[Crew Member 1] Ready.
[Crew Member 2] Marker.
[Vicki Delow] Episode one is utterly bonkers.
[Rubathon Blue] What are you doing?
[Russell T Davies] There's a mystery that all comes together.
[The Doctor] Why is it so scary?
(Roars)
[Millie Gibson] It's terrifying.
[Ncuti Gatwa] It's so creepy, and slimy and gross.
And the chap playing him was lovely.
(Laughs)
All right?
[Russell T Davies] It's about two people learning how to get on with each other.
Actually, learning to love each other and trust each other
and becoming the best of friends.
[The Doctor] I'd love it if you came with me.
[Russell T Davies] And out they go on to a prehistoric landscape
and there's a wide open plain full of brontosauruses.
During this, he watches a butterfly fluttering down and Ruby steps on it.
[The Doctor] Oh!
[Russell T Davies] Ruby turns to face him…
[Rubathon Blue] What's wrong?
[Russell T Davies] ..now with the face of a lizard.
(Laughter)
[Rubathon Blue] Did I do something wrong?
Because I am Rubathon Blue of the 57th Hemisphere Hatchlings
and I do not do wrong things, Doctor.
[Vicki Delow] The Jurassic scene was quite a big undertaking for us.
It's a lot of visual effects,
Millie had to be wearing a prosthetic, which we had to design.
It felt like a really big-bang opening to our show.
[Neill Gorton] There was a lot of debate around this, because obviously we've done
reptile, lizard, dinosaur-y people in Doctor Who before.
Well, we don't want to be a Silurian, but we want to be in that world.
But also, Russell was very specific: "Make her cute."
So, there was a bit of back and forth on how to achieve that cuteness.
[Rubathon Blue] If you have made an incorrect accusation, I will have to kill you.
[The Doctor] No, no, no. Just wait… wait a minute.
[Neill Gorton] It's very thin rubber, so that it all flexes and really moves and stretches with her,
so there's literally millimetres of texture on there.
And that will be glued on and blended in. So, we just used her own chin,
so we kept it as minimal around her mouth as possible.
So there was a neck prosthetic, face prosthetic,
then this wig, all that kind of thing.
We created some little antennae that had to come out the wig,
so we made a little plate with magnets
so we could put the prosthetic on, put the wig on
and then we could just pop the antennae on
on magnets, so they could be on her head.
[Millie Gibson] I did not think I'd be looking like this one day.
[Neill Gorton] I think we did the whole makeup in under two hours.
Millie was a little bit nervous of it.
She'd never had any prosthetics on before but
as soon as she saw what she looked like, she really got in the swing of it.
I think she thoroughly enjoyed herself, actually.
[Rubathon Blue] What are you doing?
[The Doctor] Nothing. Just…
[Russell T Davies] We should bring her back.
I think there should be a spin-off series.
What happened when that little pocket of time ceased to exist?
Where did Rubathon Blue go? There's a story.
[The Doctor] Hello, space babies!
[Space Baby 1] Hello, Daddy. [Space Baby 2] Hi, Daddy.
[Russell T Davies] This episode is a great chance for our set designers.
It's throwing Ruby into brand-new worlds that she's never seen before
and the way she meets it and challenges it
and isn't thrown by it, and it's a great set that one.
[Millie Gibson] It was really cool.
It was fun to just have a bit of a play around with the whole corridors
and, like, going in through and
there was so much to act with.
Jocelyn's lair, I really loved.
Just with, like, how much the prop designer designed it with
all the stuff that Jocelyn's collected over the years.
[Golda Rosheuvel] She looks as though she's a kind of a little bit of a hoarder.
It's kind of packed.
It's quite a small space.
I think she's kind of just made herself as small as possible
but with loads of lovely things around her, and things that she needs.
It was actually a bit cleaner than I thought it was going to be.
[Millie Gibson] It was just such a beautiful set.
I wouldn't say beautiful, but it was really fun to work in.
It was such a quirky place.
[Phil Sims] It was described, I think, as a dark ship,
and then we had a below decks where
there were lots of corridors and it was snotty.
Then we also had corridors upstairs, which is where the babies inhabited.
That felt like it should be cleaner.
I thought it might be nice if it's more like a nursery
or it's more like a paediatric section of a hospital.
