Download Subtitles for The War Between The Land And The Sea Documentary

action. >> One of the joys of this show is that it takes the Doctor Who Hudiverse, as we call it, and expands it. What happens when the Doctor's not there, but actually telling a story that is kind of at the front of our hearts at the moment. >> We kind of didn't know what we were getting ourselves into. You know, this was very much new territory. There was so much excitement in the air and a nervousness as well. It was a job I'd looked forward to for such a long time. So, it was particularly exciting. >> Oh my goodness. Empress Hotright. That someone's built that design team. They're just incredible. Oh my goodness me. >> When you're working on something for 3 or 4 months in prosthetics, >> it was going to be unforgettable. >> I don't think anyone really realized >> how special it was going to be until we started. In the words of a great man, we could be heroes. Let's save the world. >> This story goes a long way back. It's hard to put a date on it because I live in Swansea. I live by the sea. I'm a 10-minute walk and I can go to a place called Langland Point, which is right out on the sea and beautiful. There's a bench there and I spend a long time sitting looking at the sea and thinking about life, think about stories, think about everything. And also I'm a born Doctor Who fan. So I just think about Doctor Who stories all the time. My natural way of sitting on a bench looking at the sea is to sit there thinking, what if the sea invaded the land? >> Oh, the rocks and the water, it never ends. The war between the land and the sea. >> And then you start thinking about the sea devils. So that have been ticking away in my head for a very long time. So sometimes ideas build up in your head without you consciously realizing that's what you're doing. I think it's a story born out of a good place as well cuz it's born out of the history of Doctor Who. I think now you can't tell a story about the oceans without talking about how we've ruined the oceans. So those two things come together. You think that's a story for the 2020s. you will drink. Uh >> it's worth saying how long ago this production begins. I must have written Star Beast and the War Between as the launch. This is what we're going to make and this is what this is our ambition. >> We then had to learn all this time how to make a program with this budget and had to settle into Bad War Studios. So we kept on intending to make the war between >> and never quite get it after season one and then finally after season two we did it and that's when we turned to you. Great. Thank you. I just I remember vividly the day that that landed in my in my email box. It was I think I delivered my first or second draft of Lucky Day, >> right? >> And it popped in my inbox and you were like, "Have a read of this. Would you like Is that what we did?" Yeah. Yeah. And I was like, "Oh my god, it was and it was so >> vivid. It's such an amazing first episode of anything. It's it's astonishing." And it was >> Yeah. It was such a >> And then we for one episode and then we for two episodes. It >> was like you just infiltrated your way. Gooo, tell me why you wanted to play Salt. >> Ooh. Um, well, Russell T. Davis wrote me a lovely letter and I read the script and obviously I'm such a huge fan of the other Russell T um and yourself and I knew that you were attached and I felt like the story was so important and meaningful and I felt like the character assault was just extraordinary. >> Welcome everyone. This is a great big spin-off from the Doctor Who universe called the Huniverse. Uh but it's it's a show in its own right and we're all immensely proud. We're very lucky to get a chance to do something like this. See our lovely unity team. We so love to see you Russell, GooGoo, everyone. All new people as well. We're so proud and believe you me once you're in one of these shows it'll follow you around for life. Have fun. Have a good time. This is a great day. Thank you very much. And off we go. >> Please welcome THE GOOOO. OH MY GOD. My first day on this job was probably the most extraordinary first day I've had on anything I've ever done. We were filming in a wave pool. So jumping literally into the deep end. >> The wave is an amazing feat of technology. I didn't even know it existed. this man-made surfing wave that can be commanded at will to become like a a huge wave and then just go to nothing. >> Turn over cameras, please. >> I just remember our first ADG being like Q waves, Q music action. >> I knew you'd be at the edge of the land, but I couldn't hear. >> You people are so funny in your clothes. really >> and it was like oh my gosh like there it was so epic it was so emotional and I was thinking oh my god I'm going to cry I'm going to cry get it together just don't fall over because the waves were coming you know and sort of setting you off balance >> can't go any faster >> it was literally everything that could possibly be thrown at you not to mention the first day in the makeup I couldn't resist. Sorry. >> I saw a design quite quickly after getting the part actually. I saw some artwork for it and was blown away. It's one of those things where you have the image of the character, but the minute you put everything on. You don't have to do much. It it it tells its own story at that point >> and you will be cleansed. >> It is an early start to become salt. Some of my earliest alarm clocks had a three in them in the morning. The