All language subtitles for Doctor.Who.Unleashed.S01E01.Space.Babies.1080p.WEB.h264-W4N70Ks_3_text

- And action.

- This is our first scene in the
TARDIS.

- SCREAMING

- Very nervous.

- Hello and welcome to a brand-new
series of Doctor Who Unleashed.

SHOUTING

I'm Steffan Powell, and I'm here to
bring you

exclusive behind-the-scenes access to
all things Who.

Coming up in this episode...

- Mummy, Daddy...

- ..we reveal how they got the talking
space babies to talk,

despite the fact that...

BABY CRIES

- They cry a lot.

- We've got an interview with the
snot-tastic Bogeyman.

Oh, here he comes.

And - spoiler alert - we've got world
exclusive footage

from next week's episode.

So come on, what are we waiting for?

So...

Babies.

- Space babies! Which is the very mad
idea

of a baby farm run by babies.

- I guess the first thing everyone
wants to know

about this frankly bonkers episode

is how do you turn a spaceship full of
babies from this...

BABY CRIES

..to this?

- Hello, Daddy.
- Hi, Daddy.

- MORE BABIES:
- Hi, Daddy!

- Well, to be quite frank, it's pretty
complicated.

But stick with me and all will be
revealed.

It's a multi-part answer

involving real babies,

unreal babies,

remote control buggies

and little green men.

But the first thing you need

is 12 babies with the cuteness of a
basket full of kittens

who can keep up with the acting power
of the Doctor.

- Hello, space babies!

- The person tasked with finding them
-

co-producer Ellen Marsh.

- It's not just having lots of babies,

it's babies that talk, that act,

that cry on cue, laugh on cue.

They're fully fledged characters in
the show.

We audition them, which...whenever I
say that, people are like,

"How do you audition a baby? Like,
what do you...?"

- How DO you audition a baby?

- You're basically checking

that they have the right sort of
temperament.

It's essentially putting a camera
quite close to their face,

moving it around, people walking
around behind them,

just trying to test how they react.
- Yeah.

Basically, as long as you didn't throw
your toys out of the pram,

you got the gig.

- This is Ahyaan.

He's not nine months yet.

He'll be nine months in two days.

So he's the baby of the babies,
basically.

Do you know what? He's been actually
quite good

considering he's teething.

- This is Sienna, and she's playing
baby Poppy.

- I'm Captain Poppy,

and I kept the station running for
Mummy and Daddy.

- She's not shy.

- LAUGHS

- She's not shy.

- Captain Poppy, when was the last
time that you had a hug?

- Never.

- Sienna is the most gorgeous little
thing,

the most stunning little thing,

and she's so good,

and she's so unbothered by everything.

The only time she ever cried was when
someone took her pear away,

which I fully appreciate.

- I'm Lauren, this is Evelyn.

- I'm Melissa, and this is Rome.

- I pull this string and that string.

I'm not sure what they do but I pull
them very hard.

- When we first came in, I was
thinking,

"Wow, this is just insane."

But it's been amazing.

- We came for the audition, and we
heard it was Doctor Who

and we're like, "Don't pay us - we'll
do it for free!"

Our family, we love Doctor Who, we sit
down and watch it together,

so when he got this opportunity, we
were really excited.

- The trials of having real babies on
set is that they're so cute.

They're the cutest things ever

and it's so difficult

not to interact with them and just
start playing with them.

- Besides bursting into tears or
falling asleep mid-shot,

there's another major drawback to
working with space babies -

they're only allowed to spend two
hours a day on camera.

So to allow the rest of the cast and
crew to continue filming,

the production team came up with a
neat workaround.

Let me introduce you to a jelly baby.

WHISPERS: It's my friend. Just
chilling out.

Being really good, fair play. Say
hello to the camera.

Most of the space babies have a jelly
baby double.

- They look like our real-life babies,

so we are working with those a little
bit to just

work out our shots and get what we can
with them,

and then we're using that as reference
when we bring

our real space babies in to get the
shots with them.

- They're a bit spooky...

..and their heads fall off so we need
to be really careful.

Yeah, so they've all got their
original names.

You've got your names in the back,

and then you have to match them with
the prams

and the babies inside.

I'm loving it so much.

I'm having the best day ever. I love
babies.

- In the episode, the space babies
zoom around like F1 drivers.

No, they haven't done an advanced
pushchair driving course -

it was all down to the little green
men.

