Millenium FX’s Gary Pollard Talks Series 10 Monsters - The Aftershow

This is a spoiler warning. If you’ve not yet seen The Lie of the Land, go and watch
it, then come back here.
This is the truth.
Joining us this week is the man behind this season’s monsters from Monks to Mondasians
and from Eliza to emojibots, it’s Gary Pollard from Millennium FX.
Thanks for having me.
That’s alright.
And joining him sadly due to the indisposition of Toby Whithouse, it’s Luke from the Internet.
Thank you Luke for stepping in for Toby, it’s nice to see you outside of your cupboard.
How does it feel?
It’s nice to be out of the internet and with real people. It’s amazing, thank you
for having me.
Well, that’s absolutely fine.
And can I just say, this is the hottest day of the year and I have yet again choses to
dress up. The things I do for this show.
Before we talk about The Lie of the Land, can I just say the Monks can control humanity,
invade your memories but they can’t stop the bin men from going on strike.
Guys. There’s one thing they forgot. The bins.
They did leave the streets quite messy in this episode. I feel like the governmental
policy on recycling and rubbish collection, that went straight out of the window when
they took over.
So much for this pristine, happy life with the Monks. It’s just disgusting and messy.
So, here we are at the concluding part of a three-parter featuring the Monks. Some amazing
performances in this episode I would say and what was really lovely was this episode being
lead by Pearl Mackie.
We don’t see the Doctor really for the first 15 minutes.
Really strong performances from her and also Michelle Gomez who plays a really different
side of Missy.
She’s good in this episode. She’s becoming good. She has a little cry remembering all
of the people she’s killed. It’s very different. There’s lots of role reversals.
But I think as you say, Pearl holds the episode in this one.
It’s almost like what you used to have in Doctor Who, like Love and Monsters, you’d
have a Doctor light episode and that was kind of this in a weird way.
Which is really nice because when you do see the Doctor it’s really kind of… Toby especially
plays on the Doctor being bad and you’re sat there watching going “he’s got a plan,
he’s got a plan” and he’s going to come out any minute and when he
does come out, that big moment where Bill shoots the Doctor and there’s a big regeneration
scare but then the moment when he comes out and he’s the Doctor again, it’s such a
nice moment.
My heart did go. The regeneration thing. As we’re nearing the end of the series, unfortunately,
it’s coming. Peter will be going.
I am personally starting to look out for these moments where you think it’s going to happen.
And I think Steven and the people behind the show know this and they’re going to keep
teasing us.
Absolutely.
And this is probably the first of many teases.
Gary, you are the Lead Artist and Workshop Supervisor for Doctor Who at Millennium FX.
You’re responsible for creating the Monks and you’ve brought some lovely… are they
maquettes?
This is a maquette. A full mock up of the head, full painted.
Excellent.
So when you get a script and you see the description in the script for instance for the Monks in
Extremis, they’re were described as “corpse-like faces”. Just where do you start?
Early on it was very different and they were kung-fu monks who were going to be physical
and fighting and that was the first thought and that’s what this guy is but later on
that involved into the more sort of thinkers and the schemers and the mind controllers.
So the idea shifts and evolves and we just sort of have to throw it at production because
as I said we had very little information about these characters and just see if it sparks
any response.
What’s the first step then, do you do sketches?
I did do some sketches, yes. In fact, some of these things were mind clearing exercises
for me if you like and I have some here which are sort of various routes that can be taken.
Again, these are all based on the first thoughts where these things were fighting Monks.
So you’ve got ideas thrown at it. He’s got a wooden sort of wooden carved vambraces
and a bolas because there is a part in an earlier thing that I read where it takes out
an entire SWAT team. One Monk, wake up and takes out a SWAT team.
So we thought, how could one dead Monk fight like half a dozen soldiers so he’ll have
to use weapons because they wouldn’t have swords so what else could we have that would
be more interesting?
A bamboo pole is boring so I ended up with this sort of carved structure. It would have
about 6ft reach.
