06x10 - About a Boy

[bunniefuu]

It's a fun episode,
different from the others

cos it's about tension
and building suspense.

Crazy, eerie dolls creeping along,
moving malevolently.

The demonic dolls are playing
a spooky game of house.

So join us as we take a sneaky peek
at how they were created.

And a crazy dolls' house
that has over-sized scissors,

and mops, and batteries
and strange things.

And we get down and dirty
in a vat of slime.

I'm the Doctor getting to have a bit
of a double act with someone's dad.

We can't open the cupboard!
No, no, we mustn't.

But it all hinges on
the emotions of a little boy.

Doctor Who is scary, but this is
the scariest of all time.

Ooooh! Yo!

That's Youth TV Confidential.
Let's do it.

I like it. Yo, this is Arthur.

This is... Don't know if I can
do this. Gosh, it's Karen.

All right, anyway,
here we are at Durham Park.

What are we doing here, Arthur?
Which isn't in Durham.

No. Durham.
We are filming a dolls' house. Yes.

We're filming an episode
about a dolls' house.

Amazing place.

It was very nice
because it was sunny

and we got to sit outside
in the garden.

That was rather glorious.

I travelled around South Wales,

photographing all
the Georgian houses,

but this one was quite fine

with a lovely staircase
and the archetypal

black and white checked floor
which we didn't see anywhere else.

It felt very dark and magical
so that's why we came here.

The crew have found
the perfect location.

And it's now down to that
all-important final detail.

In our story
we have a dolls' house

which is based on this facade.

Our dolls' house is about this size.

And we are dressing the interior
of this house to replicate

the inside of the dolls' house.
Let's go in and have a look.

What are we doing today?

Today, we're filming a scene
where we are being chased

by these crazy, big-headed dolls.

It's the first day of action stuff.

All the expensive items.

We're trying to simplify them down

to make them look more childlike
so they look

like a dolls' house, really.

This room looked
lovely this morning,

lovely leather panelling
on the walls.

We've taken out
all of the nice furniture

and we're bringing in
all of our tatty,

what would be the equivalent
of children's toy furniture.

I do this... Which is my favourite
part of the scene.

Ready?

You can't just do it in real life.

Sorry, I'm really sorry.
That's not funny.

We're going to dress it like
children leave their toys sometimes,

with chairs on the side and elements
that have been left

as though they've been played with.

In here, we'll have an out of scale

wooden candelabra which is just
sitting on the floor.

Big light bulbs flickering on it
to illuminate this lovely stairwell.

I got a bit of a head rush earlier,
actually.

I didn't tell anyone.

You didn't pass out. I didn't faint.
So that was good.

We're going to put a giant sideboard
here which is all out of scale

with very simple handles on it

and the graining on it
is slightly over-sized.

In here, there's a sequence where
they go to try the handle.

Argh! What is it? No doorknob.

But we've made
a cover for the handle,

a box which comes out here.

This whole sequence
takes place at night

and we've taken all the lights out

so there's no form of lighting
in here at all.

With this kitchen, we're going
to take out a lot of this detail.

So we'll just leave
maybe some of the larger plates.

One or two of the larger saucepans.

We're going to bring this ham over

because it looks like
a piece of model ham anyway.

And we've made a saucepan
which is about this size...

That's wood.

..and is obviously made of wood
to start the audience thinking

there's something not quite right.

That's basically
what we're doing here.

Turning a real house
into a dolls' house.

So, hopefully it will look nice
when we've finished.

We need Arthur in. Sorry.

Oh, Arthur's got to go.
Definitely. Bye.

So, anyway...
Let's talk about Arthur. I'm joking.

We've had a problem with access
here, obviously there are

lots of visitors coming and it's got
deer and cows roaming.

We've had to have a special route
in and out of the house.

The art department
came in the wrong way.

They got stopped by a herd of cows.

Cut. Good. Do it with...
Out of focus.

And then I want to do one where we
pull backwards and forwards. Sure.

The milk and...

I had very little practical lights,

very few lights on
the walls or anything.

There shouldn't really be lights
there that are mains powered.

