05x12 - Alien Abduction

[bunniefuu]

'This week, the Doctor faces his
biggest thr*at to date,

'in the alliance to match
all alliances.'

- This episode has to say "big".
- Listen to me!

We're turning it up to , we are
really going mad with this one.

'Amy's reunited with an old friend.'

I'm back! I didn't die.

I'm not trying to be rude,
but you d*ed.

'The cast and crew make their way
over ground to Stonehenge.'

We're kicked out here, hour.

We sh*t until they told us to get
out, basically. We just ran at it.

'And Confidential goes underground
to see the pandemonium behind
the Pandorica.'

Episode is the answer to all the
questions in all the other episodes.

It's the beginning
of the end of this series.

Down on set, the Doctor Who
cast and crew are preparing
for a climactic cliff-hanger.

Just let him pull you a bit,
with your arms behind you.
Throw you that way.

This is the Doctor being
shoved into the Pandorica,

where he's going to be imprisoned.

Effectively, it's the death
of the Doctor.

Or the Doctor that we know.

We hold like this, and then if you
take your weight,
and I'll swing like that.

So we've got all the monsters
out here.

This is the first time
we've had Cybermen

and Daleks and Sontarans
all together in one big thing.

It's like a big classic Doctor Who
cliff-hanger.

We've got to go into this thinking
it's all over for the Doctor,

and how is it going to get out?
It's doom for him.

Off we go then.
Rehearsing, and action!

Time for the ultimate alien
alliance to get suited and booted
ready to take on the Doctor.

We've done pretty well so far.
We've got first ADs trained in all
the alien languages.

We've got people who speak pure
Dalek and Sontaran
translators out there.

We're marshalling them
quite well I think.

Camera!

It's really exciting to have
such legendary characters together,

Daleks and Sontarans
in the same frame.

You've got Cybermen and Weevils
and all these kind of things.

That's what we've never really seen
in Doctor Who before,

these creatures side by side,
working together,

like some sort of terrible alliance.

And cut there, brilliant. OK.

I'm really excited. We've just got
to get all the sh*ts in.

Action!

- DALEK: - You have been scanned,

assessed, understood.

The Pandorica is ready!

- Ready for what?
DALEK: - Ready for you.

I think I'm most impressed
with the Sontarans.

When you just see them in front
of you moving and talking,

he really does seem like a real
creature, and he's really
quite scary.

He looks quite fierce, and
directing him is kinda weird,

he's constantly looking really angry
but it's just his make-up.

B camera.

Action!

- The Pandorica is ready.
- Ready for what?

- DALEK: - Ready for you.

It's great, seeing all
the monsters together.

The seven-year-old child inside
me kind of goes, "Oh, my goodness!"

- Seal the Pandorica. - No! Please!

The whole universe will never
have existed.

Please listen to me! Get me out
of this chair, listen to me!

- Cut! - The alien coalition has won.

After years, the Doctor's
fate looks sealed.

With the crew's saddlebags packed,
it's a trek up the Trefil Mountains

to create the epic journey to one
of the oldest locations used on
Doctor Who, Stonehenge.

To get there, Matt, Karen and
Alex have to take a back seat

and let three lookalike
stunt riders take up the reins.

I loved filming the horses -
it made the whole thing more epic.

We wanted to give it this
big adventure feel.

And we intercut it with these horse
sh*ts, which were River, the Doctor
and Amy riding their horses along

which is technically quite
difficult to achieve, mainly because

you can't have the real actors
actually riding the horses.

You need to have stunt doubles,
and stunt doubles never look like

the actors, they just look like
people in wigs.

We sh*t some wide sh*ts of
the horses just riding along,

and tried to make those as dramatic
and impressive as possible.

The trick of it really is to make
sure that there's enough energy
in the sh*t to take your eye away

from what the trick of it is,
that they aren't really
Matt and Karen riding those horses.

MUSIC: GALLOPING HOME

To find a stretch of land
that a horse could run on,

and a car could drive next to it
on a straight bit of road,
was quite a difficult thing to do.

This is supposed to be ancient
Earth, you know, the time
of Stonehenge and the Romans.

Obviously we didn't want any
pylons or cottages or any buildings
in the background at all.

With the stunt riders making
sure the filming didn't fall
at the first fence,

it's time for the actors to mount up
and face a few hurdles of their own.