- Those green men came out of nowhere.

One day I was like, I was just looking
around,

I was like, "Who's this guy?" It was
bizarre.

That whole set was just absolutely
bizarre.

- And action.

- The green men, they were like
ninjas.

You would hardly see them until you
saw them.

Why did I never clock that as, like,
something weird?

I guess...

I guess cos, you know, there's weird
things everywhere.

Come on, then. Find a space quickly.
Come on.

- Why are you dressed in green Lycra?

- Because, as usual, we do all the
weirder bits,

which is when you put a real baby in
there...

- Yeah.
- ..you can't have it radio
controlled,

you can't have it attached to...
- Oh, of course.

- So we need to puppeteer the buggy.

- The buggy!
- Yeah, yeah.

- So when it's fake baby, remote
control.
- Yeah.

- Real baby, in you come.
- Yeah.

- I didn't even think about that.

The little green men are cut out in
the edit.

But, of course, what we all want to
know is

just how did those babies speak?

Well, it started in this London
recording studio

where the young actors voicing Captain
Poppy,

Eric and the other babies

recorded the script.

THEY SPEAK AT ONCE

These recordings were filmed and the
footage was handed over

to Jim Parsons and his team at Goodbye
Kansas Studios.

And Jim has promised to explain what
CGI alchemy turned this...

- Captain Poppy, when was the last
time that someone gave you a hug?

Never?

- ..into this.

- Captain Poppy, when was the last
time that you had a hug?

- Never.

- So, Jim, what are we seeing here on
the screen?

That is one of the actors.
- So...

..this is one of the baby actors,

who played Captain Poppy,

and she was a marvel.

So we have her, and that's the real
baby.

Then we have...

..the child performer.

And then we made a little model of the
actor's face...

- Right.
- ..which then we track on,

and it follows what she was saying in
the shot.
- Mm-hm.

- So we've taken that footage.

- Yeah.
- We've got her saying it there.

Then we've also got the footage of the
baby.

We've got little model of her face

and then done exactly the same on her.

But she's not really talking,
obviously,

cos she's the baby.
- Of course.

- And then we keep her model,

but then we take the movement from
that one, from the child,

and put it onto the baby.

So that's still the baby's face

but now the baby's talking.

- So you've got the model of the baby
that is now talking

like the actor...
- Yeah.

- ..and then you can put that model
into the...face.

- Yeah.

So you've still got the baby's face

in exactly the same position that it
is in the original shot plate.

- Yeah.

- But now it's being stretched and
manipulated to move in the way

that the child performer is doing.
- I see. Right, that makes sense.

- So that avoids all these problems of
kind of like having to

relight a CG model to make it match
the original plate...

- Cos I was wondering whether you
would just do the mouth.

- Well, no.

Because if you just do the mouth then
you end up with this little

mouth moving and, like, you've got to
have the cheeks moving.
- Yeah.

- And we did also, like, include some
eyebrows and stuff like that.

So we're matching to what the mouth
movement is.

We don't really worry about what the
actual sound was.

We just match to the mouth movement,

cos the mouth movement is going to be
exactly the same.

I've got a whole scene if you want to
watch.

- I'd love to watch a full scene,
yeah.

- So, are we wrong?

- What do you mean?

- We're not meant to be like this.

Did we grow up wrong?

- Oh, Poppy!

Oh, Popsicle.

Look at me. Look at me.

Nobody grows up wrong.

You are what you are and that is
magnificent.

- But Mummy and Daddy left us.

- That's OK.
- It's...

- Mine did too.

- It's so good, Jim.

It's so good, isn't it?

- Little baby me...
- You're right - if they'd have
been...

..more, it would have been too much.
- Yeah, yeah, yeah.

I mean, it does help the fact, like...

"Mummy and Daddy left us," and she
looks up.
- She looks...

- But that was her doing that and
she's just like, oh, wow,

she's just...
- Look at that.

- But, you know, her and Ncuti had a
real good connection as well.

- Oh, Jim. Fascinating. I'm so excited
to see what it looks like.

Thank you very much for your time.
- That's all right.

- Enough of the cute and cuddly.

SHRIEKING SNARL

It's time we got creepy.

- Oh, my gosh, the Bogeyman is
terrifying.

He's actually terrifying.

I think his hands were the most
horrible bit, but...

..but it was bloody scary.

- Three, two, one, action.