It's mainly so Rory's... Darkness,
but Rory has a torch for instance

so that's quite effective.

Amy has, for a bit, her lantern,
so that's quite useful.

'Rory and I get separated
from the Doctor

'and we have to run around
and figure out where we are.

'we don't know
it's a dolls' house.'

Then these freaky looking dolls
chase us around,

and they are freaky.

They've got these big heads.

It's is a dummy. It is just a dummy.

'I've always been frightened
of dolls,'

particularly China-faced, Victorian
ones with their hair missing

and those holes where
the hair's punched in.

Those terrible glass eyes.

"Have you ever seen a shark's eyes,
like a doll's eyes? Black, lifeless."

All that.

No, no, no, no, no.

Come on!

Amy, come on!

Rory!

There's a doll of me.
Which looks a bit like you.

It's got the same shaped face.
No, it doesn't. It does.

Apparently, I've got a moon head.
Do I have a moon head?

If you shine a light on Karen's face,
she looks like the moon. Shut up.

Stop it. I've got a really
nice-shaped face.

Yeah, moons are all right.
Are they? They're all right.

Not craters though, yeah?

It was always a balance between

making them credibly
look like dolls,

but also making them scary.

That was a trial and error
approach with the clay.

They'd make new clay models
and send through photos.

Small things changed quite quickly,

but we noticed we wanted
the features to feel slightly wrong.

The ones I've always found
the most sinister,

are things that are slightly artless.

Not so finely detailed.

If you've got something which
is meant to be a peg doll,

and someone has painted
the face like that, and obviously

when they get big in the process
of that, something gets even cruder.

There's just something brilliant
about...

They feel like they've been carved
with a knife

and there's something a bit cracked
about them.

The hair's like wool.
It's just a primal fear, I think.

We wanted them to be painted wood,

but imagine they were very old
so the paint has flaked off.

We wanted cracks and stuff.

It was a matter of putting
the cracks or peeling paint

in places that made the face
almost distort a bit.

And then wiry, straw hair
that was slightly wrong.

It's making them right,
but wrong.

The dolls' mischievous movement

lies in the hands of Doctor Who
choreographer Ailsa Berk.

Go up and literally take your one,
and push against her.

And keep your legs straight

as you're pushing her back. OK?

When we first came up with the dolls,
they were peg dolls.

They had their wooden heads
and solid little bodies

and their arms that
could just move a bit.

We thought, OK, nice idea
would be to keep stiffness

in the lower part of the body

and let the arms just
have their own momentum

taking from the forward motion
of the dolls.

In your own time, take off.

We've got a fabulous team of people
performing these dolls.

Many of whom have
worked together before.

We had fun trying out the walk,
trying out the arms,

how it would work with it,

going up and down stairs,
getting used to it.

Because they have very little vision.
This is your turn.

Their vision is straight out.

What we had to do,

because we knew there was stairs
involved in the script,

we put on little masks like that
with two pinholes for practising.

We practised down at the studios,
going up and down stairs,

counting everything out.
Well done.

I think they're going to be very
nicely spooky.

We've had a few creatures that
have been really spooky,

I think this will be quite high up
on the list.

I think they'll be
a real hit, actually.

Well done, Mark.
It's brilliantly designed,

they have great colour
and life to them.

The way they move,

and the way they slowly turn their
heads is really creepy and eerie.

At a bit like the clockwork
robots can, you know,

they have that slow,
malevolent sort of feel to them.

Mark Gatiss has now written
four episodes of Doctor Who.

And is known for his love
of the gruesome and ghostly.

But what is it like penning episodes
for three different Doctors?

Join us as we take a look
at this dark dramatist.

'What Mark brings, particularly
to Doctor Who,

'is a love of the macabre.'

He actually loves it.
He revels in it.

Although it's always quite dark,
twisted and sinister,

his love for the material,
and his joy in it shines through.

It feels quite -
nice is the wrong word...

but it feels enjoyable.
You're aware of the fun

the writer is having in it and that
sh**t through all his work.

What happened to the lift?
We were in a lift, weren't we?

Yes, I remember getting in.