So we thought it might also give us a nice contrast
for the above decks and the below decks.
The ingenious babies found a way to control the space station.
Because they were too small to operate the controls,
they did that by a series of Heath Robinson contraptions.
When we started thinking about what kinds of things they would use,
we kind of realised the only things really at their disposal
that they'd be familiar with would be toys.
[Space Baby 3] And I pull this string and that string.
I'm not sure what they do, but I pull them very hard.
[Phil Sims] And so we've got this network of pulleys and levers
strung across the whole control room,
which allow the babies to operate,
and looks really chaotic and like mayhem.
[Computer] Blow.
[The Doctor] Oh! Oh, we’re on a baby farm. Ha-ha!
[Vicki Delow] One of the rooms on the spaceship is the parthenogenesis room, which is basically a baby farm.
So, Barry and his team in props created this amazing room full of babies in tubes,
which was simultaneously creepy and amazing.
[Russell T Davies] So we had a lot of conversations about that.
Some people thought it might be sinister,
some people think it's a bit unnerving.
I think it's kind of beautiful, actually.
[Tom Vincent] We're going to do a test today so there's no surprises on Monday,
because we don't want any water leaking on the set.
So, we're going to fill all of these up,
get them bubbling away.
That's our baby there.
That breathes that baby.
You'll see it's chest going.
Oh, fun!
[Ncuti Gatwa] Cuteness and weirdness everywhere.
It was weird seeing babies in tubes,
but that's the madness of Doctor Who.
[The Doctor] This stuff is slippy, Rubes. Be careful.
(Squelching)
[Ruby] Oh, my God! Oh! Oh, this is disgusting!
Don't call me Rubes!
[Amy Craig] This is samples and makings of the Bogeyman snot.
This is made with latex and we're going to stretch it and dress it in set.
I am going to aim at getting 500 pieces done,
as it's a big corridor we're going to be dressing.
So, we're using a brushable, mouldable latex.
We've got a hairdryer just to create a texture on top of the latex,
so it doesn't sit so smooth. So, we've got various different points
that the snot looks like it's been splattered.
After that, we are using a form of Dirty Down
to create different colours and hits in certain areas.
With the painting side of things, we're pretty much doing a dip.
I've got three different washes of green and then we're leaving it to dry.
[Brad Perry] This is the Bogeyman's lair.
Up here, we’ve got snot tubes,
which drip out in action snot and tissues.
And then we'll go throughout the set today, wetting them down,
making sure it's all gunky and gross.
It's made of latex,
it's all expandable and stretchy.
And it's all basically just stapled in.
And then they've done slime and some snot.
So, it's kind of a mixture of resin, I think, glycerine and latex.
(Squelching)
(Roars)
[Robert Strange] Morning!
[Crew Member 3] Here he comes. (Robert cheers)
[Crew Member 4] Everyone's favourite Bogeyman.
[Robert Strange] These are the wires going on for the airlock rig,
which will suspend me horizontally, so it looks like I'm being
drawn out to space. And then these are the new pair of hands.
As opposed to having mechanised fingertips,
this time I'm just holding onto a bar inside
and these are kind of wired, poseable fingers.
The fingers are unmoveable metal fingers,
so it'll grip on to the panel in the floor.
That looks really good.
[Paul Kasey] It's the same as yesterday. You're going to have 10, 15 seconds at the window.
[Robert Strange] Yeah.
[Paul Kasey] Then we get that moment of, "There’s something not right,"
maybe a look at what's going on.
Then we get the grab on. [Robert Strange] The hooks.
[Paul Kasey] Then you'll get the lift up,
and then you'll get the call to go back
and then you're grabbing on to the floor piece. [Robert Strange] Great, great, great.
[Paul Kasey] OK? [Robert Strange] Got it.
[Director] And roll, please.
Turning.
Sound speed.
OK. Settling then, please.
Cameras are set and running.
And... action!
(Bogeyman screeches)
[Robert Strange] It felt quite exhilarating, to be honest.
Because all the weight is taken off your legs,
it's a very different sensation to the other shoot.
But it kind of lifts a lot of the weight of the suit off,
so it's quite freeing really. Felt like actually flying.
[Director] Cut, cut, cut!
Shall we turn it off?
[Robert Strange] Yes, I think we should.