We got Matt and Karen and Alex on
the back of a truck, and made them
do sort of horsy positions.

♪ I see you baby, shakin' that ass

♪ Shakin' that ass, shakin that ass

♪ I see you baby, shakin that ass...

It kills your thighs!

For camera they want you to sort
of go quicker and faster,

but you have to think about
the horse, and how the horse rolls.

It doesn't just go like that.

I had to pretend to be riding a
horse on this seat on the back of a
truck.

And then they drove the truck
and I just had pretend that I was
on the horse.

Toby kind of demonstrated
the bouncing action that he
wanted me to do.

A bit faster. As if it's going
"Brrm-ba-dum, brrrm-ba-dum."

And then he said,

"Oh, do a serious look, as if
you're kind of on a mission."

And then one where I was having
the time of my life,
and then another one where

I wasn't quite in control because
I don't think Amy has ever ridden.

♪ I see you baby, shakin' that ass

♪ Shakin' that ass, shaking that ass

♪ I see you baby... ♪

That's possibly one of the strangest
things I've ever done.

Matt looked ridiculous,
absolutely ridiculous!

He really went for it, though,
I'll give him that.

Hilarious, what a funny
little gesture.

He probably worked harder
than Alex and I.

It's a little bit undignified.
I didn't realise how undignified

it looked until he did it,
so I'm quite glad I went first.

We just shook the camera around
a bit, and cut it all together,

and it looked like
they were riding horses.

It's quite hard work.
Look, I'm puffed out.

You're sort of having to use
your legs,

like this.
I feel a bit of a berk doing it.

It's a shame we couldn't ride
a proper horse.

Hopefully, it'll look good.
The magic of film, you see?

I'm going to go and keel over
in the mud or something.

Hya, come on!
Hya! Hya! Hya!

When I first read the scripts
for my Doctor Who episodes,

we'd managed to go across
the galaxy, through time,

but one of the biggest logistical
and budgetary issues

was the whole thing
about it being set in Stonehenge.

This episode has to say "Big"
at every turn.

It has to say we're
turning it up to ,

we're really going mad
with this one.

If there's going to be an ancient
monument that marks the place
where the last of the Time Lords

will fall, what other one do
you have in the whole world

except Stonehenge?

It has to be Stonehenge.

Stonehenge, located in Wiltshire,
has cemented itself

as one of the most important
prehistoric monuments in Britain.

Completed nearly , years ago,

it's thought to have taken
million man hours to build.

Historians have left no stone
unturned trying to find out
why it was built.

Theories have been a little rocky,
but range from astronomy
to human sacrifice.

On the summer solstice, it's also
a Mecca for large groups of people.

REPORTER: It was a tentative start,

the sun stubbornly hidden
behind cloud.

But eventually she made her entrance.

, people watched.

Some for spiritual reasons,
everyone for the atmosphere.

Today's druids believe they're
keeping these ancient rituals alive.

The summer solstice is the
longest day, the brightest sunlight,

and the beginning of summer.
It's a time of celebration.

Normally the stones
are an exclusion zone,

roped off to members of the public
to preserve them.

This morning, though, revellers are
right there in among those stones,

celebrating the arrival of the sun,

just as our ancestors would have
done , years ago.

But for the Doctor Who crew,
the sun is a long way off,
and they have lots to film.

Stonehenge! It feels quite
a privilege to be in here.

What a privilege to be there.

It was quite late at night, because
we were filming on a night sh**t.

And they lit it all up.
It looked amazing.

To be able to be that close
to those stones, and they're
kind of really sacred.

And make a bit of
Doctor Who there, that was cool.

It was a challenge.

Hey, guys. Look, how does it feel,
Confidential?

Now take it out,
flashes and all sorts.

I was only there a little while,
but wandering around the stones,
I had this, "These are OLD."

You weren't allowed to touch
the stones.

, take one, B camera only.

And action!

One of the things
that we had to be very careful about

was not disturbing the ground
too much, because Stonehenge
is a World Heritage Site.

It's one of the seven wonders
of the world, and we're a great
clobbering film crew.

You have to be very careful with it.

We realised in the budget
we could only afford to go
to Stonehenge for one night.

So I thought, "Well,
I've got one night there.

If I can establish Stonehenge
in a big way, if I can say to

the audience, "We've gone
to Stonehenge, here it is."

Action!