It’s a bit like a grim reaper scythe.
Yeah but it’s possibly covered in symbols from his faith and his culture if you like
that he carries with him but would also be interesting visually if we were to work with
a movement guy.
That’s what this is and he has that with him at all times.
Amazing.
So that’s what that became.
And then I threw out one or two more freighting Monk versions if you like, really extremely
quite scary.
But the one they bought into was this guy, this painted guy here where they thought this
is a good starting point for the guys that we want in the show.
So we put that together and that sort of clarified it and that started the ball rolling on that.
But the way it gets interesting is you can’t have just one individual and I really like
this, in all of the films that I’ve done where you get to make other characters in
the same race whether it’s mummies or Mangalores, you get to do the stupid one and the fat one
and the old one that’s where the fun comes in.
So that just lets it out. I’ve got the starter and then I get to make all his friends which
is delightful.
We had Jamie on the show last week who plays a few of the Monks. At which point do you
get actors in and start actually creating the prosthetics?
If we have a specific make up and some of these guys have prosthetics which are glued
onto specific actors, then they will have to come in quite early in the process.
Some of the guys are wearing form fitted masks but to do live casts and prosthetics for all
of them was not practical so some of them are wearing sort of tight and uncomfortable
outfits that were really not created for them specifically
but when it comes down to prosthetics and dialogue, we saw that one with the facial
movement and there’s some dialogue, it’s made for them.
Wow.
A live cast is essentially put your face in some clay?
It’s a little bit more difficult then that.
Can you go through that process?
It’s a lightweight sort of silicone that we use that’s skin friendly which is literally
painted over the actors face. He wears a bald cap to hid his hair which is glued down and
then he has to very patiently hold a position.
We don’t block the airways, we’re very careful about that. But then we paint his
head completely in these materials that will set and take a perfect impression of his head
shape.
You’ve been responsible for a lot of the other monsters and aliens in Series 10 of
Doctor Who. What’s been a highlight and what’s been a challenge?
The emojibots was a worrying one for a while because I was trying to break up a human shape
and we wanted to do it as a suit as you get the best performances out of a suit where
a guy is physically acting it as opposed to anything mechanical or puppeteered.
But then again you don’t want something out of Buck Rogers that looks like a man in
an outfit, that doesn’t work.
So I took some risks anatomically and structurally to make him an interesting shape but then
you’re not quite sure if he’ll be able to work in it well, be able to walk well.
He was never going to run in it, we knew that.
So if he’s going to whiz about, he would need wheels or something else, some different
approach.
I guess that’s another big thing you have to consider with something like that, it’s
not just how it looks, it’s also the practicality of it. You’re actually building a suit that
needs to be functional.
It was an issue with the arms. I gave them very retro - because I love 50s sci-fi - corrugated
pincers and again breaking it up, you don’t see a guy in it, it’s a mechanical construct.
But then they said no, we should do a shot of this but we would really like something
more dextrous for handlings plates and doing other things, hugging and stuff.
So we quickly reworked a set of human shaped arms to go with it.
But then we ended up with a richer sort of picture because in the garden we see the corrugated
guys, the retro ones doing some gardening and later we see our more human shaped ones
doing other stuff and actually it worked out in the end very nicely.
It was quite pleasing.
We’ve caught some glimpses of an empress or ice queen which looks incredible.
It was fantastic because A we like to rework old classics don’t we? I knew that there
was plenty of figures within the Ice Warrior world where we hadn’t seen them yet. We
had just seen a single warrior.
So to be able to do this feminine royalty version was the best thing.
And through the process of banter with Wayne the director and the production, it kept sort
of shifting into what I wanted but it’s not all about me of course but when it becomes
I’m sure this is right for the show, and everyone is starting to agree with a
single vision, you’re not going I think they’ve got a fantastic script idea but
I don’t think they’re asking for the right things but then it’s more of a challenge
for me to deliver something that is different.
