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Digital Subscriptions > Doctor Who Magazine > The Doctor Who Companion: The Twelfth Doctor - Volume One > Production

Production

The shooting script for Listen was issued on Wednesday 12 February.

Recording for Block 2 then commenced on Monday 17 February; the Block 1 team under director Ben Wheatley was still at work at Roath Lock and required Peter Capaldi and Jenna Coleman for some of their sequences on Deep Breath and Into the Dalek. Meanwhile, Douglas Mackinnon’s team set up to record from 10.00am to 9.00pm at The Rest, a derelict Grade II-listed property and former convalescence hotel in Porthcawl, a coastal town to the west of Cardiff. This would become the West Country Children’s Home for much of the shoot, but the team began by blacking out the windows of various rooms which would feature in the montage illustrating the Doctor’s theory. The old lady in the modern bedroom was recorded first, followed by the little boy seen in the wartime setting and finally the little girl in the Roman chamber. Concurrent with this, a second camera recorded shots of various children saying “just a dream” and also recording wild tracks for scenes in the children’s home.

Having fi nished with the main unit, Capaldi and Coleman arrived on location at 4.30pm. The stars had a rehearsal of the Rupert scenes with Remi Gooding and then recorded Gooding’s material for the scenes of Rupert talking to Clara from his bedroom window and then meeting Clara when she entered his bedroom. As the weather was fair, the standby sequences of the Doctor talking to Reg did not need to be pressed into use as cover and so Robert Goodman was on standby only for the day.

Back at The Rest on Tuesday the 18th, work was scheduled from 9.00am to 8.00pm; the main cast again worked with this unit while Block 1 concluded work at Roath Lock. With the blackouts in place, recording began with the scenes involving Reg in the reception area (clearing Robert Goodman) and then continuing with the Doctor and Clara in the corridors of the ground fl oor. Ascending to the upper room used for Rupert’s bedroom, rehearsals for the scene with young Danny were held followed by recording through to Clara’s investigation of the space below the boy’s bed. “Remi was great from day one… and very good fun to have about,” Peter Capaldi told Doctor Who Extra. At the end of the day after dusk, shots of Rupert looking down on Clara were recorded from a fi rst fl oor window.

In tandem with all this, plate shots of the coastline near the building were recorded to form the basis of the ‘wilderness planet’ which Orson had arrived on.

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About Doctor Who Magazine

Doctor Who Magazine continues its in-depth chronicle of the show’s production with a volume dedicated to the first four episodes of Series 8: Deep Breath, Into the Dalek, Robot of Sherwood and Listen. Andrew Pixley’s unparalleled behind-the-scenes coverage – reproduced in magazine format for the first time – examines every aspect of the stories’ development, from scripting through to transmission and beyond. Richly illustrated with rare and previously unseen images, this is the essential guide to the series that took Doctor Who in a remarkable new direction…