02x02 - Fear Factor

[bunniefuu]

Are you sitting comfortably?
Then we'll begin.

CREATURE SNARLS

SCREAMING

DIRECTOR: Just to remind you all,
this is absolute terror.

Your stomach's churning,
your bladder's loosening,

it's just giving you the willies, OK.

Screams, just give it
your all this time.

OK, here we go.
Nice and quiet, please.

I think Tooth And Claw has,
very simply,

the essence of a scary story.

It's an old house,
it's creaking in the wind,

it's a full moon,
you're on moorland,

a monster in the cellar,
everyone's tied up, you're trapped.

If you step outside, you get sh*t.

g*nshots

Not often that happens, but once
you trap them in an enclosed space,

then it's very classic
story-telling.

It's classic Dr Who, in many ways.

Action!

ROSE: One, two, three, pull!

One, two...

The most regular device I can think
of in terms of scaring people

is actually, that moment, "The
monster is already in here with us."

Stop looking at him.
Grab hold of the chain and pull!

The anticipation of the arrival
of the monster

and the realisation you're
no longer waiting, "It's here,

"it's right among us,"
it scares me just to think about it.

..Look up and open his eyes,
and then we'll open the doors.

Tooth And Claw, ultimately,
is very scary. Some of the...

The transformation of the werewolf,

which of course, has all been added
in post-production,

is pretty horrific.

In a very good way.

I think there's an advantage to
werewolves. They come with a whole
history of fear and terror.

You don't start questioning it. The
moment moonlight hits it, you think,
"Oh, lovely, it's going to change."

It gives you a lot of room to say,
"You know what the monster is,"

so you can tell the story, and
not go into too much detail about
the monster, which is more fun.

It's all to do with the success
of the effects,

whether you can suspend disbelief.

SNARLING

I think with the werewolf,
when you've got something really...

frightening and ravenous,
I think kids really love that.

SNARLING

It starts off as a character
called the Host,

who turns into the werewolf.

In order to perform a transformation,

we will be filming the Host
in the cage against a green screen.

So, all you need to see, then,
is the face and the hand from my
point of view. Yeah, great.

HE STRAINS IN AGONY

HE COUGHS AND RETCHES

Cut. Excellent. Well done, Tom.
Very good.

We will also film various elements
of the cage lifting up
with a guy in a green suit,

so that we can rub him out
and put a werewolf in.

During the scene, Tom is going
to change into the werewolf,

so at a certain point,
we have to lose Tom

and replace him
with a half-changed version of Tom.

To do that, we've scanned Tom's head
into the computer,

and we'll combine that
with our werewolf model,

just to have those sort of
intermediate stages of the werewolf
as it pops, you know...changes.

The blue ball thing on the stick
on Josh's head...

is the werewolf's head.

And it may look comical,
but just remember that you're
absolutely terrified of this thing.

When you do CGI stuff,
or green or blue screen,

you don't always have something
just as helpful

as the man Josh was today.

It was a huge help for all of us
to focus on the one place.

It also gave it a sense of scale,

which I think we wouldn't
otherwise have had,

because he had that extension on,
with the ball,

to give us a notion of what height
the creature had become.

It was in our brief that we
discussed with Russell,

was that we wanted
the scale of it...

It was nine-foot tall,
quite a big build,
it felt really menacing.

When we started drawing it,
we realised that the head was wolf,

the hands were wolf hands,
the feet were like wolf claws,

and then all around
the middle bit was more human.

CREATURE HOWLS

g*nshots

But do all these effects
push the fear factor too far?

As we were making it, we were getting
a bit worried, you know,

"Is this gonna be stepping
over the line

"for a show that goes out at seven
o'clock for the whole family
to watch together?"

When we finally watched the whole
thing come together,
it just hit the right balance.

I'm not qualified to know whether
it's good or bad

that children like scary things,
but it's undeniable that they do.

CREATURE SNARLS

They like scary stories,
they tell them to each other,

they'll play games
that are designed to scare them.

'Mummy!'

It's a natural human appetite,
it's something we do.