This was like, it worked out so beautifully. I’m most proud out of the whole series of
that character.
She looks amazing.
The dreadlocks.
Everything is so good.
Yeah, that was me with the dreadlocks. I’m so pleased. I thought do we go a bit Predator?
Not really. I’ve stayed away from that.
But I gave her a helmet that is linked to the authority figure in one of the Peladon-
I was going to say, the Grand Marshall.
That must be very interesting when you’re creating classic. Do you go back and look
through all of these things and take bits of knowledge?
I don’t want to reinvent, I want to fall in and fit.
The evolution of that race and go well this is what a Grand Marshall looks like and this
is what an Empress looks like.
It totally feels right.
It does feel right.
It did actually work.
Speaking of classic foes, the Mondasian Cybermen are coming back. What was it like to-
Luke is very happy.
Very happy about that.
What was it like to bring back a design icon?
It was exciting but what a great challenge because you cannot have… now the periodists
will go, why have you changed it?
But you cannot have… because they had Sellotape sticking them together in those days that
you couldn’t see on those low res cameras and the boxes are so big and heavy, they can
barely stand up straight and you can’t get your arms past your own life support unit
so you can’t literally transplant that into the modern world.
But again you need to be faithful so it was all about slightly ergonomically toning it
down, bringing it into the lines of the body, making it look like it’s bullet proof as
well, putting a nice metal frame on things.
And I thought if you saw this piece of machinery in the Royal Free Hospital, you wouldn’t
go oh that’s a weird bit of machinery, you’d go that’s a normal machine and whoever has
built these things has had no concerns about it looking good.
They just wanted it simple, riveted, tough and it works and lasts forever and nobody
is going to knock the corners off into a nice curve and an ergonomic sort of tube, elegant
and comfort. Any cultural stuff is nowhere to be seen.
It’s purely functional. And that’s a challenge because every time I wanted to style it, it
was like, stop.
No, leave the corners on. Leave the plumbing, external stuff, leave that there. Just make
it look like it’s tough.
Could you tell us some of the other things that you’ve worked on?
I did Hitchhikers Guide to the Galaxy. The Vogons.
Oh, they’re so good.
They are one of my favourite things on screen. They are so good.
I used to have a toy of them. Weren’t they like Jim Henson – sorry this is getting
me really excited – weren’t they like Jim Henson puppets or something?
Yes, they were mainly animatronics so that is a mechanical face movement. But it was
beautifully done I have to say. They speak very well don’t they?
They just look so believable.
Just realised, big fan sat next to you. You did those?
The Phantom Menace I did the Neimoidians, the politicians with crazy hats.
I love The Phantom Menace.
Star Wars as well.
Can I just say, I know this is going really off topic because it’s Doctor Who but, unpopular
opinion, I like The Phantom Menace. The Phantom Menace is my favourite Star Wars film.
Because I grew up with those.
Thank you.
Very good.
I had Darth Maul rollerblades when I was 6 or 7 years old.
I did want to mention that though because I think it’s interesting to fans to hear
where people have come from, where you worked before.
I think it’s incredible that you’ve got this amazing CV and Doctor Who is one of the
many things that you’ve worked on. That’s awesome. That is amazing.
But I am where I want to be. Exactly. Because I’m a huge fan of Doctor Who and I love
the process and I like working at Millennium FX although they don’t need to know that.
So I’m delighted to be working on Doctor Who. This is the job that I really want to
do and it’s nice.
That’s so lovely.
I’m happy there.
I get to see, if it’s worked out, I’m not always great looking at my own stuff but
I’m watching it with my two sons and they’re bought into it and the younger son is not
a Doctor Who fan particularly but the older one is.
But the younger one has stayed with Series 10, stayed in the room if you like and enjoyed
it with me and then my older son if something horrible happens, he goes, Dad, that’s you.
You did that.
You gave me nightmares.
It’s got a bit to do with me but there’s thousands of other people working on it as
well.
Well, thank you so much Gary for coming on the show and talking us through your amazing
work and bringing a couple of friends along too.