whole process takes about three and a half hours. First things first, we start with hair. Jessica Robinson, who is an absolute rock star, arrives very, very early to braid my hair, to tuck it all away so it can fit underneath a stocking wig cap. Then I have two incredible prosthetics makeup artists and they work on me simultaneously for about 3 hours. >> There's four bits from the neck up. There's four bits. >> Once they're all in place and glued in and symmetrical and lined up, that's obviously then when the makeup work begins, making sure that the the skin that's left obviously blends in with the rest of the outfit. And then from there, the suit itself has several pieces. It's not an allin-one. >> Each leg is individual. Each arm is individual. >> Oh my god. I was not. >> I don't need to touch No, I don't need I'm good. >> I mean, I have huge respect for the prosthetic artists. They're so so talented and it's such a huge part of my character. camera. >> What is it? One of the creatures that have been destroying the ships. >> The sea devils existed in 1972 and we wanted to keep the essence of that design. I think you look at the modern Homo Aqua. It's very much of the same family as the sea devil. I was absolutely insisting on the fins. I think they're absolutely beautiful. Of course, we can enhance the fins now with CG and do stuff with them. Coloring, I wanted less less muddy brown. I wanted to lift that to make it bit more of an element of beauty to it. >> Sometimes Pete, I forget you're a fanboy. >> Here I am. >> The ones that we see today in this series are slightly different evolutionary branches of the same creature. Our amazing design department worked really hard to get a design that was sympathetic, referenced the old design and didn't feel like it was straying too far away from it while updating it for today's audience. >> Ultimately going in when you get to redesign the Sea Devils, you've got to explore all the options. We've got to look at something that looks and feels a bit like the old Sea Devils, but maybe you make them more practical in this way or that, or you try something new. There was already some concepts for the Homo Aqua and actually they didn't change a lot. Painting practice had done some designs already and there was a favorite design and basically that was turned over to us to kind of make it work on a person. So there was one design that was already out there but you invariably want to do other designs. So I did I did a number of designs based on the idea of doing it potentially as a prosthetic makeup. So you would actually use a performer's eyes and performer's mouth, but you've got that sense of the classic. Sea Devil had that kind of strange baggy neck and all those elements. So we were trying to get as many of the classic elements into this design as we could. Ultimately, you know, everything moved in a very different direction from this, but this this was literally our first go at trying to come up with what what would be an updated Sea Devil look like. We eventually fell on the side of going with the the mask and doing the digital because they're a nice contrast from the homo amphibia. You know, you homo amphibia is much more human. It's got human expression, but the homoqua I could make them more nonhuman, which obviously helps with the story. We're talking about the differences between species and that's a big factor in the story. So, you have to feel they are to some extent very non-human. >> It's going to run for every magazine. you know that don't >> you know the bottom line is is they are a species they're not human you know that first port of call is they need to come across like they're not human so it's the working out the physicality of their mannerisms characteristics so maybe lifted up slightly higher than we have done so and then the next step is sort of what they look like in their costumes >> he's not got into makeup yet >> I'm really ugly without makeup 3 2 1 step step. >> When we put the mask on, we've got two small holes. In the end, it sort of narrows down my vision to about half, I suppose. >> Yeah. There's no peripheral at all. >> They're very poised. They're very hell. They're very sort of statuesque, warriorike, soldier-like. So, being on set on a day-to-day basis, it's keeping everything correct. just remind you this is how you stand. >> So you come up to that position. >> It's just sort of saying to them this is where you are, this is what you are holding your arms, you know, it's all those little things that just sort of help an actor, you know, and someone who's inside a suit. So I just help as much as I possibly can. Setting the start of the story in Spain is a is a great decision by by Russell because it kind of makes the story feel really international and global, which it it it is. >> As of now, the Mediterranean is hostile territory. >> Going to film in Spain was an opportunity to kind of expand our story and take it across the globe. The sun, the dust, the kind of beautiful rocky expanses, the beaches, all of these things were quite specific to Spain. >> Hola. So going to Morca felt really necessary to kind of achieve that authenticity and scale. >> You have to kind of, you know, get your Spanish vocab going. >> I've learned that word. >> It's more complics to give me a beer. >> Give me a beer. Uncut. >> There you go. >> In Spain, you only have, you know, 5 days or six days to just tell a story, which is obviously bigger than that, five or six days. and