06x11 - What Dreams May Come

[bunniefuu]

Oh, my God. Oh, my God.

In this episode,

Confidential is doing it by numbers.
Two time streams. Two sonics.

One cracking coat.
One set of smoking wheels.

By the end of today,
I am going to be driving that.

And a scarily large amount of teeth.

I'm really excited about looking
at them right now.

The fact I'm going to be in there
is pretty terrifying. Because they
actually have massive teeth.

There's some great relationship stuff
in this episode. We find out a lot.

And we've got access all areas,
as Karen kicks some serious bot.

The Who crew is in the studio,
about to film a double Amy defence

against an aggressive
android att*ck.

When old Amy is saying,
"Go on, I've got your back",

we are seeing this one has come back
to life. So it's a thr*at to her.

So that can delay and let Amy
just go, as soon as she says,
"Go on, I've got your back."

Here we go. Let's turn over, please.

And on set to lend a hand is stunt
co-ordinator Crispin Layfield.

I tried to teach her a few little
moves to make her look a bit cool.

Spinning the sword around. It's just
a big movement, just to make her

look like she knows
exactly what she's doing.

I think Amy is becoming
a bit of an action hero.

Go! I've got your back.

Nick presented us with the idea
that he was going to do one long

continuous sh*t of me basically
taking all the Handbots out,

in the most elaborate ways possible.

It wasn't necessarily a big
fight scene between each
individual Handbot,

we just had to make Karen look
super cool, with her sword
and a staff,

so we sh*t it in slo-mo
and tracked alongside of Karen.

So I had two stunt girls
being the Handbots,

so they fell over when they got hit,
and then the other Handbots
just got various different moves

with Karen for the swords
and the staff.

It was just really satisfying,
taking out robots, I have to say.
I really enjoyed it.

I kept forgetting there were actual
girls inside those Handbots though.
Sorry!

Because it's so slow,
and when she moves her head,
all her hair moves around,

and the big sweeping movements
with the sword and the staff,

and when we actually make contact
against the Handbots,

the stunt people are falling over,
it all looks really, really crisp
and clear.

So it's just a great visual move.
The bigger movements the better,

because it makes her look
a lot more powerful.

A fun thing about Amy is
that she has the potential to

be an action hero and quite
dangerous and deadly all the time.

She can be quite ruthless.
She can be quite hard.
Throw the g*n down.

If you push Amy into a corner,
like she's pushed to in this show,
and she'll turn into that.

I absolutely believe it.
I rather love it.

I rather love it that she's
potentially a very dangerous girl.

Interface?

I am here, Amy Pond.

Turn that light off!

What is this, how does it work?
This is The Gate.

From here, you may depart to any
of Twostreams' entertainment zones.

This gave Confidential an idea.
If Karen and Arthur had
a holodeck to play with,

what daredevil dream
would they fulfil?

So we asked Arthur,
and he said he wanted to do this.

Whilst Karen, who's never had
a driving lesson in her whole life,

wanted to do this.
Argh!

Yo. So I travel all of time and space
with the Doctor on a regular basis,

but one thing that I've never
actually learned to do is drive.

So by the end of the day,
on this race track,

I'm going to learn how
to drive that.

OK. Well, hi, Pat. Hi.

So you're going to teach me
the basics. I am, most definitely.

I've never driven before
in my entire life.

It's going to be fun!

I'm sure we're going to be fine.

I'm going to teach you how
to drive on a race circuit.

So now, we need a few revs
with the accelerator.

So with the right foot, just a few
revs. That's it. Perfect.

Oh, my God! And then what we do
is we very gently

then let our foot off the clutch,
just to get the car moving.

Oh, no. Why am I not moving?
No, here we go! We're moving,

we're moving, it's a good start.
My God, please don't stall.

Steer over to the left a little bit.

Perfect. How was that? That was
all right, wasn't it? OK, yes.

Your first time pulling away
and you haven't even stalled.

With steering, we just need to look
where we want to go. It's that
hand-eye co-ordination.

Get yourself a bit of a weave
around, move the steering
left and right,

get a feel for what it does.

OK, I've still got my foot
on the clutch.

You can take that all the way off
now and just rest that to the left.

OK, all right. Cool.
Oh, God, I'm going.

Woo! Do we want to go
a little bit faster?

Can we go a bit faster?

You just press the gas pedal.

Oh, my God, this is crazy!

Brilliant, well done.
Right, now, what we need to do,

we need to do a U-turn.
So we need to turn around.

So off the gas. Off the accelerator.
Oh, yes.

