03x00 - Music and Monsters

[bunniefuu]

Good evening!

Yes!

ATHONY HEA D: Brace yourselves for the
magical and musical event of the year,

Doctor Who: A Celebration.

Join , people to witness
the invasion

of Daleks, Cybermen,
an orchestra and choir

as they conjure up a heart-stopping
and toe-tapping night to remember.

Hosted by the Doctor himself,
David Tennant,

Doctor Who Confidential
goes behind the scenes

to catch up with some familiar faces
and give you the best seat in the house

to this extraordinary event.

It was a bit like being a pop star,
that first moment.

I felt like Robbie Williams or someone.

When the curtain came up, I cried.

There was David and the orchestra,
it was just breathtaking.

There's the sequence
of The Runaway Bride

with the orchestra playing,
what will be the music cue, live.

You are kidding me.

Tonight there will be lots of music
from the last two series,

and even an extra bit
that has never been heard before

from this year's brand-new Christmas
special, The Runaway Bride.

Oh yes, well may you “whoo“.

I can't wait.
It's going to be thrilling.

(APPLAUSE)

(DOCTOR WHO THEME)

(HAUNTING MUSIC PLAYING)

HEAD". It's : in the morning,

and there's a long day ahead
for the Doctor Who team.

In just over hours' time,

the Wales Millennium Centre
will be transformed

from an empty shell to a packed house,

with thousands due to descend on Cardiff
from all over the country.

With sets to be built, monsters to be
dressed and musicians to be rehearsed

all before tonight's curtain call,
the pressure is on to be ready in time.

To pull this off will be a feat
of planning

and endurance from the whole production,

and one which will surely become

the biggest live event
in Doctor Who's history.

where did the journey begin?

It must have been about six months ago

that Julie Gardner,
our executive producer,

rang me up and said she was planning to
organise a concert for Children In Need

of Murray Gold's music from Doctor Who.

Like she doesn't have enough
to do with her days.

I think Murray had said to me
the word “concert“ about a year ago,

just having heard the orchestra
and thinking they were wonderful

and just loving working with them.

And I tragically remembered that word
and the whole thing started from there.

You might very playfully say, “What
about a concert for Children In Need?“

And then find yourself here. So be
warned, be careful what you wish for.

I merrily agreed. I said, “Of course
I'll be involved. I'll do whatever,“

because it was a long time away then.
Now, of course, it's rolled round and...

I'm getting a little bit nervous,
frankly.

You try organising and getting people

to your house next weekend,
that's hard enough.

Now imagine getting an orchestra
and a choir

and the copyright,
and editing those clips,

and getting the stars there,
when they are filming

on the busiest schedule in the world.

And getting the Wales Millennium Centre,
that's booked up way in advance.

It's a massive, massive enterprise.

For the next six hours,
well, the next eight hours, I suppose,

everything has got to go to plan.
It's got to go on schedule.

There's so little room for manoeuvre

that the planning
has to really, really work now.

At : , lights came in, set came in.

And round about : ,
we had the cameras arrive.

And we've got, gradually,
all of the monsters coming in.

The screen's up, stage is in,
orchestra's set. So far so good.

But we've still got a long way to go
before this auditorium is full of people

waiting to see this concert.
And that's going to be tight.

All right, here we go, folks.
Standing by, ready.

HEAD: There's no time to waste,
as now the rehearsals are underway,

this is the one and only chance
to run through the whole performance.

With the curtain call only moments away,

the cameras are given
their final instructions,

the monsters their final positions

and David Tennant his final script.

There is no turning back the clock
for the Time Lord this time.

I just wish I had a ticket
for this evening

because I want to sit out here
and watch this thing.

It looks like it should be really,
really spectacular. Fingers crossed.

Two seconds.

Okay, VT's ready.

Stand by.

Okay, we can run it.

(APPLAUSE)

Good evening.

Good evening!

- ALL: Good evening!
- Yes!

We can do audience participation.
It's nearly panto time.

- Where's the orchestra?
- ALL: Behind you!

Very good.

My name's David. I play the Doctor.

(AUDIENCE LAUGHING AND CHEERING)

Thank you very much.