I said, "If I can have three or four
stones, like Stonehenge,

"I can dress Margam Park
to look like Stonehenge."

We sh*t all the way
through the night.

We did a lot of
the establishing sh*ts of it.

I think we were pretty lucky
to get away with sh**ting there.

That's what really identified
the episode, this was the episode

that the Doctor goes to Stonehenge
and finds out what it's there for.

The Underhenge.

Cut there. Brollies back in.

Along with the pressures
of a tight deadline,

filming against the ancient
monument presented other challenges.

Keep walking, so they're clear.
Beyond the lights.

'We've obviously had to adhere to
a lot of rules and restrictions.

Things like not being able to take
heavy equipment inside.

We've had to make sure that all
our lighting is done from

the floor, as opposed to
conventional way of lighting,

which would have been on towers
and cherry-pickers.
You can understand why.

Probably the biggest one for us was
having to sh**t it when it's not
open

to the public, which meant that
all our scenes had to be night,

which fortunately they were,
with the exception of one,
which is a day scene.

And of course we're now sh**ting in
the winter, and the only daylight

is between and o'clock.

Action!

Good, very good.

And cut there. Thank you.

We've got a page long dialogue scene
to sh**t in an hour, which is tough
going.

We had minutes to sh**t
a daylight scene at Stonehenge.

It sounds like a long time,
considering the scene's only
three minutes,

but normally it takes us an hour and
a half, or two hours to sh**t
a three-minute scene.

We had to do it in minutes.

♪ Gentle lad lies with me

♪ Sleep in your eyes in the morning

♪ His eyes are still with me... ♪

After a complicated night sh**t and
with only minutes of daylight

to sh**t the remaining scenes,
all the crew can do is sit
back and wait for the sun to rise.

♪ Sleepy tunes roll through my head

♪ As I roll out of bed
to discover the day... ♪

OK, folks, must go now,
sorry to call it.

We're kicked out of here...hour.

We sh*t until they told us to get
out and basically, we just sort
of ran at it.

Action!

We rehearsed it while it was
still night.

As soon as it got to daytime we sent
the steadicam and the actors in.

We just sh*t and sh*t and sh*t
until it got very tense.

Doctor, I'm picking up
particles everywhere.

Energy weapons
discharged on this site.

If the Pandorica is here it contains
the mightiest ray in history.

Now, half the galaxy would want a
piece of that.

Maybe even fight over it.

We need to get down there.

So it's time up at the rock face.

And with the real
Stonehenge established,

the crew head back to Wales to build
a lighter version of the monument.

Cut there.

Because we established it in
a big way, we could get away with
seeing much less of Stonehenge.

Every time we went back to
Stonehenge, we went to Margam Park.

So we went from Stonehenge
to Foamhenge!

That's where we sh*t for four days
through the night just
to complete the scenes.

The conditions we had to sh**t in
were diabolical.

The wind was going, he couldn't
even hear himself speak.

WIND HOWLS
I can't hear ya!

- Go from when you just
stood on the stone. - Eh?

It was early February, it was ice
cold and the wind was coming down,
the rain was coming down.

But with the lights on,
it looked fantastic.

We've got to go. Turning over.
B camera.

Here we go then, everyone looking up
at the sky. Action!

Sorry, sorry, dropped it.

Hello, Stonehenge!

That whole sequence for me was
all about him looking like he was
in Wembley Stadium.

Who takes the Pandorica takes the
universe, but bad news, everyone...

There were all these lights on him
and he's a real hero.

They sent you lot, you're all
whizzing about. It's really
very distracting.

Could you all just stay still
a minute?

We wanted this big moment of triumph
before what happens later in the
episode,

cos it gets quite dark at that
point, so it's a very heroic moment.

I am...

talking!

He didn't have any weapons.

It's the only scene in the episode
where the Doctor's got
the upper hand.

Who's got the Pandorica?

Answer - I do. Next question,
who's coming to take it from me?

He lays down the law to the aliens.

That needed to be the sort of
big stadium, pop-star kind of moment
for the Doctor.

If you're sitting up there
in your silly little spaceship
with all your silly little g*ns

and you've got any plans on taking
the Pandorica tonight,

just remember who's standing
in your way.

Remember every black day I ever
stopped you,

and then, and then...

do the smart thing.

Let somebody else try first.

We had huge lights coming down,
moving around

to sort of mimic the idea
of the spaceship lights.