What?

We're dead, aren't we?

Eh?

The lift fell and we're dead.
Shut up. We're dead, again.

Oh, shut up,
let's find out where we are.

'It's terrifying and scary,
maybe even a little sick,'

but you can't help but hear him
chuckling as he makes it up.

That makes him perfect
for Doctor Who,

because Doctor Who must
both be dark and funny.

Which is Mark.

After a long absence, brought
the welcomed announcement

that Doctor Who would be
returning to our screens,

under head writer Russell T Davies.

I knew Russell very slightly,
I had met him at a couple of things.

It was the most amazing Christmas
present to be asked to do it.

Ready for this?

Here we go. History.

What's so weird now, with the show
being back and so successful,

but also, being not four,
is that you realise

that Christopher Eccleston is like
William Hartnell to some kids.

It's a sort of comparable time ago.
Ten years is nothing now.

Actually, if you look back,
the difference between

Doctor Who's beginning and then
, it's like a lifetime.

Mark's dark humour

was first called upon in the days
of Doctor number nine,

when Russell T Davies asked him
to write The Unquiet Dead.

It was called
The Name's Dickens, Charles Dickens.

It was about Victorian mediums

and the medium
had invented this machine

which drew gas out of the wall.
And my story developed out of that.

There's directness in
The Unquiet Dead.

Chris is very, very plain.

Ghosts that are not ghosts,
but beings from another world

who could only exist in our realm
by inhabiting cadavers.

Good system, it might work.

Rose can't stand the idea
that they are going

to occupy the bodies of the dead
because it's unseemly.

The doctor just says why not,
it's transport.

You can't let them run around
inside dead people. Why not?

It's like recycling. Seriously,
though, you can't.

Seriously, I can.

It's quite shocking.
One of those very alien moments

that sometimes pull the rug out.

This man appears to be like us,
and he's not.

Blimey. Don't laugh.

You look beautiful.

Considering.

Considering what?
That you're human.

Every now and then
I think it's very good

to cast the alien light onto him.

I think Chris,
there's something very practical

and leather jacket-y
about the whole approach.

Morbid fancies.
Charles, you were there.

I saw nothing but an illusion.

If you're going to deny it,
don't waste my time.

It was very much about reading
Russell's scripts for Rose

and Aliens Of London and getting
to hear the new Doctor's style,

trying to put aside
a lot of the old Doctor-ness

because it was going
to be radically different.

It's , how can I die now?

Time isn't a straight line,
it can twist into any shape.

You can be born in the th century
and die in the th,

and it's all my fault.

I brought you here.

I think Chris's incredible gift,

all the intensity which
he is traditionally thought to bring

and does bring to his parts,
that's where it pays off in spades.

Hi!

Who are you then?
I represent Queen and country.

When David took over,

it was much more
the sort of the quicksilver thing.

I remember early on then,
Russell saying,

"David can do very big speeches
very quickly."

Doing a check of her Majesty's
subjects.

Don't mind if we come in?
Didn't think so.

David immediately had this
kind of faun-like quality,

this energy, huge eyes,
and a sillier quality.

You going my way, doll? Is there any
other way to go, Daddy-O?

Straight from the fridge, man!
You speak the lingo!

'There's that kind of playful
quality,

'then you can pull it back around'

when he discovers that Rose
has been got,

and has lost her identity.

'David then the pulls in everything
else he does so beautifully,

'it is a sort of terrible loss.'

Then an angry determination
to put it right.

I left her in the street,
they took her face

and chucked her out
and left her in the street.

And as a result,
that makes things simple,

very, very simple.

Towards the end,
when they're outside Magpie's shop

and he says it is never too late.

It's never too late, as a wise person
once said. Kylie, I think.

"Kylie, I think."

I remember thinking, couldn't
have done that not so long ago.

But now that feels absolutely right.

Steven Moffat took over and asked me
to do Churchill versus the Daleks.

That was the brief.
I was very intimidated.

We are the Daleks.
But I created you. No.

Argh!

'In a funny way everyone wants to do
the Daleks, then you think,'

"God, what did I do?"