Right foot off. Yes. Move all
the way over to the far side.

Then what you've got to do is
you've got to swing the steering
wheel round to the left.

So swing it round, go on,
keep going, keep going. Keep going.

Bit more, bit more. That's it.

Keep it going, stay like that,
you're doing fine. That's perfect.

It's easy, this driving, isn't it?

Now straighten the steering
up again. Whoa!

Move it to where you want to go.
Accelerator?

Now you can accelerate again.
Woo! Let's do this.

Lewis Hamilton, eat your heart out.
I am Lewis Hamilton, yes. Exactly.

Button - pfft!
Yes, no problem at all.

We're only in first gear,
but we're getting there.
It's a good place to start.

We might need second gear
if we're going to go much faster.

Remember, clutch down,
off the gas and gear lever back.

So, clutch down. Into second.

Off the clutch. Off the clutch.

OK...

And then we're off.

Oh no, sorry.

All the way off the clutch.
Oh, my God, it's going faster.
Because we're in second gear.

Just take your time.
That's a good speed to do.

We're doing , miles an hour.

I'm doing miles an hour? Yes.

Whoa. I can't believe this!

So you're actually
driving round the fastest
racing circuit in the UK now.

Oh, my God! I can't believe
I'm actually doing this.

Like, I am just doing a lap
on a racetrack in a car.

You're getting the hang of this
driving. Arm on the door... Yes.

Let's go pick up some chicks!

Confidential! Look at me! Woo-hoo!

Woo!

Don't forget to look where
you're going. Oh, yes.

So, Pat, How did I do?

Honest answer? Honest answer.
Really good.

I think you were an absolute star.
Yes! You did really, really well
this morning.

So good, we're going to let you out
in this one this afternoon.

Oh, my good God! So you're going
horsepower to horsepower.

Oh, right. So, pretty cool.

The Millennium Centre in Cardiff
is doubling as the alien
twin streams facility,

a place which creates twice
the trouble for Amy Pond.

What the...?

Welcome to
the Twostreams Facility.

With double the Amys, you need
double the actresses.

Who's she? There's no-one else
here but...

me.

But as there's only one
Karen Gillan,

this meant filming with
a body double and sh**ting
everything twice.

Once with Amy Amy...

How about Amy speaks first?

Which one's Amy ?

..and once with the, er, other Amy.

I am. No, I am.

Rory. Rory, just stop doing that.

Because we had to
film things twice,

once with her as she is

and once with her in the prosthetic,

it kind of gives you
a bit more time,

so although we had a lot to do,
we got to do it quite a few times.

So with both Amys tooled up,

the girls get ready to get handy
with the Handbots.

Do not be alarmed. They're coming!

This is a kindness. With me.

Do not be alarmed.

Karen, come forward, forward,
forward. Belinda through.

Belinda through, through...

This is a kindness.

This is a kindness.

Amy - Kate Hayler, Year hockey.

Go for the shins.

And cut there.
Stand clear.

Buongiorno!

How's it going, Conf?

I'm just enjoying a nice coffee,
on this fine morning.
I'm just texting.

He's always texting,
this one. Phone addict.

We're in the Millennium Centre
now and it's really nice
because the weather's good

and we're working continuous days
with no lunch break, which means
we finish at .

And we eat lunch. But we eat lunch.
It's a win-win situation.

I'm back to being myself today.

Well, not myself. I'm not actually
Amy but my younger self today,
which is quite fun.

Yesterday I got up at four
in the morning to come to work
for prosthetics.

It's crazy. Tomorrow,
it's three in the morning.

Morning! Good morning! Good morning.

Good morning. Hello, Confidential!

It was really strange the first time
that we did it, actually.

It was like a flash into
the future and I do not age well.

What are those wrinkles?
Is that my actual skin?

The forehead
is a prosthetic,

but the stuff on
your eyes is your skin.

We need to make it stretch
as much as your skin.

How am I looking?

What an improvement.

This episode in particular
is just crazily busy.

I'm playing two different characters.

Even though they're the same person,
they're really different.

But I volunteered myself
to play older Amy.

I believe they were going to cast
an older woman to play the part.

I was like,
"No, please! I can do it. Let me."

It was a big debate,
there always is when you're going
to have someone older.

Either you put up with the fact
it's clearly not them,

let's be honest, when you cast
somebody as an older version
of somebody,

you never think it's
the same person. You never, ever
think it's the same person.

Alternatively, you have them
wear a rubber hood

and you still maybe don't quite
buy that it's them.

