Doctor Who- Unleashed - Season 2 Episode 07- Wish World (1)
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02:11spinsmez bu.
02:12Bir iki yaşlarlarından bir zrobić.
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02:27They're married and they have a child together.
02:30I haven't been busy mates with Belinda for the past six episodes.
02:35It was a weird transition, but for fun.
02:38Me and V thought it was very funny.
02:41We were waking up in bed beside each other.
02:45Did you see a cat?
02:46Yeah.
02:47Is that you wanting a cat?
02:49Yeah.
02:50Yeah.
02:51It's like playing Halsey the best friend.
02:53Seeing Shuti be like a dad figure was very different to how I know Shuti to be in real life.
03:00Like, 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.
03:09Is it okay out there?
03:12Is it working?
03:13It's all hanging on by a thread.
03:15It's not real and 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.
03:28But that's her plan to break the world apart and to reach the world underneath.
03:35So 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 and what's being filmed just behind me is the scene where John Smith walks in to work.
03:54Cutting it fine. Another two minutes and you'd have been late.
03:57I 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. He's remembering it. Nice one. Come on. Spot the professional.
04:35I don't know if I have.
04:39Happy morning Unified National Insurance Team. How can I help?
04:43It was a lot to get my head around because 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 with the antithesis of that, that it was a nice challenge.
04:56Yeah.
04:57Yeah.
04:58Would you be good 9 to 5?
04:59No.
05:00In an office?
05:01No.
05:02No, I wouldn't be good, but I do enjoy it though.
05:03When I loved when I was temping.
05:05Yeah, yeah.
05:06I found having an Excel spreadsheet in front of me the most exciting thing.
05:12You an Excel guy?
05:13Yeah.
05:14Your spreadsheets man, Chuty.
05:15I worked in many a receptionist office and yeah, I loved it.
05:20It was just so much fun. Nothing ever got entered into it.
05:24No. Productivity was low, but...
05:26Productivity was very low.
05:27You were having a great time.
05:28But I was happy to be there.
05:29Yeah.
05:30Yeah.
05:31You could see that channeled in your John Smith.
05:33Yeah.
05:38The old cliche says never work with children or animals.
05:41So what did Russell write into the opening scene of this episode?
05:45A baby and...
05:47Animals. Lots of animals.
05:49We had a day with ducks.
05:50And we had an owl.
05:51We're about to have a right.
05:52We've done this.
05:53And we had a horse.
05:54Well, apart from the horse mixturating in the middle of the take, it was fantastic.
05:58I happily write six ducks knowing I won't be there on that day.
05:59Knowing it's gonna be chaos and a nightmare.
06:00There was probably a duck wrangler.
06:01Was there a duck wrangler?
06:02Was there a duck wrangler?
06:03There was a duck wrangler.
06:04I knew it.
06:05One, two, three.
06:06I wonder is is there any way to spread some Testing.
06:07I'll try.
06:08Good thing ever.
06:09Good thing.
06:10One, two 3.
06:23I wonder, is there any way to spread some też?
06:24I'll try.
06:28Good thing ever.
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08:35Seel it and label it.
09:07The renegade Time Lady returned in 1987's The Time and the Rani in 7th Dr. Sylvester McCoy's debut episode.
09:16The Rani! Stay back!
09:19Since then, the character has appeared in audio dramas, novels and comics, but aside from a brief appearance in 1993, not on TV. So why now?
09:29That was a villain that I really wanted to face and I'd ask Russell.
09:33Oh, I do? You asked him?
09:34Yes.
09:35She's so, like, fabulous.
09:37Yeah.
09:38I want to face off of her. Time Lord v. Time Lord. Like, how cool.
09:42Oh, yes, Doctor.
09:44I've always liked the Rani and I've always thought I'd bring her back somehow, but that was like a request. When your lead actor requests something, I'm here to obey.
09:53Stepping into the iconic red suit and black boots this time around is Emmy award-winning actor and star of The Good Wife, Shetland and Bend It Like Beckham, Archie Punjabi.