Doctor Who burst back onto our screens
in March

when a whole new audience sat down
on a Saturday night

to travel through time and space.

As well as introducing us to a
brand-new Doctor, Christopher Eccleston,

we met Billie Piper as Rose Tyler,

her mum Jackie,
her sometimes loving boyfriend Mickey,

and here sometimes dead dad, Pete.

All of a sudden,
the last of the Time Lords had pals.

So please, please welcome the fantastic
BBC National Orchestra of Wales,

their leader, Lesley Hatfield,
and tonight's conductor, Mr Ben Foster.

(LIVELY MUSIC PLAYING)

Run!

Rose Tyler, you're a genius!

Gimme some Spock for once,
would it k*ll you?

Hello.

You want moves, Rose?
I'll give you moves.

Excuse me, do you mind not farting
while I'm saving the world?

- You're alive!

Give me some credit.
I did see it coming.

- I'm a doctor.
- Prove it. Stitch this, mate.

years of time and space and I've
never been slapped by someone's mother.

Everyone out! Get out, get out!

(WOMAN SCREAMING)

Before I go, I just want to tell you,
you were fantastic.

And do you know what?

So was I.

HEAD". The man behind the music
is Murray Gold,

who's written the entire soundtrack
to Doctor Who

since the series returned
to our screens.

Every week, Murray Gold
has to set up a new world,

a new tone, a new feel, a new monster.

So it's a huge amount of music
that he needs to write.

It's a huge, huge job.
It's like writing a film every week.

Going down!

(BOTH SCREAMING)

(EXCITING FAST-PACED MUSIC PLAYING)

Sometimes he'll be doing
good old Hammer horror.

(THRILLING MUSIC PLAYING)

And then, in the same block,
he's suddenly turning around

and doing The Girl in the Fireplace.

(ROMANTIC MUSIC PLAYING)

MAN". Mademoiselle Poisson!

So Murray has to do that, he has to turn
his talents to any genre, any style.

(ROCKABILLY MUSIC PLAYING)

- You going my way, doll?
- Is there any other way to go, daddy-o?

We could have had one man
and a synthesizer, but we haven't.

We've got Murray with all his musicians,

and now we've made that bigger
by giving him an orchestra.

(HEROIC MUSIC PLAYING)

Alert. Alert. Alert.

- Rose, get out!
- DALEK: Firepower insufficient.

I just love the fact that the show
is so big, as it deserves to be.

This show, in a very un-English way,
is incredibly passionate.

It kind of came back to the screens
and it had this very emotional voice.

I could save the world, but lose you.

Slowly, the music became its companion
in that sort of emotiveness,

and that's the style
that we've stuck with.

(EMOTIONAL MUSIC PLAYING)

Oh, I love this.

Can I just say, travelling with you,
I love it?

Me, too.

Come on!

He's just unafraid to go for
the big stuff, to go to the heart of it,

to go for the accuracy,
to go for full-blooded emotion.

There's no fear in the music and I think
that's what makes it huge and epic

and really, really special.

(DRAMATIC MUSIC PLAYING)

I challenge you.

(ROARING)

Oh, that struck a chord.

The sword fight with the Sycorax leader
last Christmas,

I think that's the very first time
we used a full orchestra.

Do you accept my challenge?
Or are you just a...

(SPEAKING ALIEN LANGUAGE)

(HISSING)

When you have people playing their
hearts out, playing music

that they love, that they care about,
for a show that they care about,

it adds more times heart and emotion
to the music.

HEAD". And to help recreate the size
of last year's Christmas invasion,

tonight's choir are finding out
just what it

takes to fall under the spell
of the Sycorax

under the guidance of stage director
Denise Ayers.

The dress circle,
which is the first tier up,

if you could make that your eye-line.

Why don't you use in here, where the
screen goes from white to black?

Use that line.

You don't swing your arms
as you're walking, please.

You're going to bring yourselves
straight forward,

so the more you can keep a steady focus
and walk at about this pace,

the more I'll get the feeling

that you've been completely
tranced by something.

If you have to turn a corner,
try and make it just slightly robotic.

Get the idea?

(APPLAUSE)

Last Christmas,
a new Doctor took charge of the Tardis.