I'd rather take that hit
than not believing, investing
in that person as Amy.

I'm very, very glad we went
in that direction

because more than anything it was a
chance for Karen to show her stuff,

to do that different body language
and vocal register.

A real chance to show
what she's got as an actress.

The fun part was creating
a new character,

getting to play
the one I already play,

but then kind of linking them
as well.

So old Amy has tiny little...

You catch tiny, tiny glimpses
of young Amy.

They look ridiculous.

That's what I told him.
Still, anything beats a fez, eh?

It was like acting with an older
version of Karen, which was amazing.

It was only when we started watching
a few bits back in the edit,

of scenes where they're both
together, the younger and older Amy,

you see the subtle difference
in her performance.

It's brilliant, it's really,
really quite amazing to watch.

She really, really smashed it.

You're asking me to defy destiny,
causality,

the nexus of time itself for a boy?

You're Amy.

He's Rory.

Oh, yes, I am.

Karen's had to really work hard
to create the two Amys.

She worked with a voice coach
and a movement coach to work out

how she would look and feel,
years older.

She did loads of physical work,

worked with a movement director on
how to walk and how to, you know...

walk like a tough guy!

Which she did very well.
She becomes a sort of action hero.

Don't you lecture me.

Blue box man, flying through
time and space on whimsy.

All I've got, all I've had
for years is cold, hard reality.

So no, I don't have
a sonic screwdriver,

because I'm not off on a romp.

Call it what it is, a probe,
and then call my life what it is.

Hell.

It's one of the best performances
she's turned in on Doctor Who.

You know, because she makes very
subtle choices about the old Amy.

And you feel so sorry for her,

because she's clinging on
to her youth somehow.

She does something very interesting
with her eyes and her voice.

I think it's a very intelligent,
mature performance from Karen.

It's exciting, it's a brilliantly
stylised episode anyway,

and has great style.

And she comes up trumps.
Well done, Kaz, you rocked it, dude.

You didn't save me.

But... this is the saving.
This is the us saving you.

The Doctor just got the timing
a bit out!

Can I touch your face? Yeah.

Ugh. Actually, it feels a bit nicer
than your real face.

Look at this. Got a really good
angle there. That's a great chin.

They're going to be going wild
at home now. Oh, yeah.

Going, "Oh, my goodness.
It's come true!"

What, that I've aged really badly?
Yes.

Karen! I think you aged well. Oh,
I've got to go and put my armour on!

Enough of this titter-tatter.
Is that...

Hey, Confidential.

Now, in Doctor Who, Rory's done
some pretty exciting things,

and some pretty terrifying things.

He's battled with Daleks,
he's travelled in time,

he's done some crazy stuff.

But something that both excites
and terrifies me

is the idea of swimming with sharks,

which I shall be doing, today,
in this building here.

So I'm going to go and see
how big their teeth are.

I'm really excited,
looking at them right now.

The fact I'm going to be in there
is pretty terrifying.

I used to be scared of k*ller whales.

I used to think one was going
to come up the toilet.

It's a long story. And then,
I don't know, I've just been...

I think they're fascinating,
look at them.

I've been snorkelling a few times,

and always been like,
will there be a shark?

It is quite nice to see one
in a controlled environment.

If I saw one in the wild,
I would freak out.

It's quite nice to get over...
They're so amazing, look at that!

So, now that Arthur's
whet his appetite for sharks,

it's time to sink his teeth
into some proper underwater action.

OK. So now you have
to wear this.

What it will do,
this camera at the front

will give everyone a perspective
of what you're seeing, the hero.

Shall we try putting it on?
Yeah, let's try.

I'm going to look great in this.

I want one now. There you go. OK?

It does up at the bottom like that.
Wonderful.

I feel like I'm six years old
on a bike. Looking good.

It looks ridiculous!
Great, thanks, guys.

Not only am I terrified,
I look really cool!

It's like something from James Bond.
I've just been looking into the pool.

Massive sharks.

I'm fairly nervous.

But... kind of, I don't know.

Having all of this feels
a bit like armour. It's strange.

And this, of course,
my anti-shark helmet.

I'm pretty nervous
but I'm quite excited.

I think I may have a moment
freaking out. Don't film that bit!

As long as they don't bump into me,
I think I'll be all right.

'I thought I'd freak out,
but I started laughing.

'It was really hard
to use the equipment properly,

'because I was just laughing
through my nose and making bubbles.

'Because there were just
massive sharks all around me.'