- I first read the script and I was
like, "The Bogeyman.

"Cool, lol.

"That's going to be so cute."

And then our director showed me a
picture of the Bogeyman

we were going to be working with, and
it was terrifying.

Just so creepy and slimy and gross.

- The Bogeyman is possibly the maddest
idea I've ever had.

I always spent my whole life thinking
it's called Bogeyman,

and we have bogies, and all my life
I've kind of put

those two things together in my head.

- This stuff is slippy, Rubes. Be
careful...
- Oh!

- But I thought, well, that's a great
gag.

Let's literally get a Bogeyman.

- Oh, my God. Ugh...

Oh, this is disgusting!

- That's terrible, isn't it? That's
terrible. I get paid to do this.

- Russell's not the only one

paid to bring his snot-tastic creation
to life.

A whole team of designers, sculptors,
prop makers, artists,

choreographers and performers put the
boogers into the Bogeyman.

- The Bogeyman was probably the
hardest thing to design, because

in the script, it's describing more a
texture than...

..a look of something.

So it's all about the gooeyness and
the drippiness

and all of that kind of thing.

It's very hard to come up with, what
does that look like?

Basically, what's a bogey, and how
should that look?

- In charge of the look is this team
of dedicated snot-ologists.

- Welcome to Bogey Central.

Today we're learning how to cook with
snot.

I think by the time we're finished,

we will have done at least two gallons
of snot.

That's just with the silicone.

And then you've burnt through how much
latex?

- I've already used 50 litres of
brushable latex.

Maybe heading for the 100 litres by
the time I'm finished.

- This is the snot that's been made by
the special effects.

So this is the liquid.

There's going to be, like, 50kg or
litres of this,

and that's just going to be poured on
everything.

And I think the actors as well.

- It's one of our bogey tests. You see
this one, which has come

out of the mould which I sculpted, has
more of a matte finish.

So that's the dried, crustier surface
bogey.

And then if you tip some of the
silicone on top of it,

stays wet looking even though it's
gone off.

So we can get a nice goopy undertow
going on as well.

- That's the bogeys sourced.

But what about the Bogeyman?

Inside all that latex and goo is a
real human.

- Just reminding myself of the
movement.

Yeah, yeah. I'm excited.

This is day one of... snot monster AKA
the Bogeyman.

- It's also the first day for the cast
to meet him.

- Hello.
- Hello.

I don't know if I want to shake that.

Ncuti!

Look at this.
- Oh, my God!

- I...
- Yeah.

- LAUGHTER

- No way.
- Oh, my gosh.

- Shall we go on set?

And action.

- SCREAMING

SHOUTING

But who is the man behind the monster?

Oh, there he is. Put the mask back on!

Hey, sorry.

And...da-dum-tsh.
- This is my scary face.

- How comfortable is this, Rob?

- Do you know what? As creature suits
go,

I've worn quite a few,

it's pretty comfortable.

- Yeah.
- It's made from...

You might not want to touch it, but
it's made from, like, foam rubber.

- Oh, yeah. It's like... Yeah, like
the...

- It's pretty squishy.
- Yeah, it is pretty good.

- The head is heavy.
- Yeah.

- And to do the shape of the creature,

it's a lot of kind of movement like
this.
- Yeah, yeah.

- OK, let's roll, please.

- I feel like we know each other
really well now.

Actually, we met when you were a
Wrarth Warrior.

So this is the second time we've met.
- Yes.

- But I feel like we've built up a
rapport.

Can I be honest with you?
- Yes.

- It does stink, doesn't it?

It's really quite pungent.

- It's... Yeah, that's hopefully the
foam latex and not me.

Foam latex has a very distinct smell,

apparently because of the ammonia in
it.

- Oh, right.
- So it's got a real...

I find it weirdly quite comforting by
now.

I spend half my time wrapped in it.

- What's been the challenge of this
fella, then, the Bogeyman?

Like you say, you are sort of hunched
over.

Is that quite tricky when you're doing
that?

- It's... You just have to kind of
keep your focus in the fact

that his eyes and his mouth are in a
different place to mine.

- I hadn't thought about that. That's
weird, isn't it?

- The eyes are, like, here.
- Yeah.

- So you've got to think, you know, if
you're looking through a door

or looking at someone, you've got to
look here

and not with your actual eyes.
- Yeah.

- I've got the wonderful Paul Kasey,
who's our movement director...