I thought,
I'd love to do something new.

Now you know who I am.
You always know.

Your identity is unknown.

'An interesting thing happens,
Steve Moffat is always saying,'

if anyone writes for a new Doctor,

they actually end up writing
their default Doctor.

You think,
"Yes, this is very different now."

Then you look back and think,

"Oh, there's Jon Pertwee.
How did that happen?"

Can I be of assistance?

That's one of the attractions,
you think,

if I'm going write a Dalek story,
I don't want to be limited

to saying "seek, locate, destroy,
exterminate."

The story came in that way round.

I am your soldier.

Yes, got that bit. Love a squaddie.
What else though?

Please excuse me.
I have duties to perform.

The spanner scene is... has got
quintessential Matt, I think.

There's a lot of proper rage
and he's physical.

Steve said to me, "I think he might
be a bit handy, this one."

And that's great.

Again, you suddenly think,
that's different.

A bit of Pertwee coming in again.
But not Venusian aikido.

He's actually... He'll have a go.

k*ll me! Doctor, be careful.

Please desist from striking me,
I am your soldier.

You are my enemy!

And I am yours!

He att*cks the Dalek
because he's so frustrated.

It just responds by saying,
"You do not care for tea?"

With four episodes under his belt

and the chance to write
for three consecutive Doctors,

Mark's tenure has been
a roller coaster ride which shows
no sign of slowing down.

Let's put London back
under cover of darkness.

Night time falls in Bristol.

But for the cast and crew
of Doctor Who,

there's no rest as they set up

to film a squalid scene
in an urban location.

Should I close the door?
Stay back, stay back there.

OK, so the door will be there.

You keep looking out.
Keep looking at Karen, OK?

, take two.

And action.

Hi. Hello.

We filmed on an estate in Bristol
which I think

looks really filmic
and really great.

The people we met there were lovely
and very welcoming.

Good. Cut. Cut there.

I wanted an estate that had
a sense of architecture.

We wanted it to be - the estate -
quite crisp,

clean lines,
quite s architecture.

Got it? OK. Good.

Filming on it was fantastic.
There was a lot of excited people.

It is hard to hide the fact that
you are filming Doctor Who

when you have got giant lights that
are going up eight storeys high.

Inside one of these flats is
a scared little boy called George.

George is not human.

He is a Tenza, and he is assimilated
to become exactly

what his human parents
want him to be, but he is
slightly out of control,

and he is able to
make his fears manifest.

So anything that he thinks
is threatening,

and that includes Amy and Rory,
eventually the Doctor and his father,

and Mrs Rossiter, who he thinks
is a witch, he disappears.

He disappears Mrs Rossiter into a
pile of stinking black bin bags!

, take one.

I'm the only one who gives
a monkey's round here any more.

Oh, Lord!

Come out of there!

Don't be so ruddy horrible!

Trying to scare
an old lady to death!

Every time you pass those
sort of big piles,

I always worry that there are rats,
and things like that.

There is a terrible fetid smell.

I just kind of like the idea
of the drowning in it.

And cut.

Good. Very nice. Once more.

When she goes through it,
the bags fall on top of her.

But if he wants these hidden more,

if he wants to pan around,
cover it completely with bags.

We are doing a scene that
involves our lady, Mrs Rossiter.

She is basically putting the bins
out for the rubbish,

and as she leans in,
she hears the noise,

and get sucked
into the bins and out of shot.

I have Daniella here to double
the actress, and then

we have had to come up with a rig
for her to be sucked under the bins.

We have had a practice earlier,
just to see what we can achieve,

but it will be fine.

How do you feel about doing
this stunt? Very nervous.

Legs in the air, kicking like this,
and as you just slide in, ideally,

it would be nice to come
round a bit and sheets and bags
to fall over you to hide you.

I think we can start your position
from where you can come round

and be hidden by bin bags.

We can start you already hidden,
over there, legs in the air,
and it is just you sliding.

Yeah, exactly. It's just you pulling
yourself down, sliding. OK?

And we will use the bin bags to hide
whatever we need to hide. OK?

He's not even listening now!
I'm listening.
I was just checking something.