'It's a strange thing about being
underwater, it's just so peaceful.

'I sound really chilled out
because I am.

'It was actually less terrifying,
more just really relaxing.'

'Just getting down to the floor,
and them swimming so close to you,

'as close as you could...

'And I really, I'm glad they said
don't touch them beforehand,

'because I really would have
at a few points just reached out

'and tried to stroke a shark.

'But they're very cool.

'It's the ones that move really
slowly that really freak me out.

'The ones that kind of swim past
are like, "Wow, a shark!"

'And there's some that just come, and
like, "Oh, no, he's looking at me.

'"He's looking at me.
He's going to go for me."

'And then there's these ones with
these teeth that just stick out.

'Which after a while became
hilarious, but first, freaked me out.

'And they actually gave me a tooth,

'a shark's tooth from one of
the sharks that I was swimming with.'

Look at this one. He's coming round
with his big old teeth. All right?

And they're huge. They're much bigger
than I thought they were going to be.

'They're so nosy.

'They come up to you
and try and say hello. It's great.

'I would recommend it to anyone.
It's fascinating.

'I could have stayed down there
all day.'

That was some weird underwater
Jim'll Fix It. Just great.

Thank you. Thank you, Confidential,
for making my dreams come true.

The think about the Handbots
is they actually look quite...

They don't look that scary,

but it's what they do, the fact
that they've got these blank faces,

and these hands that you can't...
that you can't touch.

They're just constantly after you,
constantly trying to help.

Yeah, just relentlessly trying
to touch you, which would,

you know, make you pass out.

And in some ways it's more scary than
something that's kind of

actually purposefully
trying to att*ck you.

Will you be visiting long?
Good question. Bit sinister.

What's the answer
to not get us k*lled?

I'm Tom, the writer. Hello.

You're the first Handbot I've seen.
Very nice to meet you.

So my idea was originally that
they were just in clothes,

with these hands sticking out,
and the face like that.

And then it's developed into
this full body suit,

which is wonderful, I didn't think
we'd have so much to play with.

Also, we've got six of them
which is very good.

Ha! Don't like that, do you?

The Handbots
aren't traditionally monsters,

in that they're not trying to
hurt, k*ll or conquer.

They're just there to help.

They're kind of like
the administrator droids.

They're the maintenance staff
of this facility.

And they're just there to help.

'Robots are obviously a huge part
of Doctor Who, a huge part of sci-fi.

'And one of the hardest things
we had to do'

was find a design for the Handbots
that hadn't been done before.

Hey! Oi! Wait.

'We wanted to find something
that seemed,'

when you first met them,
quite benign and quite pleasant.

It was only later when they decided
that you needed to be cured

that they got a bit scary.

You are carrying unregistered
bacteria. Please let me help you.

You've got to have a good robot
in sci-fi, and the Doctor has,

I'm sure, seen plenty,
with plenty more to come.

No, I'm not from this world.
Your medicine will k*ll me.

Statement... rejected.

Do not be alarmed.
This is a kindness.

No, please, I hate needles!

The cast and crew are at
the Doctor Who studios

where the robot stunt team,

the two Amys and Rory are set
to prepare for battle once again.

But today also sees a new arrival.

My first day with my new coat.

I've been campaigning for a new coat.

We've been waiting a long time
to wear this new coat, Jase.

It's been many months in the making.
Will you miss the tweed?

Oh no, the tweed will be in.
The tweed will always be there.

Is that like an overcoat?

Yeah, it's more overcoat-y
than the last. But it's cool.

Yeah! The new coat's in, man!
All right!

Do you like? I like it a lot.
It's cool, isn't it?

I might get one made for myself
in navy.

I've got a little sonic pocket
there, look. Specifically?

Did they put that in? Yeah.

But Matt isn't the only one
with new, dapper threads.

Show them your new costume.
Um, OK, so...

Cool pink leather jacket,
bit of a spotty shirt.

I'm loving these trousers. They are
very explorer-ish. Yeah, they are.

Lara Croft. Zips.

Pity about the face, un-Lara Croft.
Oh.

Angelina Jolie you ain't.
He thinks he's humorous.

Didn't you say one time that I was
a little bit like Angelina Jolie?

I said you could play an action hero.
You don't look like her.
You referenced Angelina Jolie.

He's just being checked. Bow-tie
perfectly in place. I'm being
checked by Ja-son. Ja-son, yeah.

That's Jason. The checker.
Yeah, I really like it.

I think it's good,
I like the colour, good colour.

Thanks. And it looks like
an old man's overcoat, slightly.