That'll keep them squabbling for half
an hour.

Romans.

Now the Stonehenge and Foamhenge
filming is completed,

it's time to find out
what exactly lies beneath.

Welcome...

to the Underhenge.

One of my favourite moments of
Doctor Who nonsense

is just to have the Doctor
stand there,

slide aside one of the stones

and yes, of course,
there's an Underhenge

and all the stones going down
underneath.

I don't expect there really is
an Underhenge, but who cares?
There is now.

The Underhenge is my favourite set
so far.

We were in a massive cave,

which was underneath Stonehenge.

The Pandorica chamber
or the Underhenge,

I really wanted to make it feel
dark and kind of,

you know, physical, so it actually
felt wet down there.

It felt sort of dank with cobwebs
and things like that.

I think it actually said in the
script that the chamber was like
something from Indiana Jones.

It's so cool.
It is like Indiana Jones.

The main, real brief of it
is to make it like Raiders,

to give it that sort of feeling
about it, of discovering a temple

or an artefact
underneath the ground.

A place of worship where it hasn't
been touched for thousands of years.

It was .
Everywhere you looked was this set.

We basically lined the whole
set with rocks, like stone,

elements of Stonehenge itself, which
actually came through the ground.

It's a subterranean, dark,
kind of haunting space.

We wanted to do lots of vines coming
from the ceiling, and cobwebs.

We had a great staircase to build to
go underneath the ground,

and when they open the huge doors,
the webs...

The reveal of the huge Pandorica
box.

So we had this chamber that's very
reminiscent of something from
Indiana Jones

and I just wanted to introduce that
in a way that, er,

would seem sort of magical
or full of wonder.

And I used this particular
piece of music, which is from
Raiders Of The Lost Ark.

OK, lovely. take one, B camera.

Playback. Action.

Matt's face as he's opening the
doors really summed it up for me.

It should be a mixture of fear,

but then also excitement and real
enjoyment of, "we're really
discovering something here".

Working with Toby, the director,
was a really cool experience.

He was really into playback...

..which is playing music
during a scene.

Lighting flambeaux. Playback.
Action.

I think it's really useful.

EERIE MUSIC PLAYS

It was all about atmosphere.

It really gives you a kind of
ghostly or haunted sort of feel and
makes you move in a different way.

- RIVER: - More than just a fairy tale.

The way I liked to increase that
feeling was to play music.

I wanted to make sure that
they moved in a way that was going
to cut well when I got to the edit.

It's a brilliant piece of music that
sort of just builds up,

and it moves at
a very particular pace.

When people listen to it,

they begin to move in the same pace
as the music,

and it means everything cuts
together really nicely,

the way that they move into the
space. It's all about awe

and looking at stuff and going,
"Wow, this is amazing",
and they're all looking with wonder.

There was a goblin or

trickster, or warrior -

a nameless,

terrible thing, soaked in the blood
of a billion galaxies.

When you're just doing things for
real, you never hear the theme tune,

you never hear the kind of music
that's playing along.

So you just do things very quickly.

When I get into the edit I look at
the stuff and I go,

"well, that could have been more of
a moment.

"That could have been more
exciting and slower."

It's all about awe.

The most feared being
in all the cosmos.

No-one could stop it or harm it

or reason with it.

One day it would just drop out of
the sky and tear down your world.

So I played music on set to just
slow it all down,

to make sure I got
all those moments.

I have to say, it's amazing just
how music can affect someone.

How did it end up in there?

You know fairy-tales.

A good wizard tricked it.

I hate good wizards in fairy-tales.
They always turn out to be him.

So, it's kind of like
Pandora's box, then?

- Almost the same name. - Sorry, what?

The story, Pandora's box, with all
the worst things in the world in it.

One of the technical problems
of it was how we were going to
light their faces

when they were down there because
they're underground and you can't
see anything.

- The Pandorica. - Well done. Cut there.

I came up with the idea of them
having - again from Indiana Jones -
flambeaux or flaming torches.

To enhance the mood created on set
for the Underhenge,

atmospheric lighting was added
by director of photography
Stephan Pehrsson.

It's a challenge to light a big
space and what we came up with

was there was going to be
these torches

all around the space.

Those give us a nice
sort of flame effect.

And then we sort of just follow up
on that, so we have an ambience of
blue light

and then we just fill it in
with nice warm light around
the characters.