10:06So how did it happen, Archie? How are you sat here as a very famous Doctor Who character, back reincarnated as the Rani?
10:14I was just sitting at my desk one day and then I got a message saying, would you like to be in Doctor Who? And I thought, ooh, that could be interesting. What's the character?
10:23Yeah.
10:24And they said, the Rani. And I thought, wow. Oh, wow. And the Rani obviously means queen. And all I could think about, honestly, the first reaction was my entire Indian community would be so over the moon
10:35because the Rani is queen and I'm married to Raj, the king. So I thought, that would be lovely.
10:41And I just thought, it's Doctor Who, it's the Rani, it's Anita Dobson. I had three words in my head. Yes, yes, yes.
10:49And what's it been? Has it sort of lived up to that, your expectations?
10:53It's succeeded. Has it? I mean, look at this. This is my palace, our palace.
10:58Yes, ma'am. Yeah.
11:03Archie Punjabi is amazing.
11:04I mean, the charisma and the presence that she holds in the room. And she's so, so lovely. She's so cool.
11:15Nice of you to join us, Doctor.
11:18Like, when I was younger, there weren't a lot of South Asian actors on screen and she was one of them.
11:23And I always looked up to her. I thought she was stunning and sassy and smart.
11:30The Rani's relationship with Mrs. Flood is quite funny because they're both the Rani and she considers herself a lot more superior to Mrs. Flood.
11:39And she treats her very badly. It's very, it's not very nice.
11:43Sun moved jolliously.
11:45But it does also make you laugh.
11:46Oh, right.
11:48Because they're both so funny when they're together.
11:50You still go everywhere together now. Is this a new thing?
11:52Yeah.
11:53It's sort of happening, isn't it?
11:54We feel like we've known each other for...
11:56Ever.
11:57Ever.
11:58It's very strange.
11:59Yeah.
12:00Because this afternoon you're filming the bit where you...
12:02We moved the same, did you see that?
12:04Yeah.
12:05Yeah, we even say things at the same time.
12:07Yeah.
12:07Finish each other's sentences.
12:08Yes, we do, don't we?
12:09Yeah, yeah, yeah.
12:11I was so excited, I couldn't wait to meet her. And then I suddenly panicked and thought, what if we don't click?
12:16What if there's no magic? And then she walked onto the set and it was like, there it was.
12:20Yeah.
12:21It could be said that you sprang from my loins.
12:26That's the most disgusting thing I've ever heard.
12:35Every Doctor Who set has its challenges, be it a retro unit set, a peasant cabin in the Bavarian woods, or a palace made of bones.
12:46Although none of those were the most challenging in this episode, that accolade goes to this set.
12:51We are in Central Cardiff, and we have created the Camp of the Dispossessed, which is an area where everyone with a disability kind of has sort of forgotten about, and they get sort of placed in this place.
13:04So obviously because of the storyline, all our sporting artists, they're all people with visible and non-visibility, so another reason why we selected this location is obviously because it's fully accessible and workable for people with all their different specific needs and requirements.
13:18So it's been a really interesting challenge, but trying to make a location that's sort of, that's not just serviceable for a standard film group, but also for people who've got slightly more specific needs and requirements.
13:28Morning Winnie Love, another day in paradise.
13:30So I am what they call an access coordinator, so it's my responsibility to work with the production as a whole to make sure any cast or crew or production team member who's deaf, disabled or neurodivergent work with them and put any access requirements in place.
13:48And that could be anything from a ramp to the front door, to a quiet room in the production office, it's all about making the entire process accessible to people who are disabled.
14:00I am crowd-aiding and also essaying because I'm a crew member with a disability, so they asked me to help out with all the essays, as well as acting as well.
14:13They clearly heard the words camp and disabled and thought let's call Ben.
14:18You know what, having an access coordinator on set makes everything so much easier.
14:23All of those little things that other people might not notice, the people who it's meant for will, and I think that's really special.