And also, the way you move as
the Doctor,

the coat is really going to
complement that.

It's going to swish around. I hope
it maintains the element of the geek.

Oh, you will always have
that element.

And you'll never be Angelina Jolie.
And on that note...

Hi, my name's Steve Rees,

and I'm the A camera focus puller
on Doctor Who.

I've done episodes so far,
this will be my th episode.

It's my job to try to keep
the camera in focus all the time.

Focus is done remotely by handset.

That gives me a chance
to stand away from the camera

and get a better view
of what's happening, and gives me

the ability to judge the distance
between the camera and the subject.

Astrid... Cut it.

So that was pretty good,
she came in to four foot exactly,

which I hit, which was brilliant.

Headed off to the background, ft,
so that was a good take.

Nick, if I'm panning Karen in...

Yes. Is it still all right
to fade everything out? Yeah. Fine.

This one's B camera only so
I'm going to get a cup of tea.

The sound boys. Dav and Bryn.

Busy.

We've got a pet
in the camera department.

His name's Sliver.

It's for the shoulder.

It's good padding.

He's quite tame. He's got a good set
of teeth on him but he's gentle.

He's quite tolerant as well.
He gets a heavy camera put on his
back and doesn't complain at all.

We're sh**ting the camera at
high speed, frames per second.

The normal speed takes
photographs a second. Now we're
running at frames per second.

When you play it back at normal
speed, everything is half speed.

That means we've got to put the deck
on the back of the camera.

Unfortunately that increases
the weight of the camera
up to about kilos

so it's a bit uncomfortable to hold.

Owen's quite strong. He's taking his
jumper off. It should be OK now.

This camera weighs kilos.

We've got a very shallow depth on
this because when we drive,
the background is out of focus.

And action!

That's tricky, slow motion.
Everyone's running backwards.

The distance is constantly moving,
it's difficult to gauge.

Cut it. Very good.
I'll check that.

Just watching that back.

We can watch it back
normal speed on this.

We can see the effect the slo-mo
has, which is good.

It looks good.

That's a wrap. It's been a long day.
Be more of the same tomorrow.

Thanks a lot for watching
and enjoy Doctor Who.

Confidential is taking Karen
to one of the UK's fastest race
circuits to learn to drive.

This morning she got up to nd gear
in a horsepower runabout,

but now it's time to graduate
to a horsepower beast.

All right.

Let's drive!

Are you sitting comfortably? I am.
Then we shall begin.

Perfect. Just hold at that,
it'll come back to the red one.

Wait for the red one and then turn.

No need to brake.
You're fine with that.

Look for the green one.

OK, after the red cone...

follow the red one.

Come over to the right
now. That's perfect.

It's a long corner. It seems to go on
for ever. Yeah!

If you get it wrong it could be very
short. I wouldn't recommend it.

There you go. That was miles an
hour through the corner. Wooo!

Middle of the road.

Kiss the middle of the road
then we come back to the left.

You can go a bit faster.

Oh, my God!

Brilliant.

All right!

Do it! Over to the left now.

When we come to the middle...

stay in the middle. You're fine.

Wait for the cone. Then turn. Bit
more, bit more, to the yellow one.

Oh! It's all right, you're fine.

Wait for the red one.
Wait for the red one. Very gently.

Frighten that yellow one a bit.

Ah! On to the accelerator.

Look at that green one.
Go on, accelerator.

Go on. Faster. Go on!

Ah! Woo-hoo!

You're doing miles an hour.
Oh, my gosh.

Off the accelerator now.

Hold it. That's perfect.

Absolutely perfect.

Relax. Brake.

Yeah, I forgot...
Little to the left.

We've got to stop here.
Just there is perfect. Stop.

Phew!

Karen, that was absolutely fantastic.

In fact, you've done so well...

do you want to swap seats
and I'll take you around?

Show me some real driving! Does that
sound good? It sounds amazing. Good.

Oh, my God!

miles an hour. Ahh, no!

Why have you done this to me,
Confidential?!

It's lovely!

Woo-hoo! This is better than any
rollercoaster.

I've never experienced anything
like this in my life!

Wowsers!

Wowsers!

Ahh!

I have no words!

We were skidding! It was going,
"Rooooooar!" It went, "Urrrrrrgh!"
and there was a trail of smoke.

Oh, my goodness.

It was amazing, though. Oh, my God.

Last week we found the Einstein for
our winning episode of Doctor Who.

Now a storyboard artist starts to
bring the script to life.