That was all for you, Mick!
She's there, she's already doing
that sort of pokey-pokey.

In she goes. That is it. Fantastic.

, take two.

The kicking, not so powerful.

Action.

The kicking, that's good.
Keep them kicking.

Keep them kicking.
Don't let them go over the top.

OK, not bad. Very good.

Morning, Confidential!

There you go.
Thank you very much. That's great.

Confidential following me today.
Are they?

This is Richard, our director.

On most drama sets,
the director is supported by a team
of assistant directors, or ADs.

Today, we are following Heddi,
who is the rd AD on episode nine.

This is Mick, the st AD. Hello.

She looks after me and makes sure
the everything is fantastic.

She does really well. Mick runs set,
and I liaise between the two.

You're the liaison, aren't you?
Yeah.

Heddi lets me know
how we are doing on location,

and where to travel afterwards.

James will be following
the call times.

We will be requiring
certain artists on set,

and I will be liaising with James
throughout the day,

whether we are still
looking good for those times,
and when we need to travel artists.

I am going to go and take sides to
the costume and make-up department.

Sides are basically
the call sheet on the front,
and all the script pages for today.

Good morning, Costume!

On every job, and on this,
it's usually the character number,

or the character name that is on
the dressing room doors.

That should say, the character
name in this episode is Purcell,
so that should say Purcell.

But... But there was quite a lot of
photography of the door signs, and...

Last year,
we had an episode with Churchill,

and someone got a photograph
of the Churchill door sign,

and we are trying to keep it
a secret who the characters are.

That is part of our roles as well,
to try and maintain the secrecy
of all the storylines.

We are working an hour less,
because we are all away in Bristol,

so we get an hour towards travel.

So we are on camera
at half-past four today

until half-past two in the morning,
which is an hour less than usual.

So this is the start of...

What time is it, half-past three?

So in hours from now,
we should be finishing
and getting ready to go home!

Breakfast starts
an hour before unit call as well,

so the crew tend to arrive
from an hour onwards,

depending on how keen they
are feeling, and how much
they want to eat.

Hello, Heddi! Hello!

Morning, crew!

What I'm doing is
coming in the morning

and getting all the radios out that
need to be distributed today.

We have got a lot of additional
security and ADs,

because we are in quite a large
block of flats, which needs quite
a lot of locking off.

So I am getting all those out
and making sure everything is charged
up and ready to go for the day.

Thank you for travelling Bus Sean!
Thank you for such a lovely ride!

Hello. Roughly how long do you think
you'll be before Karen is ready?

So, Heddi Confidential, is it?

We've rehearsed the shot.
We have got it all lined up
and set up, and the next thing we do

is check all the artists to make sure
that they are perfect and every hair
is in place for continuity,

and then we start filming!

Come on, you two!
Things to do, people to see,
whole civilisations at stake.

Heddi for Mick.
Just to let you know, I think
B camera is using the lifts.

So it just means we are trying to
load all the gear in to one lift.

We are just fighting the light
to get that last shot in down there.

Pretty sunset!

Our last scene of the night,

which has got a stunt element to it.
We've got a stunt double
for our character.

How has it all gone?

Whatever! Blah, blah, blah!

I was in mid-flow there,
before you all interrupted me!

Yes, it has all been
going quite well.

Half-past midnight!

Checks on carrier are for following
in, please. Following in.

I have kind of always wanted
to work in this business,

and didn't really
know how to get into it.

I was actually working
in an estate agency,

and happened to meet
one producer and work
for a small production company.

I started production running
six years ago,

and I've been on Doctor Who...

this is my fourth
series on Doctor Who.

There are people who have been here
longer, but not many!

I love it. But I am going to go
and pay attention for five minutes!

It's like I'm
shirking my responsibilities!

Last week, the children of
Oakley Junior School found out

their Doctor Who script
would make it onscreen,

and now the crew start to make
the winner's dreams come true.

Welcome to the production meeting
of Death Is The Only Answer.

We'll go through the script
and look at any production issues,
and any other queries we've got here.

Jeremy, do you want to start us off?