you have to try to make it work. And then after many iterations, we found the right locations, perfect locations. We needed, you know, a village by the sea, a fisherman village. We need a beautiful beach. So, I'd been away. I came back to set and one of our producers, Ed, but I hadn't seen him for a few days and I said, "Hey, so how are things going?" And that's when he sort of looked at me like and I went, "What?" And he said, "We've lost two locations." I went, "What are you talking about?" He said, "We lost two of the locations in Spain." But he would have had those plans survived. Yeah. How come we just lost them? you know, we lost both of them, both the beach and the village because of, you know, permits that went wrong and military involved and decided that, you know, a certain base or a certain airfield wasn't available to us. So, yeah, I I had to do an emergency wrecky like 2 weeks before filming. But actually, we had seen that beach before and we loved it, but we said, "We can't really do it. It's too difficult. There's no access." But we had to go in there. Imagine going down a very steep hill that Sandy could only get one vehicle down it and they had massive pieces of kit to make it look like your unit had arrived with all my soldiers and all our kit. So that had to be got down there. We're in Morca in Palmer on this very beautiful lagoon. It was very bright and sunny. It's obviously nighttime now, but it felt like you're in the Goonies. scene in the Goonies where they're all at the end and the the boat goes past and then they get that bag of all the treasures. Uh it felt like that and it's going well I think. >> Okay, thank you. WE ARE SET AND action and >> I represent the unified military task force of the combined nations of the dry lands of Earth and I welcome you into diplomatic concourse >> on the day the famous Monday. The day was beautiful. We were all excited. The sea was fantastic. The light was great. Obviously, it was a night shoot, but the day was fantastic. And then slowly slowly the wind start to pick up and the waves start to be choppier and choppier and choppier. >> No rain had been forecast and then suddenly thunder and lightning happens. >> So, we've had a bit of a rain delay, but it's fine cuz we control the rain. It was torrential rain. Then the rain stopped. Torrential rain. Rain stop. Continuity nightmare. >> We were in the middle of it. So we had to keep taking breaks and the lights kept going out. >> 29. Take three. >> We've just stopped because one of the homo aqua have lost an ear in the water somewhere. >> So it lifted me out of the water off off the door. You can't find the ways. Millennium Effects designed these ears and they have magnets on and it it's quite choppy and it got knocked off and now we don't know what to do. >> Ross is a is an open sea swimmer. Is that what that call is? He's going to go and get it >> live on camera. >> Yeah. >> How are you feeling Joel? >> Thanks. >> I'm wonderful. >> We were possibly minutes away from not being able to complete the biggest shoot of Spain because of this huge wash out. you have to get it. There isn't any other time in the schedule to fit it in. >> And there was a moment when I thought, "Okay, we're actually not going to get this. We're going to have to figure out another plan." >> As these men in suits were coming out of the water and these waves were crashing and it was insane. And it just added to that intensity and it it was quite overwhelming and exciting and mad. It looks amazing. and then having this electric storm in the background which was real. >> Agreed. >> Even though that was a really hard night, it feels like, you know, the planet has been on our side to tell this story at every stage. >> What's happening? >> I don't know. The plastic apocalypse was one of the most exciting challenges of the whole shoot. I think when I read it on the page, I was like, that's such a brilliant dramatic idea. >> It's plastic. >> Bringing it to life was one of the funnest things I've ever done. >> Mom. Mom. Oh my god. >> I mean, we're on location. They've got plastic everywhere. Set looks incredible. There these two massive ventilators blowing up wind, plastic falling out from all sides. I had no idea where they managed to source all this plastic, but it's just filled with plastic. So, all of the plastic that you can see is actually been recycled from landfill. A lot of it from the production itself. It's all been sterilized and cleaned and distressed. The SFX team have come up with this amazing technique which is basically like a salt shaker of litter. So they put them in these big kind of cherry pickers that you can see in the air and then it'll shake left and right and then the litter will all start to fall down. >> So then to walk out and to have all of the wind machines, all the plastic falling from the cranes, we're going to have all the essays. were going to have all of the the rubbish falling onto your hit in the head once or twice by some plastic. >> A big piece of something smacked me in the head and I went, "Oh, that hurt. Okay, carry on." And then then another piece blew up, smacked me the other side, and I went, "All right, stop. Now I don't like it anymore." It was again, it was real. Wars Inland, the sea, this show is is things happen. To everyone, for the record and for history, my name is Kate Lethbridge Stewart, commander-in-chief of the Unified Intelligence Task Force. >> Kate Lethbridge Stewart is one of my favorite characters