A dashing,

striking, virile, charming, popular,
surprisingly handsome chap

with a fine line in stripy pyjamas.

With a cup of tea
and a well-placed satsuma,

he saved the world
from seemingly certain doom.

This section of music all comes
from that episode.

(PLAYING DRAMATIC MUSIC)

DAVIES: As they go out onto the wing
in that fight, it 's just huge.

- For the planet?
- For the planet.

And that's what the Doctor's doing,

he's saving the world in a swordfight
above London on Christmas Day.

And the epic size of it is the music.

(MUSIC BUILDS TO A CRESCENDO)

Fresh air?

The music is reaching that
and taking the pictures bigger,

and making the whole emotion
of it bigger. It's just genius.

GOLD: When he has that fight,
it was a brilliant, really clever way

of defining what this Doctor would be.

Ah, it's the fighting Doctor.

So I write this piece of music for it,

which was just sort of
a bit swashbuckling, basically,

and sort of, hit the cuts
and hit the hand.

Doctor!

Do you want to know the best bit?
This new hand is a fighting hand!

GOLD". And that music was
his big fighting-adventure theme.

(TENSE INSTRUMENTAL MUSIC PLAYING)

(SHRIEKING)

There are themes that have run
throughout the whole two years,

and I think concerts
like this sort of show,

look, you've been following one story
over episodes.

Rose has had a theme and a history,
and now a payoff,

that you've followed. So it's nice,
it just makes the whole thing richer.

The Rose's Theme, which is used
throughout the first and second series,

it's a mini Rose symphony.
It's her music. It's her world.

(PLAYING ROSE'S THEME)

- I'm so glad I met you.
- Me, too.

Come with me.

GOLD". The first time that Rose looks at
Christopher Eccleston

at the end of episode two, her head
is so confused by everything.

She just throws it all away and says,
" can't deal with this. I want chips."

"That'll make it all better."

It was so real,
and that's when it first played.

And that piece of music, for the rest
of the series, I identify with Rose.

(ROSES THEME PLAYING)

Don't go, sweetheart.

Please don't go.

GOLD". It plays through the series mostly
when Rose is either nostalgic for home

or in some kind of departure crisis.

It really was always about Rose,
that music.

Even when Rose is saying goodbye
to Mickey at the end of Age Steel,

it's Rose's theme, it's for Rose.

It's about that little girl
who was just transported away

by this mysterious stranger
who she fell in love with.

H EA D: But, of course,
the most well-known music of all

is the Doctor who Theme itself.

It's always one of the things
that people remember about the show

from their childhood or...

It's sort of the Tardis, the Daleks, the
theme tune. They're the kind of three...

Three icons of the show, in a way.

It's a brilliant piece of music.

A brilliant composition in the first
place, then brilliantly realised.

Ron Grainer wrote it,
but then Delia Derbyshire made it,

literally made it out of notes,
out of discrete notes.

The really catchy thing about it is
the bass line. It's the...

(HUMMING BASS LINE)

And it's like any good song, it's got
a really good hook, and that's the hook.

(DOCTOR WHO THEME)

But also, it's got a brilliant theme, a
kind of almost romantic, soaring theme.

There's just something about it.

Kt just captures the flavour
of what the shows about.

And it's a thumping good tune,
I suppose, as well.

I think initially that
the Delia Derbyshire arrangement

was really raw
and really almost electrical.

It was electronic...
It wasn't even electronic,

it was electrical waveform sounds.

And really brutal and brilliant.

And then it became
slightly more refined through the ' s.

There started to be more,
almost domestic keyboards,

things that you would hear
in pop music at the same time.

The version from the ' s,
the Peter Howell version,

was really a dazzling piece of work,

and pure and energetic,
and some amazing sound effects.

The bit at the end, the sonic boom
at the end, that still lives on.

You didn't leave the TV,
you sat there till the end for the boom.

I don't think we ever, ever had a
conversation about changing the music.

It was never going to be
a different song or a different theme.

It had to be that one.

I didn't really want to touch the theme.
Delia Derbyshire is an artist.

What I've done to it
is made it gallop along some more.

The Delia Derbyshire
just didn't have enough clatter to it.