Stephan Pehrsson, who is our DOP -

me and him go back a long way.
We went to film school together.

We put up these big lights up here,
called spacelights,

so we have them up
as a general ambience,

and then I used these spring balls
over here - mirror spring balls -

and we gel them up with orange gel
so they look a bit like flame effect

and we make them flicker a bit
and then, on people's faces it
looks like they're lit by torches.

For the whole episode, we wanted
to try and have a bit more of

a movie feeling, you know - a really
sort of impressive experience.

With the torches lit,
the heat on set is rising.

Especially for Karen,
as she tries to get to grips with
the flames and a set made of wood.

The great fear of using these
flaming torches was Matt -

he's a very energetic actor. He
flies about the place and you don't
know where he's going to go.

But actually, the real problem
was Karen.

She was quite nervous at first.

When she was holding it, she's kind
of, "What am I doing with this?"
kind of thing.

She's just petrified of these
flaming torches. She couldn't relax
with them at all.

Action.

- So what's this got to do with the
TARDIS? - Nothing, as far as I know.

But Vincent's painting...

OK, let's just cut, please.

If you want to see loads of
flambeaux, sort of...

hand-held flame torches,
they're all gas fed.

Am I actually really lighting it?

And they're just creating a nice
flame. You see the actors there
with a real flame,

with a gel to create that fire.

- Action. - So what's this
got to do with the TARDIS?

- Nothing, as far as I know...
- Whoo! Sorry.

OK. OK.

It is really big!

Right, hold it from there.
Everybody ready.

- On this side. - This way?

Yeah, lovely.

- Camera. - And action.

- So what's this got to do with the
TARDIS? - Nothing, as far as I know.

Vincent's painting, the TARDIS was
exploding. Is that going to happen?

One problem at a time.

There's force-field technology inside
this box.

If I can enhance the signal...

Now Karen's got the hang of
the flaming torches,

Amy can put them to good use as
she faces an even deadlier thr*at.

I wanted the Cyberman to be chasing
her once it's put its head on,

and she's backing away to go
towards this door.

But I needed her to be sort of
proactive in that,

and I thought that the perfect way
of that was that she'd be grabbing a
flambeau, waving it in front of him.

She's pretty lethal. By the end of
it, she was like a fire eater.

I really wanted to work with
the Cyberman because they're quite
a famous Doctor Who monster

and I hadn't met one yet.

The Cyberhead sequence was one of
the biggest technical challenges
we had for the whole episode.

SHE SCREAMS

Two great scary moments.

One was that bit where you reveal
the skull.

SHE SCREAMS

For me, that's a classic
Doctor Who moment.

It's not just a sort of horrific and
scary moment, it's also quite funny.

- You've k*lled it - well done. - Yes!

Every time she does something,
she thinks, "How is this going to
get any worse?"

- I did this whole fight sequence...
- CYBERMAN: You will be assimilated.

A whole fully-formed Cyberman turns
up and starts coming towards her.

Not only looking at her, but picking
up the head and putting the head on,

and then it chases her, you know,
it goes on and on.

And once she's chased by the
Cyberman into the arms locker that
she ends up in, it goes quiet again.

She gets very close to the door and
you just know something's going to
happen.

Then that Kn*fe blade just goes...

straight through the door.

It was quite a difficult thing
to mount.

We kind of had to break it up into
lots of little bits because it's
quite a complicated sequence.

The Cyberman was played by an
amputee who didn't have an arm,
so we could get him inside the suit.

and so he's sort of wandering around
with just the one arm,

and this way you could just sort of
put some wires that are coming out.

The bit where the Cyberman
reveals his body,

a headless body comes lumbering out.

We sh*t that originally with
the head in the foreground and you
just see the feet arrive.

And you tilt up to reveal
the headless shoulders.

And when I got into the edit,
I saw that sh*t and it just felt

like we'd missed a b*at, really,
where the real joy of seeing
a headless Cyberman

is seeing it walk around, and sort
of see things without a head,

and actually get that sense of
headless wandering.

Action!

So, when we got to go back and
sh**t other bits of that sequence,
we remounted than moment,

but when we came back to reshoot it,
that guy wasn't available.

I want a better sh*t. I'm going to
get him to come out like this and
then turn once we've revealed him,

kind of walking towards us
without a head and an arm...