and Gemma is one of my favorite actors. I just love her. So, having the opportunity to really flesh out that character to be able to spend the time to delve deeper into her life was just a joy. UNIT has been chosen to lead these talks because we stand above and outside all countries, borders, governments, and oceans of the world. Kate, she's always been a wonderful character to play, but she exists entirely within the world of Unit and Doctor Who. I've seen ordinary people achieve extraordinary things, but they're usually traveling with the doctor. She's become a woman in 3D for me in the sense that she has a hinterland, an internal life as well as a passionate involvement outside of work. >> We've kind of grown the relationship between Christopher Ibrahim and Kate just cuz of what we're seeing on screen. We love the two of them together. >> No, no, no. I don't don't touch. >> But Gemma, look, look. It's just the videos. >> I know this. >> That just plays on loop. I know. >> And and they seem like a match and we just kind of just slowly inch them together over Doctor Who. And along comes the war between the land and the sea. And sadly, there has to be a loss. The problem at the heart of the war between is real. Never mind your fantasy creatures from under the sea. What we've done to the oceans is real. So the drama has to kind of get a patina of reality that you wouldn't necessarily put into every episode of Doctor Who. Kind of just open up the fact that someone's got to die. Can you not be commander-in-chief just for a few hours? >> I don't know how. >> Leave it. We're shooting two sort of major scenes today. The the first kiss that we actually see on camera and then also the death. We've got all that coming up. >> So, we're here in Kate's apartment. >> We've installed fake glass that will shatter when the bullet hits the window. We will get the real effect of glass shattering. >> So, we've got stunt men in. >> We're both here. We're all here, which was Gemma. >> We've got um the SFX department in and they're all here to pull off this stunt. >> Zoe kept on telling me Zoe's obviously a professional stunt double and she said, "Just go for it." You know, when when do you get to rub tackle a woman normally in life, you know, just like just get her get her somewhere. >> Brilliant. Scenes like this, you go into your own world a little bit. G, our first AD, who's an amazing first AD, was was really, really nice in that sense in the morning, telling everyone that we're going to be shooting some quite intense stuff now. >> Gemini, she was happy. >> Yeah. >> So, everybody was really respectful and said really nice and quiet. But yeah, I just disappeared. I was listening to some Gregorian death chants, you know, >> we really >> for the end. >> You're not really looking where your hands are going, pushing yourself up off his chest, and you transferred blood onto your hands in doing so. And then your first assumption is, "Oh, that's that's my blood. I must have been shot somewhere. I felt when I read the scripts that she didn't know quite how much she felt for him. She never allowed herself to really know how deeply she loved him and that the loss of him in that moment. She knows everything she didn't allow herself to know. Oh, make me cry now. It's life-changing for her. The sets on this production are incredible. It's been so impressive that as an actor, you don't have to act too much. >> Is it a cave? >> I don't know. Right there. We've had these incredible sets built from the diplomatic chamber of the homoacqua species to the realworld Empress Hall which you know feels almost like a UN assembly hall. Honestly, it blew my mind as soon as you walked in and somebody has just built this. It looks like a real place. It It's so beautiful. like the design team. Absolutely incredible. Huge. Just as soon as you're in there, you're like, "Yeah, I'm in it. I'm in it." >> And action. >> I was very drawn to Barklay story. And it's a very human story, isn't it? That kind of led to the Empress Hall feeling like it did. >> The Empress Hall, it's huge. It's supposed to make Barkley feel dwarfed and overwhelmed when he's like the everyman. We were trying to really contrast the sort of wet and dry of land and sea a little bit. So, a building that felt like it was made of like stone and all of those sort of drier textures kind of contrasting against the water in the tank just felt like an instant texture. >> I think you are my favorite human. The Empress Hall is is really shows the collaboration between a you know a modern art department and the way that we interact with BFX >> because kind of looking back and forth between Salt and Barkley constantly and when we looked at Dylan's shots it was clear there was going to be an extreme amount of visual effects work if we didn't find a clever way to do this in camera. So along with the the VFX team and Joel and like we came up with the idea of using it VFX LED wall behind the tank. So we got a huge proportion of the shots of salt in camera. It was a really really clever bit of VFX design. It just looked great and it just gave everyone in the in the hall, all the cast, everybody something to really feel and imagine. >> Every time we've done scenes where there's been set building, you don't have to act too much. some, you know, there's been lots of green screen and you're imagining what you're seeing. But when these sets are built with such detail like this, they're immersive and you can just lose yourself