It didn't have enough bash-boom-wallop.

The show's got a lot
of bash-boom-wallop.

(PLAYING DOCTOR WHO THEME)

Murray's version has its own identity.

It has a blend of the Delia Derbyshire
sound, the Murray Gold sound

and, of course,
the National Orchestra of Wales,

so it continues the genesis
of those themes.

HEAD: The Doctor Who Theme maybe
well loved, but so are the Daleks,

and no concert would be complete
without them.

From raising smiles in the foyer
to raising thousands for charity,

The Doctor's great enemy
is out in force.

I'm ready for my close-up now.

H EA D: But before this bronze beast
can take the stage by storm,

the man inside the Dalek,
Barnaby Edwards,

is walked through his plan
for world domination.

We go from a sh*t of you up on there

to a big bright light back here,

and then you bring yourself on and you
just take yourself straight forward

to belabour the audience.
And there's no music over this,

this is full voice, lights blaring,
antennae wiggling...

Everything a Dalek can do.

The floor's very smooth for a change.

- The floor is fantastic, not concrete.
- Yes, you can really whiz along.

And the other thing is,
there's no script,

and I can't believe that they’ve just
left it up to me to say stuff.

BRIGGS: Who ll; this one
who stands in front of you?

He does not appear to be able
to play anything.

On the rehearsal, I just said,
“Improvise, improvise.

“This is me improvising.“

Oh, I was rude to the orchestra,
wasn't I?

Which I won't do on performance,
you know.

- That was just for laughs.
- Yeah.

(SINGING DOCTOR WHO THEME)

I don't know what I'm going to say.
I actually, at this moment, don't know.

BRIGGS : A ttentian, attention.

This building is now
under Dalek control.

You are all servants of the Daleks.

You will obey.

Let me hear you say "Exterminate".

ALL: Exterminate!

I cannot hear you. Exterminate!

ALL: Exterminate!

Will you obey the Daleks forever?

ALL: No!

In that case,

I will have my sl*ve orchestra
play special Dalek music.

It will convert you to the Dalek cause.

Then you will obey!

Conductor, begin!

Go choir, go cast.

(PLAYING OMINOUS MUSIC)

Dalek, head to the choir.

One of Murray's strongest themes
is his Dalek music,

which I love, which has a choir
being all sinister and Omen-like.

It's like a horror film.

(PLAYING HAUNTING MUSIC)

It gives the Daleks, those old
metal-monster foes of Doctor Who,

it suddenly gives them so much size
and makes them satanic,

and makes them movie,
feature-film villains.

As they deserve to be,
that's what Daleks should be.

And it's just glorious.
The whole thing just sings.

The Daleks' defining sound
has become that choir.

And I gave them some kind of
quasi-Aramaic-type lyrics to sing

and they do have
this kind of mystical vibe.

I'm not sure why that is. I think it's
because they are the archetypal villain

and they are The Doctor's great nemesis.

I t just kind of works.
It's also the way it's sh*t.

Every time the Daleks have come into it,

they're revealed slowly
and bit by bit in light.

DALEK: Doctor.

A little bit of the Dalek
is shown in darkness.

DALEK". The Doctor!

Exterminate! Exterminate!

- Let me out!
{xterm/natal

It might not have worked as a theme
because it's a slow, unravelling theme.

But that's how they've...
Every time the Daleks have come into it,

they've done a slow reveal in that way.

And it's really suited the moment,
that operatic theme.

(CHOIR SINGING SOMBRELY)

Rose, no!

Exterminate!

(MUSIC BUILDING TO A CRESCENDO)

Exterminate!

DALEK". We have your associate.

You will obey
or she will be exterminated.

No.

Explain yourself.

I said, no.

- What is the meaning of this negative?
-It means no.

- But she will be destroyed!
- N o !

Because this is what I'm going to do.

I'm going to rescue her.
I'm going to save Rose Tyler

from the middle of the Dalek fleet
and then I'm going to save the Earth

and then, just to finish off,

I'm going to wipe every last
stinking Dalek out of the sky!

HEAD". The Doctor's had a tough time
fighting the Daleks in the past,

and he didn't have much fun
in th century France, either.