I had a little thing
here in terms of Matt's trip.

I think I am going to bring him
up some stairs rather than down.

It's easier to trip upstairs.
I think that will be better.

It makes more sense.

And whether we need to have it
landing on a button

as well as doing the lever
is something we should look at.

It would be much neater
if he comes up the stairs,

trips off the top step,
falls against the console

and takes out a lever,
and that does it all.

With the planning meeting over,
it's time to meet Albert Einstein.

Actor Nicholas Grace will now be
transformed into the world's
most famous scientist.

This is the jumper. So if I help...

Would you call that plum?

It's a plum. With a marl twist to it.
Was Einstein into plum?

It's a new venture for him.

For Einstein, we looked
at reference photos

of various aspects of Einstein and

for the period we're dealing with,
we went for the smart casual look.

Most of the photos we see him in

are in tweed jackets and suits,
so it's rather good

that Jason's done a search
and found him in casual gear.

I won't make you put this on now,
but I'll introduce you to the fez.

We can see if it's too big or too
small now. Shall we have a try?

Yeah, wait till she puts
the wig on me. I don't know,
it's a little bit...

Aah! Aah! It's transformed me.

I want one of those things
hanging off. The little tassels?

We're fresh out of tassels.

So, we can take you over
to hair & make-up, they'll work
some magic with you and...

Be tricky! ..And do your wig.
Thank you. I'll bring this over
with me. Okey-doke.

With costume complete, it's off
to make-up for the infamous
Einstein haircut.

This wig is a little high at the
back, so what I'll have to do is,

I'll put a bit of spirit gum
on your own hair,

just to hold that down so there
is no hair on your neck.

As long as I have someone to shower
me down afterwards, that's fine.

You'll be lucky.

What you think?

Go on, do a bit for me.

Vot am I doing? Vere is my
toothbrush? Please tell me where
my toothbrush is.

Yeah. Great, cool.

Next week, our young writers
meet the Doctor on set.

Bergerac? God help us!
years old, that.

There's meant to be boxing on.

The delightful Mr Purcell
gets a sinking feeling,

when he gets sucked into his carpet.

Never anything on, is there?

His only friend in the world is
his dog. He is actually rather

soft about, I think. But I love
the way it has been shot.

It worked out so well. He is sort
of crying for help and Bernard

just looks at him. Aaaaaargh!

Help me, Bernard! Help me...

Ha-ha! It's great.

This sinking scene was a tough one,

involving a vat of good old
Doctor Who style green gunge.

Lovely. This is the...

descending rig that sends
our character through the floor.

We've got this platform here -
this hydraulic platform,

and it basically sends our character
down with a variable control.

It looks like he's disappearing
into the floor.

The things I do for this show!

There was endless discussions about
how thick the goo needs to be.

We were also worried about
our actor going under it.

Too thick and you don't want to shove
your head under thick goo.

That was the trickiest bit,
getting the viscosity right.
Interesting filming day!

Just set in the green screen. You
have got an edge on him that side.

OK, he is well covered
in that position.

That is good, the only thing is
there will be a light behind him.

The light will move. We're talking
green screen only at the moment.
Yes. That lamp will not be there.

As long as his movements
are within that thing.

Danny, can you take the forward
position, please?

Yes, OK.

Are you happy with the green screen?
We need to get this one.

Do you want us to move it? It's fine.
OK. Settle.

Action.

I liked the idea of having this very
technically complicated effect short,

for him to sink into
his grotty carpet.

I quite like that sort of
juxtaposition.

It feels rather good see me.

♪ Confidential, it's a secret

♪ Don't tell anyone

♪ You've got to kee-eeep it! ♪

Oh, also - just so we... Oh my God!

It's funny, flicking through one
of our...

"Karen Gillan's timeless trends..."
Wow! Karen, look.

"Fiery Karen shows us how to do
retro chic with a modern twist...

"Whether it's a sleek jumpsuit
and natty scarf...."

Shut up! "..A tiger print bag."
Put it away! You know nothing about
fashion.

"Doctor Who's lady friend nails it."

What?! That's right -
"nails it". Oh, yeah!