- Yeah.
- ..in my ear in an earpiece.

- And don't forget that just forward
motion.

Like, every step is forward.

- And he can kind of guide me and help
with my angles and help with

knowing where the camera is.
- Yeah.

- That was a good one.

- The kind of magic comes when it's
just the little details

of, like, breathing and little
twitches.

- Top quality flailing.
- Little movements. Flailing.

- The flailing was... There was some
ace flailing there.

- As I said, I did go to drama school,
so...
- Yeah, quite. Yeah.

That was better airlock flailing

than even at the end of the original
Alien.

- Wow. Your words, not mine.
- You know?

BOGEYMAN ROARS

One last question from me.

Who would win in a battle?

Bogeyman versus Wrarth Warrior - who's
coming out on top?

- I think... I think it would be
reasonably neck and neck,

but I think Bogeyman might just...
- Do you think?
- Yeah, might just...

- It's the slime.
- Yeah, it's the slime.

- They'd be slipping everywhere.
- I was going to say -

they'd be down in seconds and then
he'd be on them.

- Yeah.
- You've seen their teeth.
- Yeah, the teeth are pretty grim.

OK, good. Well, listen, Rob, thank you
very much.

I'm going to wash my hands now, but
that's fantastic.
- Yes, I would.

- ROAR

Still to come on Doctor Who
Unleashed...

- Stand by.
- Stand by.

..I have my first "work experience"
experience for this series...

- And we're going to go for a take.
- Going for a take.
- That's good.

- ..and - spoiler alert - we've got an
exclusive clip

from next week's episode.

But first...

- And three, two, one, action.

- The most exciting thing about making
Unleashed

is the free rein to show everything
that happens behind the scenes.

What you're about to see, though,

is something that was supposed to
happen, but never did.

It involves the mysterious
disappearance

of a multi-award-winning actor from
this episode.

Puzzled? Intrigued?

Well, on the 1st of March 2023,

St David's Day here in Wales,

all the cast and crew from Space
Babies gathered

for a read through.

At the top table are Ncuti and Millie
reading the Doctor and Ruby.

- Who are you?

- I'm the Doctor.

- And, tucked in the right-hand corner
of the screen,

the Bafta and RTS award winner Lenny
Rush.

- Mummy? Daddy?

- Oh! No, darling, we're not.

- Boy, oh, boy! I've got to tell
everybody.

Mummy and Daddy are here!

- Lenny was cast to be the voice of
sword wielding hero Baby Eric.

- Eric will leave immediately.

- No, Mummy! I'm being brave!

- At the read through, Lenny was
brilliant.

- I'm doing what Ruby said.

- What?

- I love Ruby, and she said there's no
such thing as the Bogeyman.

So I'm going to find the naughty doggo
and tell him off.

- Later, Lenny and I had a tour of the
Space Babies set.

What's your reaction, Len, to

being on the set of Doctor Who?

- It's so cool. It's great.

I mean, seeing all the baby drawings
as well on the spaceship.

- Yeah.
- It's funny.

- And then suddenly he disappeared.

Gone. Cast out from the cast.

What were you thinking, Russell?

- Lenny Rush was one of the voices of
the space babies,

and he'd been so good as a space baby
voice

that at that read through, we kind of
sat there, went,

"It's a shame. It's a shame he's just
a voice

"and we're not going to actually see
Lenny."

So this chance came along to cast a
new scientific adviser

and I was like, "Oh, my God, let's get
Lenny."

- So there we have it -

Lenny was so good he got a bigger part

and we'll see him later in the series

playing Unit's new scientific adviser,
Morris Gibbons.

But before Lenny left the space
babies,

we did get to show test footage of the
Bogeyman.

MENACING GURGLE PLAYS

- Oh, my God!

That WILL give me nightmares, yeah!

Oh, my...

That's... That's actually so scary.

Wow. Oh, my...

Oh, wow.

To think that that's living under a
bunch of space babies is scary.

Urgh!

Oh, that is actually freaky.

- Is it?
- Yeah, that is weird.

In a good way. A good weird.

Urgh.

- In every episode of Doctor Who
Unleashed,

I'm going to be trying out different
jobs on and off set

to really find out what it's like
working behind the scenes.

And this week, I'm going to be a
runner.

So you're a runner?

- Indeed. Yeah, yeah.

- How much actual running do you do?

- Um... Ooh, usually about

10 to 15km at a time,

up and down the studios.