Not only did he have to deal with
the clockwork droids,

he had to cope with a broken heart, too.

The Girl in the Fireplace
is one of those pieces of magic.

It was everything that Doctor Who
should be, I suppose.

(CLEARING THROAT)

Oh, hello. Um...

Goodness, how you've grown.

It was just rich and imaginative
and moving,

and so, so sad.

Only when she d*ed.

Too young. Too young.

I've done an arrangement of a suite,
which includes the really good att*ck

from the clockwork droids
at the fireplace.

Even monsters from under the bed
have nightmares, don't you, monster?

It's really playful, really good,
but sinister stuff.

And then the beautiful theme for
Reinette, which develops as she's older

throughout the episode.

(WHIMSICAL INSTRUMENTAL MUSIC PLAYING)

GOLD". The episode starts off

with this piece of music
that takes you into France.

You have a sort of poignancy. You have
a very simple, kind of childlike melody

that may or may not have been played
once by Madame de Pompadour.

And then pretty soon afterwards you
see this little girl through a fireplace

and that's her theme.

We did a bit of the clockwork droids
and their defeat.

But I don 't think the heart
of that episode,

musically, was in the action music.

It was definitely in the melody,
in the tune, in the romantic theme.

It was a very romantic episode.

Such a lonely little boy.
Lonely then and lonelier now.

You and I both know, don't we, Rose?
The Doctor is worth the monsters.

(CHILLING SUSPENSEFUL MUSIC PLAYING)

Doctor!

(HEROIC INSTRUMENTAL MUSIC PLAYING)

HEAD". Not only do the musicians
have to get it

all right on the night,
the monsters do, too.

It's been a big day for Paul Kasey,

who's just come offstage
as a clockwork droid.

But after a quick change,
he's now all set

to make his an-stage debut
as a Cyberman.

They come in and out.

Once they start to scan the audience,
we start to scan the audience as well.

Then we wait for Rory, he does
the signal, we then follow.

And then we wait for him, and he goes,
“Arms down, down, down, down.“

And then we wait for the scream.

It's really exciting, knowing that it's
a live audience and you have one go.

The Cybermen are scary anyway,

and there is a couple of Cybermen
that are going into the audience.

it's going to be good fun,
I think, going out

and just seeing what the reaction 's
going to be from everyone.

Because obviously, people see them
on the screen,

but they don't get to see them live.

And I know people
are pretty petrified by them.

So, yeah, it's exciting.
I can't wait to get out there.

The Daleks first appeared
in Doctor Who in .

But they aren't the only creatures

from the Doctor's past to reappear
in the new series.

Earlier this year, years after they
first tried to inv*de the Earth,

the Cybermen were back.

Oh!

Redesigned for a new millennium,

they stomped out of the fog
and into your nightmares.

Prepare to be deleted.

(PLAYING SINISTER MUSIC)

The musical theme needed to be simple

because it was
always going to fit under the footsteps.

Approaching footsteps are a kind of
traditional device of suspense-thriller.

I guess you could imagine lying in bed

and hearing footsteps
approaching the door,

and then you'd hear the door creak open.

I think with the Cybermen,
you just hear approaching footsteps

and then all the windows get shattered.

(SCREAMING)

(FAST-PACED MUSIC PLAYING)

There's a bit where
the orchestra drops down

and we hear this repetitive rhythm
of stomps,

and I've actually put stomps
in the choir part.

That sound of the Cybermen approaching
from the distance.

There's that sound of
the dunking of their movement.

And then they break through,
and the choir let loose

with this kind of guttural, "Rah!"

Cue Cybermen.

It's a really good device.
It's a really good theme.

It's the sound of organised automatons,
completely merciless and unsparing,

just coming to take you away.

CYBERMAN". The Cybermen
will take humanity by force.

London has fallen
and so shall the world.

Come on, you brainless lump of metal.
Come and have a go!

(DARK, SCARY INSTRUMENTAL MUSIC PLAYING)

You've gotta be kidding.

Pete, take this!

Use it!

(MUSIC TEMPO INCREASING)

(TRIUMPHANT MUSIC PLAYING)

The stage is great, and then to have
that orchestra behind us as well,

I mean, such a buzz.
It was just amazing.