Children love scary.

Don't let 'em touch you.
What happens?

You're looking at it.

I think Dr Who's expected
to be scary.

People come to it looking for
scares, younger viewers as well.

I don't think it should it so
terrifying you're traumatised.

I don't think there are limits
on how scary Dr Who can be,

but there should be limits
on how graphic it can be.

Look at the Christmas special,
when the Doctor's hand is sliced off,

but there's no blood, so rather
than becoming absolutely terrifying,

you're kind of reassured,
and then he grows another hand,
and everything's all right.

Witchcraft!

Timelord.

You wanna make them
sort of feel scared,

but perhaps in a reassuring way.

This new hand, it's a fightin' hand!

The battle for the Earth doesn't
just happen overnight,

with every strike of the blade
planned out from the start.

Everything's fine,
just got to re-jig
his first hit across the face.

Yeah? Just so they can catch it.

Up there?
Yeah, it was just a little bit...

I like that sort of stuff.

I've done sword fights in other
productions down the years.

They're hard work, but they're great
when they start working.

It's like a dance,
and you have to build it up

by working the moves out
very methodically,

before you can start to act it
and dance with it a bit, really.

When we were choreographing the
fight, we had to take into account
the role model of the Doctor.

Kids are going to follow him,

so we can't make him out
to be a fighting lunatic.

The Sycorax leader, he can be that.
That's not a problem.

It really starts working,
that fight, when it goes outdoors

and suddenly,
it's got a scale to it. It's epic.

Then you come to the fight
in Tooth And Claw, and you think,
"We've got to make that different."

We're sh**ting on a high-speed
camera, so it'll be slow-mo anyway.

It's the grace of the flight
of the monks, that move is about.

We were very lucky to have got
David Forman, who'd been working
on the Batman Begins movie.

He'd got lots of experience

in the Hong Kong street fight thing,
and martial arts,

so finding him and bringing him
on board was a key decision.

Eros, our director, wanted
these monks to be very slick

and something that the farmhands
had never seen before.

This is crazy stuff. You know, these
are peaceful monks who are b*ating
up your man - it's just mental.

I chose a mix of fighting arts.

One was Wushu, which is very good
for the stick-work.

And the other fighting arts were just
a mix of different arts put together.

What's the bout?
Two against one, yeah?

We drew lots of influence
from things like
Crouching Tiger, Hidden Dragon,

Brotherhood Of The Wolf,

and martial arts movies

where the fighters
have a certain magic quality.

Where they can fly, basically.

Um, so I did watch lots of them, and
tried to steal all the best ideas.

We also wanted to combine it
with something that's more British,

so it's kind of got lots of elements
of things like Days Later,
so everything's very flicky.

There's lots of cutting in it.

It's quite a high-octane,
adrenaline fight sequence.

It's not often you can do that,

but the whole day
was devoted to one page.

They're on wires, in a courtyard.
It's an extraordinary set-up.

But it's the best episode opening
you'll ever see.

What is it? What's under the canvas?

Father, answer me. What's in there?

May God forgive me.

One of my favourite moments
in Tooth And Claw is that he's
delighted to see the werewolf!

Everyone's in danger, and this
supernatural wind is blowing,

and he's so pleased to see
a werewolf in front of him.

SCREAMING
Where the hell have you been?!

SNARLING AND GNASHING

Oh, that's beautiful!

I think that's brilliantly perverse,
but that's why he travels the
universe - for new experiences.

Here, he gets to experience one
right in his face.

This is a man who becomes an animal.

A werewolf?

That's what sets the Doctor apart
from your standard hero -

that enjoyment of trouble.
He must enjoy it!

♪ This is thriller

♪ Thriller night

♪ And no-one's gonna save you
from the beast... ♪

What do we do?

SNARLING

[ Now leave my world!

And never...

return!

I propose an institute,

to investigate these strange
happenings and to fight them.

I will call it Torchwood,

the Torchwood Institute.

And if this "Doctor" should return,
then he should beware,

because Torchwood will be waiting.