in it. >> There's a real breadth of both real and sci-fi elements and scope to the show, which makes it feel really epic. Right now we're setting up for a stunt where we're having our stunt man um jump into the Bristol River. >> That day was, you know, really exciting. This big truck and we had drones. We had cranes. We had all the action vehicles. >> Action. So, he's taking >> Barkley, what are you doing? >> Get down. Get off the truck. The sequence of events are Barkley jumps out the lorry, sprints to the end, and just dives into the water. >> Oh my god. Don't blame me. >> So, the water's been tested. It's clean. >> The water's been checked. It's deep enough. >> And we should be able to do it in one take. Yeah, it's one take on four cameras. I think we only have one shot of it, so we got to get it right first time. I'm not clear on what happens if we don't get it right first time. Probably I'll get fired. We're identical, aren't we? What do you think? >> It's the same person, isn't it? >> Tell them who you are. I'm Russell. >> Yes, exactly. >> And what's safety in place? >> Make sure he looks really. >> Okay, here we go then. Thank you. 3 2 1 action. >> We only had one shot today, but luckily he nailed it. Did you want to do it? >> Not in there. I'm That water is scary. >> Come on. >> Go on, broccoli. Come on. >> The romance between Barclay and Salt is such an important part of the show. And watching their relationship evolve over those five episodes is is really lovely to kind of see where they end up. >> You already have very good fins. >> Is that a joke? Joke. That was a We're just on the run. Welcome back to our world's chasing us and she develops a sense of humor. >> I have to say they were probably some of the most challenging scenes acting wise because I think it's the first time that we get to see a different side of salt. >> What are you doing? >> We get to see her in her most human. The soul of their relationship happens in that warehouse. lot to do on those nights >> even though it was cold and dusty. Um, and I think it was Russell's birthday one of the nights. >> Action. >> Happy birthday. >> She's amazing to be able to connect straight away. All you want as an actor is your your co-star and you to feel like you're telling the same story and you're in the same world and you've got each other. To look into her eyes and do these scenes has been an absolute privilege. >> I think we would have always found you because your heat is irresistible. >> Why follow Barkley and Sold? Why follow them for five episodes? In the end, what we have is love. As it's very much, as I explained before in different where this show comes from, you know, who we love, what we love, and how we should express that love and show it. The stage directions for that final scene say, and there was no way of voicing this on camera, but the stage directions say that's the point. There's hope for anyone. It's in those two. And it's the way they become each other. It's like there is no land, there is no sea. They are just they are both the same and they kind of rec they physically become the same and they're recognizing the same. There's hope for any of us in any situation. It's always that it's a hard one ending and I think it's beautiful and I'm very very glad we did it. >> This pool's been used for probably hundreds and hundreds of movies over the years. >> It's a real privilege to be here. >> This is our underwater stage. >> Have a little sneak peek preview here. >> Got the divers just prepping. We got some towers ready for um the homeacqua to emerge. >> Swimming. We >> got Sultan Barkley to break the water from the after the bomb. He's a tank. And this wave machine coming here with wind machine to replicate the helicopter. >> How deep is this? >> 6 m deep and normally 32°. >> It's nice and warm. >> I know. I'm like this is the warmest place to be. So if anyone's cold in the water, >> the combination of the spinning and the slower moments just to like take it in and then you spin and then you take it in. That's really cool. I think we always assumed that Russell in the Water would be CGI, that we'd have to kind of create a digital double of Russell to get, you know, the right sort of amazing supernatural style of swimming that we were after. But having seen him swim, we're not going to have to do that. >> Oh my god. >> That leg thing's ridiculous. >> Could do that, can they? >> No. >> Maybe you are part meant to be. I was just a water baby. >> Two shots left in the whole shoot. >> It's been a mad journey to get here. I think everyone's feeling very exhausted, but also very um contented, I would say, by the experience. And um yeah, there's a lot of good good feeling amongst the crew in the past. It's been an amazing journey. >> Massive sadness golden rap on Russell Toby everybody. >> And it's the second golden rap on magnificent Google. >> It's just the beginning, isn't it? >> This is like the end of something, but it's the next chapter. I don't think I think we're all going to see each other a lot lot more. And it's been, as I said the other day, an absolute privilege. I've loved it. Thank you. Thank you. This production is full of love. Everybody, every department is loving what they do. It's it's very unique. It's very zen on set. I've been on many sets where it's the antithesis of this and this one feels a total joy and pleasure. It's a group effort. The attention to detail and the support has been incredibly special. I loved it. Oh, stop.