Something I'll remember
for a very, very long time.

HEAD". The Cybermen live on to fight

another day,
but for The Doctor and Rose,

the finale of series two marked the end
of their time travels together,

having become trapped
in different worlds forever.

If you're listing favourites, everyone's
going to say the Doomsday music.

And I remember how eloquent Murray
was in that

because I was a bit surprised by that
when I first heard it.

As it started, I went,
“Oh, what's he doing?“

Because I think we'd all expected
swelling violins and sadness.

He said, "It's teenagers, "
that Rose ls a teenage girl.

The energy in that b*ating heart

and that determination
to reach the Doctor,

to find the Doctor, to never give up.

(SAD HAUNTING MUSIC PLAYING)

That is what he put into the music,
instead of your adult violins.

There's a heart b*ating and there's
a voice crying out. It's brilliant.

GOLD". Billie Piper, she was brilliant.

I mean, you just wanted
to write music for her character.

She got taken
into so many people's hearts.

You have quite
an emotional commitment to characters.

As a musician, you write their things

and you try and express
their heart a little bit.

- Oh, I thought I'd lost you.
- Nah, not on a night like this.

There was David and Billie
on either side of the white wall,

separated by this infinite amount
of space, but so close.

So I thought, "Ah, here's a chance
to do something different."

I took the music from when Rose first
walked into the Tardis in episode one,

which was just the moment
she first walked into the Doctor's home,

and I sort of reset it.

I just took Melanie Pappenheim's voice,

and I just knew I wanted to get that
kind of throbbing, hurt sound

of quite emotional rock.

Because I thought that's what Rose
would do if she was hurting

and ran up to her bedroom
and locked herself in her room,

and just had a good old cry, really.

That was the feeling that I went into,
and I just sort of did it,

and it seems to have quite a lot
of emotional power, which is good.

(SUSPENSEFUL INSTRUMENTAL MUSIC)

It said I was going to die in battle.

Then it lied.

A storm's approaching.

I made my choice a long time ago
and I'm never going to leave you.

Doctor, we lost the cable.
Doctor, are you all right?

Doctor!

If you talk to Rose, just tell her...

Oh, she knows.

You know what, they keep on trying to
split us up, but they never, ever will.

Never say never ever.

I love you.

Rose Tyler...

We had to face the problem
of ending series two

on, like, the saddest scenes
in the world

of upset and heartbreak, and it is my
job to make sure that people don't go,

“Oh, well that's finished, then,“
and switch off.

What?

- What?
- What?

I love the fact that he hasn't even
got the luxury of relaxing,

going, “Oh, I'm sad now,“ because
his life just is never like that.

- Who are you?
- But...

Suddenly there's a bride right on his
doorstep, literally inside his doorstep.

- Where am I?
- What?

And on top of that, there's an even
greater mystery of how she got there.

- What the hell is this place?
- What?

It's just setting up a premise saying,
“Look, Doctor Who doesn't end.“

Lovely, lovely Rose Tyler might have
left, lovely Billie might have left,

but this is about the Doctor
and his life continues

and will always continue
and it moves on.

And here's another adventure starting
seconds after the disaster of Doomsday.

HEAD". Filming for the Christmas special

began high
on a London rooftop last July,

with a brand-new series
set to follow next year.

TENNANT". First day on series three,
first day back.

We've had about three months off.

Oh, hello again.

In some ways it's weird,
it's like it was just yesterday.

It's like slipping into
a comfortable pair of slippers again.

And action!

Cut.

- Good cut.
- Good.

This time last year,
I was the new boy obviously.

And now I'm kind of...
I'm the senior, I suppose.

And there's all sorts
of other new people joining us.

HEAD". And the newest of all
is Catherine Tate,

who plays the Doctor's
Christmas companion, Donna.

Wish you had a time machine,
then we could go back and get it right.

It's so exciting, you know what I mean?
It is so exciting.

The things I really like doing
are just the tiny little bits

where David and I are
a bit sparky with each other.

It's weird, I mean, you're not special,
you're not powerful,

you're not connected, you're not clever,
you're not important.

This friend of yours,just before she
left, did she punch you in the face?