The rising star at the heart
of the episode is the young actor
playing troubled child George.

Who are you, George?

Jamie is brilliant!

I met him for the first time
the other day and he is such
a little personality.

He's tiny, he's so little,
but he's hilarious.

He was like, "Hello, are you Karen?"
And I was like, "Yeah, hi,
nice to meet you,"

and he started telling me
all this stuff.

The thing. You have to do the thing,
Mum.

Jamie, who plays George -
I think he's lovely.

He's got a lovely little catch
in his voice.

He is very believably
Emma and Danny's son, I think.

I love that bit when the Doctor
appears in the doorway and he says...

I'm the Doctor. A doctor!
Have you come to take me away?

And he actually sounds quite like
an old lady. I love it!
"Come to take me away?"

He's very sweet.

Something's broken.
He's the most excitable,

lively child I've ever met
in my life.

He's very cool, confident.
Apparently he likes sweet things,
which he's been eating all lunchtime,

which means we'll have a wonderful
afternoon. He does not stop talking,

I have no idea how he does it.
He just seems to...
He is the best conversationalist.

You could just say nothing to him
and he would carry on,
he's brilliant.

A fine addition
to the Doctor Who cast.

What is going on now?

Erm, I am just sitting here
enjoying myself.

I think I'm going back in
to do more acting.

Right, how is that going? Good. Good.

So,

Amy is good to work with. Yeah.
Everyone... Matt is good work with.

What about me?
You're the best so far.

Are you good? Pretty well.

Chill out. Hm...

I'll maybe have a coffee
in a minute.

I am actually going to jump off
this. Watch me jump off it.

And I'm going to walk
in the air. OK?

Actually, I walked up the steps.

Right then, apart from that,
what do you think?

Apart from the stairs thing, I'm
really kind of... eight out of ten.

Yeah. Yeah.

Just grabbing Jamie now.
How are you out of ten?

Good... Right, I'm on my way!

Run it continuously
and I will talk through it.

Jamie, again, sort of unnerving
to find young children

that are quite astute and savvy
and he is definitely that.

Great energy and great enthusiasm,
and was a real hit among the set.

I think he has turned in
a really good performance.

What's it been like working
with Matt Smith then?
Very nice. He's a very funny chap.

Rehearsal... I think
we should give this a go.

Are you ready, Jamie? Does Jamie
have an eye line upstairs?

Yeah, so pretend that's the Doctor,
yeah?

So, Jamie, you'll start
very frightened.
Remember how frightened you got?

Yes. OK, you're going to do
really, really frightened. OK?

And then when the dolls get hold
of you, I'll go "shaking". OK?

You're going to do your shaking,
yes? Do you remember?

Just your... Jamie,
are you listening to me?

Yeah. Your head and your arms,
but not your legs, yeah?

Not your legs. OK? Step back, Jamie.

The thing that makes it snap
as they're all on the staircase
inside the dolls' house

and the dolls are all converging
on George, the Doctor realises
that the nub of his problem is

he thinks he's going to be rejected,
that's the one thing he can't stand.

Action! Something's holding
him back. That's it!
That's what the trigger was.

He thought someone was going
to come and take him away.

We talked about it.
Yes, and he heard you, Alex.
His sole function is to fit in.

You were rejecting him. We just
couldn't cope, we needed help!

But George didn't know that.
He thought you were rejecting him.
He still thinks it.

He's not...

human.

Whatever you are, whatever you do,

you're my son and I'll never, ever,
send you away.

Dad...

And then Alex knocks them aside,
like the good dad he is, and says,

"You're my little boy, I won't
let you go", it makes me cry.

Cut, that was good.
Well done, Jamie. That's good.

Did someone mention something
about planets and history and stuff?

We shot a scene in the TARDIS with
a bit of the nursery rhyme which has
sinister implications for the Doctor.

Or universes, ooh... I wanted
a prefiguring of the doctor's death,

so I suggested to Mark
he write a nursery rhyme.

So he wrote this rather wonderful
Tick Tock Goes The Clock.

All I know is
the Doctor is going to die.