirely
23:43sculpted
23:44so we've
23:44had a
23:44brilliant
23:44team of
23:45sculptors
23:45transforming
23:47it into
23:48a bony
23:48palace.
23:49There's
23:49a lot
23:50of bird
23:50references
23:51in it.
23:51A lot
23:51of avian
23:52references.
23:52Why did
23:53you go
23:54bird?
23:54We just
23:55thought they
23:55looked cool.
23:56We just
23:57thought they
23:58looked great.
23:58There's lots
23:59of beaks and
24:00bird skulls and
24:00actually we
24:02looked at
24:02ostrich bones,
24:03ostrich feet and
24:04that's kind of
24:05where these feet
24:06came from at the
24:06base of the
24:07pillars in the
24:08Bone Palace.
24:10That's very
24:10clever isn't it?
24:11Get rid of the
24:12wife.
24:13I mean it was
24:13epic.
24:15The attention to
24:16detail to the
24:17different bones that
24:18they used to
24:18create the
24:19structure was
24:20just beautiful.
24:21It was beautiful
24:21but also very
24:22creepy.
24:23It feels like
24:23you're in a
24:24dead animal.
24:24Where's Tom?
24:25Where is he?
24:26But then there's
24:27this massive
24:27disco ball that
24:28was also there.
24:30Wait.
24:31Did someone say
24:31disco ball?
24:35Can I work some
24:36magic?
24:37Oh yeah.
24:37Do some magic.
24:38Alan can you
24:39turn on the
24:39disco ball please?
24:42Oh my.
24:44You have the
24:44power in your
24:45hands.
24:46In my hands.
24:46Doesn't it look
24:46good?
24:48That is cool.
24:48Is that the
24:49coolest thing we've
24:49done in the
24:50least?
24:50Maybe.
24:50In two series.
24:51He's definitely
24:51doing my
24:52interviews.
24:54Saturday Night
24:55Femur anyone?
24:57Music.
24:58Towards the
24:59end of the
24:59episode John
25:00Smith and
25:01the Rani link
25:02up for a
25:02dance for
25:03old time's
25:03sake.
25:04We danced
25:05once upon a
25:06time you
25:07and I at
25:08the siege of
25:09Persephone.
25:10This feels
25:11like a bit of
25:11deja vu for
25:12the 15th
25:13Doctor.
25:13What are you
25:14dancing now?
25:15Shoot.
25:15Come here.
25:15You're going to
25:16be...
25:16I'm telling you
25:19they'll have me
25:20on Strictly now.
25:21Not for the
25:23first time
25:24Shooty had to
25:25dust off his
25:25dancing shoes
25:26and cut some
25:27rug.
25:31Two Time
25:32Lords meeting
25:32again in the
25:33middle of a
25:34waltz.
25:35As you do.
25:37Just so
25:37calm.
25:38It was
25:39brilliant.
25:40Brilliant.
25:41Brilliant baddie.
25:42So you've
25:43ticked off now.
25:44You've done
25:44your 60s
25:46dancing.
25:46You've now
25:46waltzed.
25:47You've now
25:48waltzed.
25:48So that is
25:49actually
25:49nearly on the
25:49whole Strictly
25:50line-up there.
25:51You've danced
25:51with a
25:52Strictly judge.
25:53I know.
25:54I know.
25:54Just a trend
25:55here.
25:55It's a trend.
25:59It's a trend.
26:00It's a trend.
26:02Choreographer
26:02Jack Murphy,
26:03who we met in
26:04last season's
26:05The Devil's
26:05Chord and
26:06Rogue,
26:06is back to
26:07make sure
26:07Shooty and
26:08Archie's
26:09Waltz
26:09stays in
26:10step.
26:11You're here
26:11again doing
26:12another dance
26:12from Doctor Who?
26:13What a pleasure.
26:15What a privilege.
26:15Because it's
26:16more intimate
26:17than the work
26:18you've done
26:18on the series
26:19I suppose.
26:19How does that
26:20change your
26:21work rather
26:22than doing
26:22one of those
26:23big numbers
26:23or the
26:23Bridgetown
26:24style stuff?
26:25This is
26:26really what
26:27my career
26:27is based on
26:28because primarily
26:29I've worked
26:29on plays.