14:30So it was about, okay, let's have different coloured tents because if you were visually impaired or you were blind or uni-blind but you could see a bit of colour.
14:40If you had all the tents in one colour and as a blind person or visually impaired person you'd knock into these.
14:46So you'll see there's different tents in different colours and then there's ribbons round about.
14:51We looked at the access, how to get into the tent, how to get out, because tents, I don't know if you noticed, but they have a lip at the bottom.
14:59So if you were in a wheelchair you couldn't get into it, so it's all about making the whole thing accessible.
15:04You know what, it looks really beautiful. I thought I could spend a weekend here. How nice.
15:11Everyone just having a nice little jolly. It feels really colourful and vibrant and to see so many disabled people just living like that.
15:19Thinking, oh actually that could be real. It's quite moving in a way, how happy everybody is as well.
15:28Yeah, what a great place to film.
15:30Just tell me what the hell is going on.
15:32When you're disabled, you know that with just a few access requirements put in place, it makes such a big difference.
15:39It means you can turn up and you can be creatively brilliant.
15:42So when we make our film and TV industry accessible, we open ourselves up to lots of very talented people.
15:55Still to come on Doctor Who Unleashed.
15:59We got dancing with the stars.
16:01What are you even dancing now?
16:03Sure, come here.
16:04They'll have me on Strictly now.
16:06Production designer Phil Simms reveals the inspiration behind the awesome Bone Palace.
16:12There's a lot of bird references in it, a lot of avian references.
16:15OK, that's interesting. Why did you go bird?
16:17We just thought they looked cool. We just thought that.
16:20And spoiler alert, we've got an exclusive clip from the season finale.
16:27But first...
16:28So every week on Doctor Who Unleashed, I do some work experience with a different department that make Doctor Who happen.
16:37And this week, I'm with the script team and with Molly on the script team.
16:41And I think their job is actually one of the most stressful on set.
16:45Why? Let's go find out.
16:48And action!
16:50OK, Molly, let's start right to the basics.
16:53Hello.
16:54Hello.
16:55Yes, that is the basics.
16:56That's a good basic.
16:57Yeah, that's a good basic.
16:58Hello. Yeah, my manners. Yes, thank you very much.
16:59Tell me about the script team. What do they do? What do you do? What's your job title?
17:02My job title is a little bit of a mouthful.
17:05OK, that's a good start.
17:06Yes, I am the trainee assistant script supervisor.
17:09Trainee assistant script supervisor.
17:11I am indeed, yeah.
17:12It's a bit of a mouthful, isn't it?
17:13It is a little bit, yeah.
17:14What do they do?
17:15They assist the script supervisor.
17:17Molly assists script supervisor Richard Pask. Between them, they have some serious responsibilities.
17:24It's their job to keep detailed notes of dialogue, action, continuity and all the slate and scene numbers.
17:32On top of all that, during filming, they have to closely monitor what's happening to check no dialogue is missed.
17:39And that the movements and the eye lines of all the actors match take after take after take.
17:45And what's with the stopwatch?
17:47We help out production with timings of the day, when we start, when we finish, when we call for lunch, how much of the episodes that we've shot already, like 15 minutes in, 20 minutes in, whether we're overrunning.
17:59So before we start shooting, we have to time the script.
18:02Right.
18:03We come up with a guess, a guesstimate of how long the episode is going to take and then we try and match that as much as possible.
18:09Occasionally, Molly has to deliver some bad news.
18:12Now, I've seen some of your colleagues go in with scripts in hand, asking for scenes to be redone so that the scripts match the writing.
18:21Is that a big part of the job as well?
18:23A big part of the job is learning when to go in and when not to.
18:28So it's a lot of talking with the director, like, oh, the line maybe changed a little bit here, or should I go in and change it?
18:34Should we remind the actors what the line is? That kind of thing.
18:38And sometimes it's a yes and sometimes it's a, oh, it doesn't matter.
18:40It's not a big deal.
18:41Yeah.
18:42So were you always interested in drama growing up, or was it sci-fi that you liked, or what was it?