It's a bit like a track at this point.

You kind of make your way around.

Yeah, rubber's travelling now.

- The runners seem like the sort of
glue that kind of

holds the whole thing together,

cos you're sort of talking between
everybody,

cos it's such a big team.

- Yeah, yeah.
- Is that...? Am I wrong or...?

- No, no, I think you're right.

I think what we do is that we will
generally just help the day

run smoother between just shooting and
non-shooting,

making sure where the cast are, making
sure cast are happy,

making sure everyone's happy, really.

- Including the jelly babies.

- And general just... just bring good
vibes.

We bring good vibes. That's what
runners do.

- Good vibes. Yeah. I can do good
vibes.

I feel like this is a bit of a moment,
Devante.

You know when you're sort of being
handed the radio like...

- Yeah. This is it. This is your
initiation.

- Yeah.
- And the moment you put the radio on,
this is it -

you become an AD.
- It's like the Doctor gets a sonic
screwdriver,

we get a radio.
- We get a radio, yeah.

Radio check.
- I can hear you there.
- There you go.
- Lovely.

I don't know what the lingo is,

I need to get down with the lingo.

- The most important one is turning.

- Turning.
- Turning.

- We have standing by.

- Standing by.
- Standing by.

- Basically stand by is, "Shut up."

- Yeah, "Get ready, it's all about to
kick off."

- And action.

- Action.

- Action.

- Ask for checks as well and they are
the people who come in,

do make-up checks, costume checks,
etc.

- OK. Checks, standing by, turning.

Time to put this knowledge into
action.

- Quiet, please. Stand by.

- Stand by.
- Stand by.

- OK. Checks to shoot.

- Checks to shoot.

- And we're going to go for a take.
- Going for a take.

- That's good. You can get louder with
it if you want.

- Do you think?
- Yeah, yeah.
- I'm building my confidence.

- I believe in you. I believe in you.
- Building my confidence up.

- Standing by.
- Standing by.
- Standing by.
- Take.
- Take.

- OK, red light, please.

And rolling, please.

- Turning.
- And we're turning.
- Turning.

- And action.

- First I knew, six years ago...

..there was like a rattling in the
pipes.

Then the howling began.

By the time I got the cameras working,
there it was -

the Bogeyman.

I don't know how it even exists.

- All right, cut!

- OK, cut there.
- Cut there.

- And you can switch the red light
off.

- Thank you.

- You're obviously showing me the
ropes today.

How did you learn the ropes? How did
you end up in this position?

- I had a bit more of an
unconventional way in.

So I was a double

for Amir in His Dark Materials, who
plays Will.
- Really?
- Yeah.

And cos he was in so much, they were
like,

"You might as well be a runner."

And from there I would be in, like,
doubling some days

and then also running some days.

And then from there did a few other
jobs here and there,

and then ended up finding my way to
Doctor Who.

- Did you need any qualifications to
end up in this job?
- No, no.

What is lovely about this job,

it's kind of, in a way, an entry level
job.

- OK. Cameras up.
- Copy that.

So you can come in with no
qualifications at all -

as long as you've got good people
skills and good...

..half decent memory, I think you can
make it here.

- Yeah, so it's all about...mainly
about your personality, then.

- Yeah, it's your personality that
really drives you forward

in this job in particular.

- And what would you like to be, then?
What's the plan?

Where would you like to go? Where do
runners end up?

- Well, we can go in different
directions here, and I think,

as a runner, cos it's an entry into
the industry,

you end up meeting these different
departments

and seeing these different
departments,

and if you decide, "Hey, I would love
to go into VFX,"

it's great as a runner because you
meet these people

and you spend so much time with them.

- Wherever you end up,

being a runner is the ideal first step
into a TV drama career.

This series of Doctor Who has been
filmed

entirely across Wales and Bristol,

and the nerve centre is here at Wolf
Studios in Cardiff,

where the majority of the episodes are
shot on the studio's six stages.

Stage six itself is the permanent home

of the magnificent new TARDIS
interior,

where the opening and closing scenes
of Space Babies were shot.

There's also a backlot here at Wolf,

where the iconic bi-generation was
filmed in the summer of 2022.

The other five stages are a constant
hive of activity,

with sets being built for future
episodes,

sets from previous episodes being
taken down and repurposed,

and, of course, sets where the crew
are currently filming.