Storyboard is pretty much the script

of an episode done as a comic book.

I break the storyline into panels

and they give guidance
to the director

for how a sh*t should be set up and
he can see those drawings I've done
and go through them,

"That works, that doesn't,
change that",

before setting up and getting things
filmed if it doesn't work yet.

Looking at drawings beforehand
is easier to get things rolling.

Mike is joined by Jeremy
and the director of photography

to plan the sh*ts that will bring
the story from script to screen.

Here's the storyboard
for tomorrow's sh**t.

We'll run through to see
how many sh*ts we've got.

We've got this wide sh*t
of the TARDIS on the crane.

Roughly that position.

We might fight with that one on the
day, but a big wide lens, maybe .

mil and sweeping all around.

Yeah. This is the probably
the opening sh*t of the sequence of
the Doctor running up the stairs

being very enthusiastic
about his affairs.

Action.

Oh, I missed you! I can't believe
River blew you up!

Oh!

OK. I didn't mean to do that.

I like to talk through
the storyboard
with the director of photography

so she's got an idea of what
I've got in my head.

She'll then be able to work out
where lights need to be put,

where camera angles need to be from.

How about there but with not
so much of the console in?
Nicely framed about there?

One of the great things about being
a storyboard artist is you sit in a
room and do your doodles

and when you see it on the big
screen, people are moving where
you've put them in the drawings.

That's priceless.

Filming day and our young writers
arrive on set to meet Matt Smith.

Hello, Ben. Oh, wow, hi, Ben. What's
your name? Daniel. Hello, Daniel.

Are you the guys that have written
it? Well done. Congratulations.

Well done. Thank you for this. What's
your name? Adam. Hello, I'm Matt.

I'm Katie. How old are you all?
. You're all . I'm nine. Nine.

Had you any idea how to write a
script before this came along?

Sort of. Yeah? How?

We did it in English but we didn't
know how to write a proper script.

Yeah. Well, it's so clever.
We're all just bowled over by it.

Do you think you want to be writers
when you grow up?

Possibly, yeah. Wow. Well.
Well done. Round of applause.

Next week, rehearsals begin.

In the studio, Confidential
witnesses the end of a -year-old
survival story.

, take one.

Up we go.
That's time, please. Ready.

And rolling. Heavy breathing,
everybody. Breathing, breathing.

And action!

Cut it.

Amy, your eyes should be still.
Did I close them? Yeah.

Should I kick both doors open?

By that time it will cut
inside to you coming in

so I'd love to be aware,
for two more paces,
of the look in Rory's face.

.

Doctor.

Quickly.

The script gave Arthur great material
to explore and work with.

He's a fine actor and delivers
a moving performance
because they're both Amy.

When he's up by the TARDIS door and
she's outside, the old Amy, I think
he delivers brilliantly on that.

Arthur carries the emotional weight
of the story

and he rose to the challenge
and did a brilliant job.

Rory really has to choose at the end
and make a horrible decision
as to who he wants to be with.

I'm sorry.

She is not real. She is. Let her in.

We take this Amy, we leave ours.

There can only be one Amy.
Which one do you want?

Getting to that point where they go
into the TARDIS and the Doctor says,
"You can't do this"...

it's huge and it's a big thing for
their relationship, even though it's
Amy in years' time or whatever.

It's still her doing it
and her saying it and...

it's one of the hardest situations
Rory has ever been in.

It's your choice.

This isn't fair.
You're turning me into you.

I guess the way Rory looks at
Young Amy is something that triggers
something in Old Amy

because she remembers it and
she can almost feel like Young Amy
again, but she knows that she's not.

Amy, I love you. I love you too.

She sacrifices her own life
for her younger self, which kind of
is a different person to her.

I see them as different characters
even though they're the same person.

They've led two very different lives
and therefore it's
made them completely different.

I'd forgotten how much he loved me.
He doesn't deserve what I've become.

Give her the days I can't have.

Please don't let me in.

Rory's constant quest to make
everyone happy.

In this instance, he can't do it
and I think it really affects him.

No, she never existed.

There can never be two Amys in the
TARDIS. The paradox is too massive.

You can't leave her. She'll die.

She'll never have existed.
When we save our Amy, this future
won't have happened.

Rory. Please.

Don't let me in.

It's a gut-wrenching moment when
he's stood at the TARDIS door

and it changes something in him.

I think his relationship with
the Doctor is never going to be
the same after this episode.

At the end he gets Amy back
with the knowledge that when she
gets older, she'll still love him.

So it's quite a big thing.