18:46Well, Sam.
18:47It was actually a behind-the-scenes episode of Doctor Who that I watched when I was a kid.
18:52Was it?
18:53That's what I want to do.
18:54And here you are on behind-the-scenes of Doctor Who.
18:57And here I am.
18:58It's like a real full circle moment.
18:59Exactly.
19:00I bought some books.
19:01I read them.
19:02And when I was doing lots of running jobs on short films, I just said, hey, can I either shadow
19:07or sometimes when they don't have a script supervisor, like, can I give it a go?
19:10Amazing.
19:11Yeah.
19:12So that's a real self-starter then, Molly.
19:13You were like, that's the thing I want to go and do.
19:15Did all your own research and here you are.
19:16And here I am.
19:17That's cool.
19:18On Doctor Who behind the scenes.
19:19That's so brilliant, isn't it, Jack?
19:21Right, time for me to step in as the assistant to the assistant script supervisor.
19:26As night falls and rehearsals begin, Richard and Molly are on hand to liaise with the director
19:36and help the actors double-check their lines.
19:39So if they're getting the lines, you want to make sure they're getting the lines right here
19:42as well as later?
19:43Yeah.
19:44We don't want panic.
19:45We don't want panic.
19:46Nobody wants panic.
19:47No, no, no.
19:48Let's turn over.
19:49A and B.
19:50With the cameras about to roll, Molly and I will be monitoring the action
19:54from a small tent side of set.
19:56In between takes, I listen to what the director's saying so that I can put down on my notes
20:02if there's anything that he liked or didn't like.
20:04So you're eavesdropping?
20:05Yes, all the time.
20:06Eavesdropping?
20:07Yeah.
20:08Everything you hear, the more information you can put down, the better.
20:13Set.
20:14And action.
20:16You recognised your husband's doubt because you've been expressing doubt yourself.
20:21That's what it does, Mrs. Smith.
20:23It contaminates.
20:24It breathes.
20:25It festers.
20:26And it's my job to cut it out.
20:29Oh, no!
20:30Don't!
20:31Don't!
20:32Don't!
20:33Don't make her ashamed of me!
20:34Don't!
20:35Don't!
20:36Don't!
20:37Don't!
20:38Take her away.
20:39Look up.
20:40She missed that line.
20:42Do you want to come?
20:43Let me see if we have time.
20:44Yes.
20:45Oh, no.
20:46Come on.
20:47Time to deliver some bad news.
20:48Back to one.
20:49Should we go again?
20:50Straight away.
20:51Thank you, too.
20:52So, I'm not...
20:53I'm just passing on notes.
20:54Obviously, I'm just learning.
20:55So, on your line, can you please remember to also say, look after her?
20:58So, don't forget that line, please.
21:00Thank you very much.
21:01A beautiful performance though, really moving.
21:02Oh, thank you, thank you.
21:03Thank you.
21:04Thank you.
21:05That's not your job.
21:06I was just giving you a...
21:07That's actually not our job.
21:08Oh, we're not allowed to do that?
21:09Shall we go back to the tent?
21:10I'm so sorry.
21:11I'm so sorry.
21:12Just look after her.
21:13OK.
21:14Take two.
21:15That's not your job.
21:16That's actually not our job.
21:17Oh, we're not allowed to do that.
21:18Shall we go back to the tent?
21:19OK.
21:20I'm so sorry.
21:21I'm so sorry.
21:22Just look after her.
21:23OK.
21:24Take two.
21:25Let's go again straight away.
21:26So, I'm just passing on notes.
21:27I'm just learning.
21:28I'm so sorry.
21:29Just look after her.
21:30OK.
21:31Take two.
21:32Anna!
21:33Don't tell Bobby I have doubt.
21:34Don't make her ashamed of me.
21:36Look after her.
21:37Tell her I love her.
21:39She nailed it words-wise there though.
21:42Every single word as written.
21:47Well done, V.
21:48Perfect.
21:49Thank you very much.
21:50Very good work, Anita V.
