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“DANIEL PITTS asks: Was the barn Clara visits in Listen on Gallifrey, or a different planet? If it's Gallifrey, is it not time-locked? The sky didn't look burnt orange when we saw the outside of the barn in The Day of the Doctor, so does this mean it's another planet?
In my head, he's in the Wastelands of Gallifrey (where the burnt orange dims to a lovely blue). Originally the script specified this, but I cut that, to give myself some wiggle room, should I ever need it. I wonder if this is a Time Lock question? Gallifrey and the events of the Time War are supposed to be held in a Time Lock, preventing the Doctor's return. However, in The Day of the Doctor, the Moment not only unlocked those events, she allowed them to change. The Doctor doesn't realise it yet, but, as demonstrated in Listen, the Time Lock no longer holds...
DAVID BROWN asks: In The End of Time, a Time Lady claims that the Doctor is in possession of 'the Moment'. I was wondering whether Russell T Davies had given you any hints regarding the mythology of the Time War before you started on The Day of the Doctor?
Um. I think I asked him ages ago, about something else. And I wish I could remember what he said. Of course - as the great man himself once said in this very column - if it's not established on screen, it's not 'real' yet. So the version of the Moment we end up with in The Day of the Doctor is probably quite different from Russell's original idea. But, you know, that's how it's supposed to work: thing's change and develop in unexpected ways, and then you cast Billie Piper.
FINLAY WORRALLO asks: How long did the War Doctor live for? Surely he must have had a very long life to go from young man to old man? But he claimed he was only 800, when the Seventh Doctor said he was 953, so how does that work?
The Doctor has no idea how old he is (how would he keep count?) and so he plucks a likely number from the air, whenever he's asked. He specifically mentions that he's lost track in The Day of the Doctor.
MATTHEW FOSTER asks: In Blink the four Weeping Angels are left facing each other after the TARDIS dematerialises. It is said that they would 'never move again'. But what if someone turned off the lights?
Eventually the bulb just failed, and in the darkness there was movement again. Where did they go? Look out of your window.
PETER KUREK asks: In Nightmare in Silver, we see all the Cybermen eliminated by Porridge, but in The Time of the Doctor, we saw an entire Cyberfleet return. How did they come back?
You need to watch the end of Nightmare again.
DAN ALPER asks: Who came up with naming Vastra, Jenny and Strax the 'Paternoster Gang' and is there a meaning behind the name?
It comes from Clayton Hickman's The Brilliant Book 2012. He opted for Paternoster Row as their address, and I liked the name, so started calling them Paternoster Gang.
GAVIN CHAPMAN-WOODS asks: How much of the lead actor's personality actually informs the personality of the Doctor?
Not so much their personality, as their acting instincts: with both Matt and Peter I tried to be led by them as much as possible. You don't hire acting talent like that, and then tell them how to act. The big note, really, is: own the show.
MATT COZENS asks: The Valeyard is an amalgamation of the Doctor's darker sides from between his Twelfth and final incarnations. However, with the introduction of the War Doctor, and also the fact of the metacrisis Doctor, where does that place the Valeyard now?
I'm not sure if I ever completely understood what the Valeyard was, so I don't know. By the way, that's not me criticising the Valeyard, I thought he was a really cool idea, and the enigma was intentional. I like not knowing, I think we probably never should.
HENRY MENDOZA asks: In Flatline, why did the Doctor's hair suddenly lose three inches in height while on board the TARDIS, before growing back again at the end of the episode?
Dimensional anomalies - hair is remarkably vulnerable to those phenomena. Oh, okay.
You know, Flatline was a wonderful surprise, for me and for Brian Minchin. Now there was a patchwork production. Most of it was show at the exact time as Mummy on the Orient Express, and then it felt like there were pick-ups for months afterwards. And then there were those wonderful effects, only available heart-stopping seconds before the deadline. But Jamie Mathieson's amazing script - and Douglas Mackinnon's fearless direction - pulled off something magical.
None of which changes the fact that at some point during the process, Peter Capaldi had a haircut.
CRAIG POTTER asks: If the phone call to the TARDIS in The Big Bang was from the same Orient Express, where was the Egyptian Goddess?
Ahh, that phone call was just to tempt the Doctor on board. Not exactly honest, bigging it up like crazy. You know how the holiday never matches to the brochure?
JOE MAIELLO asks: What do you think the odds of seeing a Doctor Who/Star Trek crossover would be? Even just a shot of the USS Enterprise in the background?
I'll do it in a heartbeat. Talk to the other lot.
JACOB LOCKETT asks: Do you think the Twelfth Doctor and Amy Pond would get along if they ever met?
***
AMY: Doctor!!
THE DOCTOR: Amy! It's me.
AMY: This is amazing! I never thought I'd see you again.
THE DOCTOR: It's me, the Doctor.
AMY: I know it's you. Why do you keep saying it's you?
THE DOCTOR: I change my face.
AMY: A bit, I suppose.
THE DOCTOR: I look completely different. I look older.
AMY: A bit older.
THE DOCTOR: A lot older. I'm mature, look at me. I have gravitas.
AMY: ... are you a magician now?
THE DOCTOR: I'm a completely different Doctor!
AMY: A bit different.
THE DOCTOR: Completely different.
AMY: Tell you what's good, though.
THE DOCTOR: Oh, fine, tell me! Tell me what's good, Pond!
AMY: You've managed to lose that accent.”
Bonus hour:
Quote:
“The idea of the Doctor wielding the banana throughout The Empty Child / The Doctor Dances was an unscripted bit of business added by Christopher Eccleston.”