You’re very welcome.
Now, there’s one more thing to do. Would you like to play Top of the Locks.
I’ve been waiting.
Excellent.
Let’s get to it.
Roll sting.
So this is Top of the Locks where we measure the ups and downs of hair in Who. There are
episodes along the bottom and Truth up the side instead of Intensity.
I blame the Monks.
So, what do you think?
Shall we go with the Doctor first?
In terms of big hair I can sort of sympathise with the hair thing so he’s going to go
quite high.
You’re putting him quite high?
I mean, if it was up to me, I would put Peter at the top every week.
I don’t want to influence the decision as well because I’m not really allowed as the
host but I have to say, Peter’s hair was on point.
It was really good in this episode.
So good.
Very wispy. I’m really happy with that because that means we’ve rated him the highest this
series so that’s good.
Pearl? I would put her very highly because we got to see more of her in this episode,
so I would put her just underneath peter maybe?
Just there?
Sure.
There we go.
Next. Nardole.
He was so good, wasn’t he? I think they’re all going to sort of cluster.
We’re going to rate them all highly. I can see a pattern emerging.
No one is going to be shamed.
I mean, hair wise. Michelle Gomez as Missy this series is phenomenal and she’s very
frizzy in this episode, very frizzy and we get to see a lot of her.
Is she above Peter though?
Would she be above the Doctor?
Controversial.
I would personally put her above Nardole. I would squeeze him down.
Sure.
Poor Nardole.
Sorry Nardole.
Look at that, bunched up.
Thank you so much. We will keep an eye on that as the weeks progress. And now, over
to Luke in the Internet.
Go on then.
Blimey! It’s all fidget spinners and doggos out there in the internet, or the Truth as
we’re calling it today.
Let’s go.
So, The Pyramid at the End of the World seems to have tickled your creative tastebuds, with
Hayden and Lewis making these beautiful pieces-
Xiaozhou chilled us with this massively creepy watercolour and pen effort-
And Moga offered this cute little cartoon of what is going on behind the Vault door.
Turns out, you were pretty close!
It was also Pearlie Mack’s birthday last Monday, and several of you sent her lovely
drawings, including these lovely drawings by Jo and Valentina.
But it’s not just been drawing that you lot are good at. No, you’ve been mighty
creative with all kinds of media:
Joel emailed us his take on the series 10 key image made of Lego. Nice work, Joel.
And Macklin used ponies - yes ponies, though admittedly clay ones - to reenact the Doctor’s
initial meeting with Missy.
A scene there from Dark Horser. The penultimate episode of Series neight.
Can we stop horsing around now?
Meanwhile, over at Dunder Mifflin, PJ spotted that the Monks were clearly fans of the US
Office, having invested heavily in Sabre Pyramid tablets.
Over in New Jersey, John has built an amazing TARDIS for his Twelfth Doctor figure. It likes
up and everything! And I really want one!
And finally, Dr Whom writer and friend of the Show, Sarah “That’s So Raven” Dollard
is heading to Gallifrey One convention next year and is after cosplay suggestions.
We think she should go as Pete from Thin Ice. Remember Pete? Nice chap.
Well, that’s the truth for this week, if you’ve seen anything nice, tweet us @dwthefanshow
or email us dwthefanshow@bbc.com .
Right, I’m back off to the studio, much internet, very wow. Wish me luck! Bye.
Okay?
Turns out the internet, very high speed.
Well, thank you so much Gary and Luke for coming on the show.
What did you think of The Lie of the Land? Let us know in the comments below.
Next week we’ll be having tea on Mars with some chaps called Mark Gatiss and Matt Lucas.
I don’t know who they are.
To see a preview of Empress of Mars, click here. And to subscribe to the official Doctor
Who YouTube channel, click here.
We’ll see you next week.
Bye!

Millenium FX’s Gary Pollard Talks Series 10 Monsters - The Aftershow - Doctor Who: The Fan Show

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