21:53And bringing to life the wish world of Conrad's imagination allowed the production design team to go to town on the sets.
22:08It also got me all excited when I first saw them.
22:11But OK, now this is a space that I know of and you know of as the unit headquarters.
22:16It's the ultra-modern, full of jazzy tech place where Kate Lethbridge-Stewart, Gemma Redgrave, sort of runs the show.
22:24But it's been transformed.
22:25Oh, wow.
22:26Look how different it looks.
22:28Firstly, you can't see this.
22:30But this feels different because it's a springy.
22:32This is a carpet.
22:33And before it was all like super slick.
22:35But look at those.
22:36This is what people used to type on.
22:38They don't anymore.
22:39Obviously, it's been transformed to like mid-20th century vibes.
22:44Gemma, for you who spends a lot of their time in this room, it must be an odd sensation being here and seeing it look like this.
22:52I think it looks magnificent.
22:53It doesn't look great.
22:54Doesn't it look like an episode of Mad Men?
22:56It does.
22:57Slightly.
22:58With a sort of unit twist.
22:59Absolutely.
23:00I want to know if Joan has seen these because if I was him, I'd be thrilled and a bit freaked out at the same time.
23:07It's odd seeing you in a suit though, not in your big body armor.
23:10I know.
23:11I mean, it looks fresh.
23:12It does look fresh.
23:13It's very, it's the first day actually in this.
23:16What did you feel like when you walked in here?
23:17Because this is your home when you're on set filming.
23:20This is where you spend most of your time.
23:21It looks totally different.
23:23Completely different.
23:24We walked in this morning.
23:25We just did like a triple take like what is going on?
23:28Yeah, it's beautiful.
23:30While the retro unit set evokes 1950s nostalgia, the Bone Palace is a brilliant sci-fi meets gothic horror mashup.
23:39I love this.
23:40This is the one set that we've done where it's been entirely sculpted.
23:44So we've had a brilliant team of sculptors.
23:46It's so clever there.
23:47Transforming it into a bony palace.
23:49There's a lot of bird references in it.
23:51A lot of avian references.
23:52Okay, that's interesting.
23:53Why did you go bird?
23:54We just thought they looked cool.
23:56We just thought they looked great.
23:58There's lots of sort of beaks and bird skulls.
24:00And actually, you know, we looked at ostrich bones, ostrich feet.
24:04Yeah.
24:05And that's kind of where these feet came from at the base of the pillars in the Bone Palace.
24:09That's very clever, isn't it?
24:11Yeah.
24:12Get rid of the white.
24:13I mean, it was epic.
24:15You know, the attention to detail to the different bones that they used to create the structure.
24:20It was just beautiful.
24:21It was beautiful, but also very, very creepy.
24:23It feels like you're in a dead animal.
24:24Where's Tom?
24:25Where is he?
24:26But then there's this massive disco ball that was also there.
24:29Wait.
24:30Did someone say disco ball?
24:36Do I like some magic?
24:37Oh, yeah.
24:38Do some magic.
24:39Alan, can you turn on the disco ball, please?
24:41Oh.
24:42Oh, my.
24:43You have the bone in your hands.
24:45In my hands.
24:46Doesn't it look good?
24:47Very exciting.
24:48That is cool, is it?
24:49Is that the coolest thing we've done on Unleashed in nearly two seasons?
24:51Maybe.
24:52Especially during my interviews.
24:53Yeah.
24:54Saturday Night Femur, anyone?
24:56Music!
24:58Towards the end of the episode, John Smith and the Rani link up for a dance for old times' sake.
25:04We danced once upon a time, you and I, at the siege of Persephone.
25:10This feels like a bit of deja vu for the Fifteenth Doctor.
25:13What are you dancing now, Shooty?
25:15I know.
25:16I know.
25:17I'm telling you, they'll have me on Strictly now.
25:22Not for the first time, Shooty had to dust off his dancing shoes and cut some rug.
25:31Two Time Lords meeting again.
25:33Yeah.
25:34In the middle of a waltz.