And for this episode, the majority of
the scenes are being filmed

behind this door, on the Space Babies
space station.

Construction began in December 2022

and, after three months of hard graft,

the set is ready for filming

and production designer Phil Sims has
agreed to take me on a tour.

Well, here we are, Phil.

Another spaceship.
- It's another spaceship.

- We should stop meeting like this.

- Yeah, I know, we do have to stop
meeting like this.

- These are really cool.

- The graffiti - it's meant to be a
hospital ship

and the idea is this is like a
paediatric ward,

so we find some babies on the ship...
- Yeah.

- ..and it turns out, to keep
themselves occupied,

they've decorated the ship.

- Now, spoilers - the space babies
didn't really do these pics.

They were all painted by the art
department,

although they were inspired by young
artistes.

- I have a lot of little cousins

who I shove pens in their hands and
say, "Draw me a picture." So...

It took three years of university,

spending 9 grand a year and 27 grand
to pay back in total,

for me to get the qualifications to be
here doing this.

- This is obviously the baby room,
then, isn't it?

- This is where the babies are made.

The babies are suspended in a fluid,

they're kept at a low temperature,

so the tubes that they're in will look
like they're frozen,

or very, very cold.
- Yeah.

- We've got like a special pad
underneath them

that aerates the water so it looks
nice to shoot through.
- Yeah.

Now, I've clocked, you know, you've
got these mirrors...

- Yeah.
- ..on the wall.

Is that to make this room seem way
bigger than what it actually is?

- Sh!
- Oh...
- No, this room is massive.

- It's massive.
- What mirrors? There's no mirrors.

The mirrors are to create the illusion
of depth, yeah.

So when we photograph it, it feels
like maybe there's corridors,

or maybe there's ante rooms or other
spaces annexed to it.

- Well, there's loads more spaceship
to see, Phil.

Shall we have a look at this room?
This is cool, isn't it?

These doors are actually quite hard to
open.

You need muscles.
- They are.

No, what you need is, you need a prop
man on the other side

pulling the door open. That's what you
need.

- That's what we've got here, is a
prop man, actually, the other side.

- Hey, Atty, do you mind opening the
door for us, Atty?

Go on, mate. Go on, quick.

That was probably the worst time
you've ever done that, Atty.

Thanks. That's the magic of
spaceships.

That's how spaceship doors open.

- Would you like me to do it again?
- Thanks, mate. No.

So, the most fun about this,

Russell really liked the idea that
there's a jury-rigged system

where the kids have created their own
way of controlling

the adult controls in the spaceship.

- SHIP COMPUTER:
- One, two, three, and...

..blow!

- They have access to their toys,
largely,

so we use this kind of wooden Meccano
set to create

a system of levers and pulleys,

where they could pull a pulley or pull
a handle

and then it presses a button.

It looks simple cos they're all kids
toys,

but it's actually quite complicated.

And then we've got to double rig it,

because we need to rig it off-camera

so that we can also operate it behind
the scenes,

so it all just kind of moves and
behaves itself.

- You make a lot of spaceships.

- We do make a fair number of
spaceships.

- We've talked before about sort of
recycling sets.

- Yeah.
- So are there any bits of this one
that we will have

seen before but looking slightly
different?

- These fellas, they were great big
water fuel pistons

in the huge spaceship in Special Two

and in Special Two they were canted at
an angle and they went...

..they ran continuously through the
ceiling and floor.

And in here we've stood them up
properly,

kept all the light detail behind,

but added some panels over the front
just to break it up and

make it look a little bit different.

- Is that something you think about
when you come up with a new set?

"We've got that bit from there. We can
use that for that."

How important is that?

- Yeah, it's really important,

obviously because we don't want to be
wasteful.

It's really useful financially because
some of this stuff,

particularly spaceship stuff, is
really quite expensive

and time consuming to make.
- Yeah.

- And the one thing about this show is
that how quickly we just move

through things, and we spend a lot of
time putting them together

and creating the detail, but we shoot
it really quickly

and then it's gone.

But if we can recycle it, we can still
sort of walk in and stroke it

for a bit longer and stay excited
about it.

- Still there.

Next time on Doctor Who...

- Go-go boots!
- Oh, my God!

- THEY SHOUT EXCITEDLY

- I want a beehive!

- I've got wigs galore!

- # Like a sound you hear that lingers
in your ear

# But you can't forget from sundown to
sunset now. #