Stop bleeping me!

The sort of little banterish bits.
That's quite funny.

God, you're skinny.
This wouldn't fit a rat.

It's such a laugh and a pleasure,
after Rose,

to write someone who doesn't want
to be on board the Tardis,

who thinks it's a nightmare,

and who thinks the Doctor's
an idiot and a kidnapper and a fool.

So come on then, robot Qantas,
what are they for'!?

Oh, your basic robe-scavenger.

The Father Christmas stuff
is just a disguise.

She isn't a...

a traditional companion in the sense
that she's not baying at his feet.

- I met them last Christmas.
- Why? What happened then?

She's sort of a bit ditsy
and a bit gobby and a bit feisty.

Great big spaceship hovering
over London? You didn't notice?

A teeny bit thick.

I had a bit of a hangover.

Catherine's doing fantastically.

She spends the whole episode
in a wedding dress.

So I think she was
quite grateful earlier today

that it was a bit cool and a bit colder,

but I think she's going to come out
and boil now

because she's under layers and layers.

But we're having a good time.
They look brilliant together on screen

and I'm really happy.

And it's just
a completely different feel.

It's a completely different Tardis.

It's a completely different adventure,
and yet, it's good old Doctor Who.

It's still exactly the same show.

HEAD". Now the time has come to really
see the Doctor and Donna in action.

That was lovely. Well done, very good.

Okay, standing by for David.

Here is something
that no one has seen or heard before.

Oh, yes.

(CROWD OOHING)

Contain yourselves.

This sequence
has only just been finished, literally.

And everyone on the production team

is hearing and seeing it complete for
the first time tonight along with you.

From this year's Doctor Who
Christmas special,

here is an exclusive sneak preview
of The Runaway Bride.

I promise you, mate. I'll give you
the rest when we get there.

Oh, I look a mess.

Hurry UP!

Hold on a minute, I said Chiswick.
You missed the turning.

Excuse me, we should've
turned off back there.

We're going the wrong way!

(PLAYING DRAMATIC INSTRUMENTAL MUSIC)

(HORN BLARING)

What the hell are you doing?
I'm late for the wedding!

My own wedding. Do you get that?

Turn around!
Turn this cab around right now!

Are you deaf or what?

Oh, my God.

Help me!

Help me!

Help me! Help me! Help me!

Help me! Help me!

Help me, get me out!

Help me! Help me!
I'm being driven by a robot!

Behave!

You are kidding me.

- Open the door!
- Do what?

- Open the door!
- I can't. It's locked!

Santa's a robot.

Donna, open the door!

- What for?
- You've got to jump!

Am I blinking flip jumping!
I'm supposed to be getting married!

- Listen to me, you've got to jump.
- I'm not jumping on a motorway.

Whatever that thing is, it needs you.

And whatever it needs you for,
it's not good.

- Now, come on!
- I'm in my wedding dress!

Yes, you look lovely. Come on!

I can't do it.

Trust me.

(AUDIENCE GASPING)

I think that's how Doctor Who
should be shown,

with , people
sitting in an auditorium,

because there's a bit in that clip where
the Tardis appears to come to the rescue

and it got a round of applause!

And I'm thinking,
“It always does that in my head.

“That's always what it sounds like,
people are clapping,“

and finally we got it.

To see children, to see what it meant
to them,

was incredibly powerful and moving.

I sat next to my cousins, Max and Louie,
and they're only little.

And they just completely loved it.

(PLAYING DOCTOR WHO THEME)

It would be a completely different show
if it wasn't for Murray's music.

And everybody's efforts
have been extraordinary, haven't they?

I mean, look at the show.
It's gobsmackingly beautiful.

HEAD: as the orchestra
play their final encore,

just what lies in store
for the next series of Doctor Who'?

After this Christmas special,
we're all still busy here

slaving away on the third series of
Doctor Who, which will be coming soon.

You sort of think,
“Where can we go next?“

and then you realise the brilliant thing
about this show is you can go anywhere.

I love making this show
and I love the scripts.

They keep coming and keep being
bigger and better than ever, really.

So it's never difficult
to get up for work on this job.

Each day is...

more bananas than the day before,
and I like that.