26:31This is taking
26:31me home
26:32really.
26:33So I'm
26:33very, very...
26:34It's a busman's
26:34holiday for you
26:35as well.
26:35It is a busman's
26:36holiday.
26:37Do you want to
26:37put that away,
26:37Stephanie?
26:38I'm very happy
26:38to ride that bus.
26:39Absolutely.
26:41Jack Murphy is
26:42such a person.
26:42He just,
26:44you know,
26:44he understands
26:45dance but he
26:46also understands
26:46performances and
26:47so what was
26:48really helpful
26:49in having me
26:49was doing the
26:50dialogue and
26:51the dance
26:51and he told
26:52me he'd still
26:52have a costume
26:53because he was
26:54a little bit
26:54this but I did
26:56get to spend
26:56some time
26:57and yeah
26:58I'm really
26:58screaming there.
27:01That was hard.
27:02I mean,
27:02harder for Archie.
27:03Archie had that
27:05long speech to do
27:06and was listening
27:07to the music as
27:07well.
27:08At the top of
27:08the dance,
27:09she's like,
27:09because I'm still
27:10John Smith at
27:11this point so he
27:11doesn't really
27:12know what he's
27:12doing.
27:12So she was
27:13leading in
27:14six-inch heels
27:15while giving a
27:16speech whilst
27:16also listening
27:17to music.
27:18It was,
27:18and she
27:19smashed it.
27:20People said
27:21we were lovers.
27:22Can you
27:23remember?
27:23What Archie
27:25Punjabi is doing
27:26at the moment
27:26is unbelievably
27:28difficult.
27:28Until you've
27:29tried it,
27:30you wouldn't
27:30know.
27:30Yeah,
27:31I mean,
27:31if you're at
27:31home,
27:31I'd try dancing
27:32and talking
27:33at the same
27:33time and it's
27:34actually quite
27:34hard,
27:34isn't it?
27:35Oh,
27:35well,
27:36yes.
27:37Yeah.
27:37Yes,
27:37yes,
27:37yes,
27:37yes.
27:37That's why
27:38you've been
27:38able to have
27:38a career,
27:39Jack,
27:39because you've
27:39got to teach
27:39people to do
27:40it.
27:40I have to
27:41find a way
27:42of expressly
27:43doing it,
27:43find the quickest
27:44way of doing
27:44it because it's
27:46all about
27:46repetition.
27:47And is the
27:48idea that the
27:48dance becomes
27:49second nature
27:49then?
27:50Totally.
27:51They're not even
27:51thinking about it.
27:52It becomes
27:52kinesthetic,
27:54it's in the
27:54muscle memory,
27:55it's a drama,
27:56it's not a
27:56dance show,
27:57so I mustn't
27:58indulge in where
27:59I would like to
28:00take it.
28:00less swizzling.
28:03And I have to
28:03kind of then go,
28:04I'm not going to
28:05be judged on the
28:06fact that actually
28:07there's a simplicity
28:08to it.
28:09Yeah.
28:10We should go
28:10again,
28:11guys.
28:11Okay.
28:12Sorry.
28:16In the Doctor
28:19Who season
28:20two finale.
28:22Okay,
28:23let's repeat
28:24chapter one.
28:25Is it working?
28:26We need to move
28:27a little faster.
28:28sweet little
28:30desiderium.
28:31If only you
28:32were older,
28:33you could imagine
28:33such complicated
28:34things.
28:35Instead,
28:37I've got you.
28:58I've got you.
28:59I've got you.
29:00I've got you.
29:01I've got you.
29:02I've got you.
29:03I've got you.
29:03I've got you.
29:04I've got you.
29:04I've got you.
29:04I've got you.
29:04I've got you.
29:05I've got you.
29:05I've got you.
29:05I've got you.
29:06I've got you.
29:06I've got you.
29:06I've got you.
29:06I've got you.
29:07I've got you.
29:07I've got you.
29:08I've got you.
29:08I've got you.
29:09I've got you.
29:09I've got you.
29:10I've got you.
29:10I've got you.
29:10I've got you.
29:11I've got you.
29:11I've got you.
29:12I've got you.
29:12I've got you.
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