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

[1st AD] Action! - One of the joys with this show is that it takes the Doctor Who Whoniverse, 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 Hall, right? Someone's built that. The design team, they're just incredible. Oh, my goodness me. - When you're working on something for three or four months in prosthetics, it was going to be unforgettable. - I don't think anyone really realised... (LAUGHS) ..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, 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 spent a long time sitting looking at the sea and thinking about life. Thinking about stories. Thinking 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. [Russell T Davies] And then you start thinking about the Sea Devils. So that had been ticking away in my head for a very long time. So sometimes, ideas build up in your head without you consciously realising that's what you're doing. I think it's a story born out of a good place as well, because 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. [Salt] You will drink. [Barclay] Er… - It's worth saying how long ago this production begins. I must have written The Star Beast and The War Between as the launch, as this is what we're going to make. And this is our ambition. We then had to learn all this time how to make a programme with this budget and how to settle into Bad Wolf Studios, so we kept on intending to make The War Between and never quite getting it. After season one and then finally after season two, we did it. And that's when we turned to you, hooray! Thank you. I remember vividly the day that landed in my email box. It was, I think I delivered my first or second draft of Lucky Day and it popped in my inbox. And you were like, "Have a read of this." Is that what we did? Oh, how funny. And it was so vivid. It's such an amazing first episode of anything. It's astonishing. And it was, yeah, it was such a thrill. And then we commissioned you for one episode. Yeah. And then we commissioned you for two episodes. It was great. You just infiltrated your way in. Gugu, tell me why you wanted to play Salt. Ooh! Well, Russell T Davies wrote me a lovely letter… (LAUGHS) ..and I read the script. And, obviously, I'm such a huge fan of the other Russell T 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 of Salt was just extraordinary. [Russell T Davies] Welcome, everyone. This is a great big spin-off from the Doctor Who universe, called the Whoniverse. But 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. Our lovely UNIT team, it's so lovely to see you. Russell, Gugu, 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! (EVERYONE LAUGHS) Have fun, have a good time. This is a great day. Thank you very much. And off we go! Please welcome Gugu. (EVERYONE CLAPS) [Gugu] 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 existed, this manmade surfing wave that can be commanded at will to become, like, a huge wave and then just go to nothing. [1st AD] Turn over cameras, please! [Gugu] I mean, I just remember our 1st AD, G, being like, "Cue waves, cue music, action!" [1st AD] 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? [Gugu] And it was like, "Oh, my gosh." Like, 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. I 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. (LAUGHS) (LAUGHS) - I couldn't resist, sorry. - I'm going to get back at you. [Sam] 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 tells its own story at that point. And you will be cleansed. [Gugu] 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 they can fit underneath a stocking wig cap. Then I have two incredible prosthetics makeup artists and they work on me simultaneously for about three 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 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 all-in-one. [Gugu] Each leg is individual. Each arm is individual. Oh, my God! I was not… It's spongy! Oh! I don't need to touch. No, I don't need to, thank you. No, no, no, no, no, no. 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. (VOCALISES) - 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 insistent on the fins. I think they're absolutely beautiful. Of course, we can enhance the fins now with CG and do stuff with them. The colouring, I wanted less muddy brown. I wanted to lift that, to make it a bit more of an element of beauty to it. [Crew member] 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 favoured 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 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 a 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 was literally our first go at trying to come up with what would an updated Sea Devil look like. We eventually fell on the side of going with the mask and doing the digital, because they're a nice contrast from the Homo Amphibia. You know, Homo Amphibia is much more human, it's got human expression. But the Homo Aqua, I could make them more non-human, 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 be on every magazine, you know that, don't you? You know, the bottom line 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 lift it up slightly higher than we have done. 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 the makeup. (BOTH LAUGH) Three, two, one, step, step. - The problem when the mask is on, you've got two small holes. In the end it sort of narrows down our vision to about half. I suppose? - Yeah. There's no peripheral at all. - They're very poised, they're very held. They're very sort of statuesque, warrior-like, 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. 