25:35As you do.
25:37Just so calm.
25:38It was brilliant.
25:39Yeah.
25:40A brilliant.
25:41Yeah.
25:42A brilliant baddie.
25:43So you've ticked off now.
25:44You've done your sixties dancing.
25:46You've now waltzed.
25:47We've now waltzed.
25:48So that is actually, you're nearly on the whole Strictly line up there.
25:51You've danced with a Strictly judge.
25:52I know.
25:53I know.
25:54Which is a trend here, Shooty.
25:55It's a trend.
25:56It's a trend.
25:57It's a trend.
25:58It's a trend.
25:59It's a trend.
26:00Choreographer Jack Murphy, who we met in last season's The Devil's Chord and Rogue, is back to make sure Shooty and Archie's waltz stays in step.
26:10You're here again doing another dance from Doctor Who?
26:13Can't get enough of it.
26:14What a pleasure.
26:15What a privilege.
26:16Because it's more intimate than the work you've done on the series I suppose.
26:19How does that change your work rather than doing one of those big numbers or the Bridgetown style stuff?
26:25This is really what my career is based on.
26:28Because primarily I've worked on plays.
26:30This is taking me home, really.
26:33So I'm very, very...
26:34It's a bus man's holiday for you as well.
26:35It is a bus man's holiday.
26:36Do you want to put that away, Stephanie?
26:38I'm very happy to ride that bus.
26:39Absolutely.
26:41Jack Murphy is such a kind.
26:43He just, you know, he understands dance, but he also understands performances.
26:47And so what was really helpful in having you were doing the dialogue and the dots.
26:51And he told me if he'd still hang costs a little bit of this.
26:55But I did get to spend some time here.
26:57Yeah, I'm really scheming in there.
27:01That was hard. I mean, harder for Archie.
27:03Archie had that long speech to do.
27:05She did.
27:06Was listening to the music as well.
27:07At the top of the dance, she's...
27:09Because I'm still John Smith at this point.
27:11So he doesn't really know what he's doing.
27:12So she was leading in six inch heels while giving a speech,
27:16whilst also listening to music.
27:17It was...
27:18And she smashed it.
27:20People said we were lovers.
27:22Can you remember?
27:23What Archie Punjabi is doing at the moment is unbelievably difficult.
27:28Until you've tried it, you wouldn't know.
27:30Yeah, I mean, if you're at home, right?
27:31Try dancing and talking at the same time.
27:33And it's actually quite hard, isn't it?
27:35Well, yes.
27:36Yeah.
27:37Yes, yes, yes, yes.
27:38That's why you've been able to have a career, Jack.
27:39Because you've got to teach people to do it.
27:40I think so.
27:41And have to find a way of expressly doing it.
27:43You know, find the quickest way of doing it.
27:44Yeah.
27:45Because you kind of...
27:46It's all about repetition.
27:47And is the idea that the dance becomes second nature then?
27:50Totally.
27:51Yeah.
27:52They're not even thinking about it.
27:53It becomes kinesthetic.
27:54It's in the muscle memory.
27:55It's a drama.
27:56Mm-hmm.
27:57It's not a dance show.
27:58So I mustn't indulge in where I would like to take it.
28:00Yeah.
28:01No, less swizz...
28:02Less swizzling.
28:03Yeah.
28:04And I have to kind of then go,
28:05I'm not going to be judged on the fact that actually there's a simplicity to it.
28:08Yeah.
28:09We should go again, guys.
28:10Okay.
28:11Sorry.
28:12Okay.
28:13Okay.
28:18In the Doctor Who season two finale.
28:21Okay.
28:22Let's repeat chapter one.
28:24Is it working?
28:25We need to move a little faster.
28:27Sweet little desiderium.
28:29If only you were older, you could imagine such complicated things.
28:35Instead, I've got the earth.
28:59The Earth.
29:00The Earth.
29:01The Earth.
29:02The Earth.
29:03Godafide and him.
29:05sinks himself.
29:23The Earth.
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