But then we thought, we're going to
take the head out, so
we may as well paint out the arm.

So we just put a green sock on the
arm, got another guy to go in the
suit, and we just redid that moment.

So this is the sh*t we're redoing,
it's this one here.

- The reason being, I never saw you
actually walk up without your head.
- Right.

You're trudging...

And this is...
So we're repeating this sh*t.

It's time for the Cyberman to
keep his head and sock it to 'em,

to complete this
dramatic effects scene.

And we're set, and action.

♪ I am the robot
I am the robot in your town. ♪

CLANKING FOOTSTEPS

And with a combination of both
takes, the final sh*t is complete.

'It was a hairy moment
when we thought we weren't going to
be able to do it again.'

I think it's really great.

To create the b*llet hits
from the Cyberman's g*n,

the special effects team step in
to help sh**t the next scene.

The Cyberarm is
f*ring at the Doctor and Amy.

Where's the camera going to be?

- Same place?
- Over your shoulder, yeah.

There's a spark happening,
but I want you to keep
your eyes forward, all right?

We're making sort of b*llet hits,
as though the arm's sh**ting lasers
at different parts of the set.

expl*si*n!

- Down, down! Down, get down!
- Cut there. - Cut there!

It's a mixture, basically,
of using pyrotechnics

but to try and speed up the process,
I'm using my paintball g*n, really.

- Toby? - Yo. - Just come and have
a little look at
what the effect's going to be.

We thought we'd test it on
the other side of the box.

Oh, I see.

Just for this test.

What it does is, instead of
using paint, I actually
fire these little pellets.

- It doesn't leave a mark? - No.
- So what bounces off the thing?

What it is, it's made of zirconium,
so when it has friction, it sparks.

Is that from the planet Zarcania?

- That's exactly it. - What,
and then it just bounces off...?

- No, it doesn't, it shatters.
It dissipates. - Wow! That's clever.

And I can fire it in whatever area,
safely.

Oops! Hello!

This is the air bottle here
and then I just put in the
balls of zirconium inside here.

You'll see a long tube,
loads and loads of balls in there.

And then, yeah,
it's just point and sh**t.

, take one, A camera.

And...action.

Sorry!

Look at me, I'm a target.

AMY SCREAMS

Ooh! What is that?

Cyberarm - arm of a Cyberman.
Belongs to the
head we found upstairs.

And what's a Cyberman?

Karen's not afraid to scream.

- I need to get behind it.
Could you draw its fire?
- She lets rip.

SHE SCREAMS AND WAILS

Brilliant.

I loved the way you played that,
and I want the same again.

But it's not only the Cyberman
that has made a return.

After falling through
a cr*ck in time, Rory has found
his way back to reality

with the hope of finding
a way back into Amy's heart.

We've just done this fantastic
Cyberhead sequence, but it ends in
a brilliantly romantic moment

when Rory reveals himself,
having been dead.

Hello, Amy.

Whoa, whoa...

The great thing about our episode
is that we get to bring him back.

I'm back! I didn't die.

- Rory, I'm not trying to be rude,
but you d*ed. - Yeah...

One second he's basically almost at
the centre of the Earth

with a bunch of Silurians,
and then he's dead...

Doctor!

- Agh! Ohh! - Rory!

'I get sucked into
a cr*ck in time...'

If time energy catches up with you,
you'll never have been born. It will
erase every moment of your existence.

You will never have lived at all...
at all...at all...

'..which means that
I never existed...'

How can you be here?

Well...

I don't know.

But I wake up as a Roman soldier.

I d*ed and turned into a Roman.

It's very distracting.

'When I got the script for that,
I couldn't really believe it.'

It's a nice way to tie everything up
so it's nice to have him back.

One of the most complex things to do
in this episode was to bring back

someone who not only was dead,

but never existed
in the first place.

Amy can't remember who...who he is.

She doesn't know that Rory
ever existed.

You know, a dream moment,
a magic moment,
a wish-fulfilment moment,

and then to find something terribly
sinister underneath that,

that Rory doesn't even realise
he's not actually Rory,

he's a construct of Amy's memories.

Rory comes back all expectant
and excited to see her,

and thinks that she's going to be
over the moon to see him,

but she doesn't remember him.

Oh, you're the guy, yeah?
The one that did the swordy thing?

Yeah...

Well, thanks for the...swording,
nice swording.

No problem.