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 great decision by Russell, because it kind of makes the story feel really international and global, which it is. [General Pierce] As of now, the Mediterranean is hostile territory. [Dylan] 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 Majorca felt really necessary to kind of achieve that authenticity and scale. You have to kind of, you know, get your Spanish vocab going. Complicado, I've learned that word. Es muy complicado. His Spanish amounts to, "Give me a beer." "Give me a beer" and "Cut". There you go. - In Spain you only have, you know, five 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 needed a beautiful beach. - So I'd been away. I came back to set and one of our producers, Edo, I hadn't seen him for a few days and I said, "Hey, so how are thing's 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've lost two of the locations in Spain." "But you would have had those plans for months?" "Yep." "How come we've just lost them?" [Edo] You know, we lost both of them, both the beach and the village, because of permits that went wrong and military involved that decided that, you know, a certain base or a certain airfield wasn't available to us. So, yeah, I had to do an emergency recce, like, two 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 there. [Colin] Imagine going down a very steep hill that's sandy. Could only get one vehicle down it. And they had massive pieces of kit to make it look like, you know, UNIT had arrived with all my soldiers and all our kit. So that had to be got down there. - We're in Mallorca, in Palma, 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. You know that scene in The Goonies, where they're all at the end and the boat goes past, and then they get that bag of all the treasures? It felt like that. And it's going well, I think. - OK, thank you! We are set and action. - I represent the Unified Military Taskforce of the combined nations of the dry lands of Earth and I welcome you into diplomatic concord. - On the day, it was 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 started to pick up. And the waves started to be choppier and choppier and choppier. No rain had been forecast. And then, suddenly, thunder and lightning happened. - So we've had a bit of a rain delay. But it's fine because we control the rain. (LAUGHS) And it was torrential rain, then the rain stopped, torrential rain, rain stopped. Continuity nightmare. We were in the middle of it, so we had to keep taking breaks and the lights kept going out. [Crew member] 429, 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 the floor. And you can't fight the waves. - Millennium FX designed these ears and they have magnets on and it is quite choppy. And it got knocked off. And now we don't know what to do. Russ is an open-sea swimmer, is that what they called it? (LAUGHS) He's going to go and get it - live on camera. - Yeah. - How are you feeling, Joel? I'm wonderful. We were possibly minutes away from not being able to complete the biggest shoot of Spain because of this huge washout. 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, "OK, we're actually not going to get this. We're going to have to figure out another plan." [Joel] As these men in suits were coming out the water and these waves were crashing and it was insane, and it just added to that intensity. And it was quite overwhelming and exciting and mad. It looks amazing. (ROARS) And then having this electric storm in the background, which was real… (ROAR) 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. [Dylan] 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." [Kirby] It's plastic. [Dylan] Bringing it to life was one of the funnest things I've ever done. - Mum. Mum! - Oh, my God! - I mean, we're on location, they've got plastic everywhere. The set looks incredible. There are these two massive ventilators blowing out wind. Plastic falling out from all sides. I have no idea where they managed to source all of this plastic, but it's just filled with plastic. - So all of the plastic that you can see has actually been recycled from landfill. A lot of it from the production itself. It's all been sterilised 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. [1st AD] Action! Run! (CAR ALARMS AND PEOPLE SCREAMING) - 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 SAs, we're going to have all of the rubbish falling on to you. I got hit in the head once or twice by some plastic. A big piece of something smacked me in the head. And I went "Ah, that hurt. OK, carry on." And then another piece flew and smacked me on the other side and I went, "All right, stop now. I don't like it any more." Again, it was real. The War Between the Land and the Sea, this show, things happen. To everyone, for the record and for history, my name is Kate Lethbridge-Stewart, commander-in-chief of the Unified Intelligence Taskforce. - Kate Lethbridge-Stewart is one of my favourite characters and Jemma is one of my favourite 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 travelling with the Doctor. [Jemma] 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 Christofer Ibrahim and Kate, just because what we're seeing on screen. We love the two of them together. No, no, no, I don't… Don't touch! Just Jemma, look – it's just a video. - I know this. - It just plays on loop. - I know. - Yes. - And they seem like a match. We just kind of just slowly inched 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. Nevermind 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 opens us up to the fact that someone's going to die. - Can you not be commander-in-chief just for a few hours? I don't know how. (PHONE RINGS) Leave it. - We're shooting two sort of major scenes today. The first kiss that we actually see on camera… ..and then also the death. We've got all of that coming up. [Dylan] So we're here in Kate's apartment. (LAUGHING) 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 stuntmen in. - We're both here. We're all here. [1st AD] Which one's Jemma? [Dylan] And we've got the SFX department in, and they're all here to pull off this stunt. - Zoe kept on telling me… So Zoe's obviously a professional stunt double. And she said, "Just go for it, you know. When do you get to rugby tackle a woman normally in life, you know? Just give it some welly." [1st AD] Action. (BANG) [Jemma] Brilliant! [Alexander] Scenes like this, you go into your own world a little bit. G, our 1st AD, was amazing. 1st AD was really, really nice in that sense. In the morning, you know, telling everyone we're going to be shooting some quite intense stuff now. [1st AD] Jemma and Alex, are you both happy? [Alexander] Yeah. So everybody was really respectful and stayed really nice and quiet. But yeah, I just disappeared. I was listening to some Gregorian death chants, you know?! Just waiting… for the end. - You're not really looking where your hands are going, pushing yourself up off his chest, and you transfer blood on to your hands in doing so. And then your first assumption is, "Oh, that's my blood. I must have been shot somewhere." No, no, no, no, no. Please stay with me, please. [Jemma] 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, I'm going to 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. [Suki] Is it a cave? [General Pierce] I don't know. Wait there. [Gugu] We've had these incredible sets built, from the diplomatic chamber of the Homo Aqua species to the real-world 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 is so beautiful. Like, the design team are absolutely incredible. It was huge. Just as soon as you're in there, you're like, "Yeah, I'm in it. I'm in it." [1st AD] And action! - I was very drawn to Barclay's story and this fish out of water, you know? I was drawn to Barclay's story. And it's a very human story, isn't it? That kind of led to the Empress Hall feeling like it did. I'm not going to say that! I was drawn to Barclay's story. And it's a very human story, isn't it? [Erica McEwan] The Empress Hall, it's huge. It's supposed to make Barclay 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 stone and all this sort of drier textures kind of contrasting against the water in the tank just felt like an instant texture. [Salt] I think you are my favourite human. (NERVOUS LAUGHTER) - The Empress Hall really shows the collaboration between, you know, a modern art department and the way that we interact with VFX. Because kind of looking back and forth between Salt and Barclay 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 VFX team and Joel, we came up with the idea of using a 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 hall, all the cast, everybody, something to really feel and imagine. - Every time we've done scenes when there's been set building, you don't have to act too much. 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 stuntman 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. [1st AD] And action! - Sarge, he's taken the keys. - Barclay, what are you doing? - At arms! - Get down! Get off the truck! How does this work? - The sequence of events are that Barclay jumps out the lorry, sprints to the end and just dives into the water. [Chappie] Oh, my God, don't blame me. [Hana] Barclay! Don't! Don't! [Derek] 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. [Dylan] Yeah, It's one take on four cameras. I think we only have one shot at it, so we got to get it right the first time. I'm not clear on what happens if we don't get it right first time. Probably I'll get fired. Identical, aren't we? Don't you think? It's the same person, isn't it? Tell them who you are. I'm Russell. (BOTH LAUGH) Yes, exactly. - And water safety in place. I want to make sure he looks really butch. [1st AD] OK, here we go then, thank you. And... ..three, two, one, action! Well done to Mike. Everyone, give him a clap for that. (CLAPPING) - Nice one. - Yeah, nice one, mate. Well done. - We only had one shot at it. But luckily, he nailed it. - Did you want to do it? Not in there. That water is scary. - Yeah. - Go on. Go on, Broccoli. (LAUGHING) Come on, then. [Pete] The romance between Barclay and Salt is such an important part of the show. And watching their relationship kind of evolve over those five episodes is really lovely, to kind of see where they end up. You already have very good fins. [Barclay] Is that a joke? That was a...? We're just on the run, people from both our worlds chasing us, and she develops a sense of humour. - 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. (SMASHING GLASS) Hey! Oi, oi! What are you doing?! We get to see her in her most human. The soul of their relationship happens in that warehouse. (BOTH SCREAM) A lot to do on those nights, even though it was cold and dusty. And I think it was Russell's birthday one of the nights! Action! (CREW ALL SING HAPPY BIRTHDAY) - Hip-hip… - Hooray! Right, that's enough. (LAUGHING) - She's amazing. To be able to connect straight away, all you want as an actor is 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 Barclay and Salt? Why follow them for five episodes? Salt! [Russell T Davies] In the end, what we have is love. Actually, it's very much, as I've explained before, where the 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, if 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're both the same. And they physically become the same and they're recognising the same. There's hope for any of us in any situation. It's always that. It's a hard-won ending and I think it's beautiful. And I'm very, very glad we did it. All right? This pool's been used for, probably, hundreds and hundreds of movies over the years. So it's a real privilege to be here. - This is our underwater stage. We have a little sneak-peek preview here. Got the divers just prepping. And we've got some towers ready for the Homo Aqua to emerge. - Doo-doo-doo-doo-doo. - We're going swimming! [Erica] We've got Salt and Barclay to break the water, after the bomb. This is the tank. (LAUGHS) And this wave machine coming here and wind machine to replicate the helicopter. - How deep is this? [Erica] Six metres deep and normally 32 degrees. - It's nice and warm in there. - I know, it's like the warmest place to be. - We should get in. - So if anyone's cold, in the water. - It's a combination of the spinning and the slower moments. Just to, like, take it in and spin and then 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! How does he do that? [Pete] That leg thing's ridiculous. Everyone can do that, can't they? [Pete] No! Maybe you are part fish? [Russell] Meant to be, meant to be. I was just a water baby. Two shots left in the whole shoot. [Dylan] It's been a mad journey to get here. I think everyone's feeling very exhausted, but also very contented, I would say, by the experience. And, yeah, there's a lot of good, good feeling amongst the crew and the cast. It's been an amazing journey. [1st AD] Claps of sadness. Golden wrap on Russell Tovey, everybody! And it's a second golden wrap on the magnificent Gugu. It's just the beginning, isn't it? This is like the end of something but it's the next chapter. I think we are going to see each other a lot, lot more. It's been, as I said the other day, an absolute privilege. I've loved it. Thank you. Good luck, all. Thank you. That's a wrap! Well done. - This production is full of love. Everybody, every department is loving what they do. 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, it's been incredibly special. I loved it. Oh, stop! Stop with the filming!