To die, come back to life and her
not remember him is pretty tragic.

Almost as tragic as having to
k*ll your one true love.

And turning over...

, take three after
a false start, take camera mark.

B camera.

And...action.

No, no! No!

No!

No, no!

No-o-o-o! NO-O-O-O!

Cut there. Well done, chaps.
Thank you, excellent work.

Eurgh!

MUD SLOSHES

Ooh!

Here we are in one of the
more glamorous locations.

- It's really late.
- It's two in the morning.

- Can you tell? - We've forgotten
how to speak. - Where are we?
- We're near Swansea. - Oh.

Margam Park, to be exact,
and it plays the final part

as the location for
Rory and Amy's unexpected farewell.

But the weather conditions
that night were
quite difficult to work with,

because it was absolutely freezing.

Look, a few people keeping warm
here - is that good? Chatting.

Our mouths were kind of sort of
seizing up slightly,

and it had been raining, so there
was just kind of this pool of mud.

We're just basically rolling in mud

in the middle of the night.

We were up against it, I think,
with the elements,

but we just sort of had to go for it
and try and shut that out...
and concentrate.

But we can turn, and turn...
and go that way.

And one and two!

And in usual Doctor Who style,
the heavens opened.

It's only gone and started raining!

♪ Why does it always rain on me?

♪ Even when the sun is shining

♪ I can't avoid the lightning

♪ Oh, where did the blue sky go?

♪ Why is it raining so?

♪ It's so cold

♪ Why does it always rain
on me-e-e-e?

♪ Why does it always rain on... ♪

Amy and Rory had to do
their sort of big romantic scene
there in a mud bath.

Have a look at the mud!

It's so muddy!

If you just look around them
at any one time, they're in
a sort of porridge bowl of mud.

Going for a take, and...

, take one, B camera.

Are you OK?

Did the Doctor send you?

I'm fine, he's just fusses.

They have this crazy conversation
where Amy sort of
remembers who he is,

and then something terrible
happens at the end.

Well, of course, all great love
stories, and we want Amy and Rory
to be a great love story,

are tragedies.

What's your name?

I'm Rory.

- Not what we expect Romans
to be called. What's
it short for, Roranicus(?) - Ha!

'When Amy starts to
finally realise who Rory is,'

it's kind of the biggest moment
for Amy of the whole series.

You're crying?

'It was an incredibly emotional
scene.'

- What's wrong?
- Nothing, it's like I'm happy.

SHE LAUGHS

Why am I happy?

After this kind of really emotional
conversation between Amy and Rory,
she realises who he is.

She starts to remember.

You're crying because you
remember me!

- Rory doesn't really know he's an
Auton, but when he gets the call...
- And action! Off you go.

Chatting to each other...
and...stop.

TOBY: What's fantastic
about Steven's writing is

that it starts off a sort of comedy,
a boyfriend trying to remind
a girlfriend who's forgotten him.

My Auton status gets utilised
and it's just at the point where
Amy starts remembering me.

I'm Rory.

Williams.

Rory Williams from Leadworth,
my boyfriend!

There's a sort of echo of him
inside her mind.

You've got to run. I can't hold on.
I'm going...

You are Rory Williams and you
aren't going anywhere ever again.

This Auton duplicate has taken on
so much of the original Rory

that it starts to think of itself
as Rory. It starts to be Rory.

'And at the very last second, just
when you think all might be saved,

'for his programming to
overwhelm him...'

You remember. This is you.
You are staying...

There is that battle there
that's almost won.

They both think that
they've succeeded and then
at the last moment...

'He can't help it -
his body betrays him
and he sh**t her.'

It's a really strong,
emotional moment. In the midst
of all this science fiction,

we've got a man and a woman
who are in love,
and he's just k*lled her.

For Amy to die in the arms
of the man who has
impossibly returned to her...

To me, it was like
sort of Romeo and Juliet.

'You know, it was sort of THE moment
of the episode for me.'

It's just huge, big tragedy.
How does it get worse than that?

That's good. Let her flop back.

INDISTINCT INSTRUCTIONS

So Rory's an Auton, Amy's dead,
and the Doctor's trapped in
the Pandorica under Stonehenge.

What does the series finale
have in store?

- Episode is...
- ..the most insane series climax.

It's kind of where things
really explode.

- I can't wait to find out what
else happens. - It's very exciting.