1
00:00:06,464 --> 00:00:08,800
The Dance of the Dragons
is fully kicked off.

2
00:00:10,385 --> 00:00:12,971
Everything just feels
like it's times 10.

3
00:00:13,346 --> 00:00:15,140
It's like we grew the town.

4
00:00:16,391 --> 00:00:18,018
Well, Ryan said
to me at one time,

5
00:00:18,059 --> 00:00:20,186
"It's much more
'Games of Thrones-y'."

6
00:00:20,562 --> 00:00:22,313
-What am I allowed to say?
-(laughs)

7
00:00:22,313 --> 00:00:23,982
I've never eaten
so much Manchego.

8
00:00:23,982 --> 00:00:25,608
It gets messy.

9
00:00:25,650 --> 00:00:28,069
It's good to be
back in the saddle.

10
00:00:29,738 --> 00:00:32,741
(epic music playing)

11
00:00:50,383 --> 00:00:52,218
-(soundstage bell rings)
-crew member: Okay, guys,
we're rolling sound.

12
00:00:52,260 --> 00:00:53,511
Please be quiet.

13
00:00:54,095 --> 00:00:56,181
And... action!

14
00:00:59,017 --> 00:01:00,477
It's a bit of a dance, this.

15
00:01:00,518 --> 00:01:01,770
(laughter)

16
00:01:03,063 --> 00:01:04,480
-Woo!
-What the hell?

17
00:01:04,522 --> 00:01:05,522
Well...

18
00:01:05,940 --> 00:01:08,318
Whoa!
It's gonna get hot.

19
00:01:08,360 --> 00:01:10,153
It was wonderful
to see everyone.

20
00:01:10,195 --> 00:01:11,529
Nice to be back on set,

21
00:01:11,571 --> 00:01:13,531
to be aiming for something
that's bigger and better.

22
00:01:13,573 --> 00:01:14,866
Emma D'Arcy:
Feels good, you know?

23
00:01:14,866 --> 00:01:18,370
I work with such amazing
and beautiful people.

24
00:01:18,370 --> 00:01:21,039
Ugh, this is the best cast
that I've worked with.

25
00:01:21,081 --> 00:01:24,501
We're all such a unit.
I love them so much.

26
00:01:24,542 --> 00:01:26,002
-Is this BTS?
-crew member: Yes.

27
00:01:26,044 --> 00:01:28,713
-Hi. Welcome.
-(laughter)

28
00:01:29,047 --> 00:01:32,384
First day back
was like that summer
when you leave school

29
00:01:32,425 --> 00:01:34,719
and then you come back
and all the boys have got, like,

30
00:01:34,719 --> 00:01:36,262
trousers that don't
fit properly anymore,

31
00:01:36,304 --> 00:01:38,515
and all the girls are,
like, a foot taller.

32
00:01:38,556 --> 00:01:40,725
Just exactly like
being in "Harry Potter."

33
00:01:40,767 --> 00:01:43,603
And it is your
second year at school

34
00:01:43,645 --> 00:01:45,438
and you've got a better wand.

35
00:01:46,731 --> 00:01:48,733
It wasn't as if we'd
been away, really.

36
00:01:48,775 --> 00:01:51,777
It felt kind of like we'd had
a couple of weeks off.

37
00:01:51,820 --> 00:01:54,572
It's like ya never left.
You know, it's like coming home.

38
00:01:54,614 --> 00:01:56,408
'Cause you walk and you go,
"Yeah, this is my house.

39
00:01:56,449 --> 00:01:57,408
I know this place."

40
00:01:57,408 --> 00:01:58,743
Felt like a long time coming.

41
00:01:58,743 --> 00:02:00,745
It's been great to be
back with the gang.

42
00:02:00,787 --> 00:02:03,456
This is genuinely my favorite
cast I've ever worked with.

43
00:02:03,498 --> 00:02:05,917
♪♪

44
00:02:10,505 --> 00:02:12,382
Tom Glynn-Carney:
The scale of season two
has been

45
00:02:12,424 --> 00:02:15,093
above and beyond
my expectations, at least.

46
00:02:15,135 --> 00:02:18,054
Everything about it is massive.
It's like this room is massive.

47
00:02:18,096 --> 00:02:20,557
There's nothing
in it that's small

48
00:02:20,598 --> 00:02:24,269
apart from some nuanced acting,
which is nice and small.

49
00:02:24,269 --> 00:02:26,103
Your imagination
almost doesn't allow you

50
00:02:26,146 --> 00:02:28,440
to think a set
could be this big.

51
00:02:28,440 --> 00:02:30,316
Ewan Mitchell:
It's bigger, it's badder.

52
00:02:30,358 --> 00:02:31,609
We've got more dragons.

53
00:02:31,776 --> 00:02:34,571
We've just taken it
to a 10 in every department.

54
00:02:34,612 --> 00:02:35,822
Dragon!

55
00:02:35,864 --> 00:02:37,073
(roaring)

56
00:02:37,615 --> 00:02:40,076
Ryan Condal:
Yeah. It's massive.
We had two main units.

57
00:02:40,118 --> 00:02:42,495
So you're shooting two movies,
every day, all at the same time.

58
00:02:42,537 --> 00:02:44,956
Kevin De La Noy:
Oh, it's very similar
to a big film,

59
00:02:44,998 --> 00:02:48,626
but the fundamental difference
is there are five directors.

60
00:02:48,626 --> 00:02:51,129
Alan Taylor:
We've made the slightly crazy
but efficient choice

61
00:02:51,171 --> 00:02:52,464
to block shoot
the entire season,

62
00:02:52,505 --> 00:02:53,590
which means
we have two units

63
00:02:53,631 --> 00:02:55,175
shooting continuously,

64
00:02:55,216 --> 00:02:58,094
five different directing teams,
four different DPs.

65
00:02:58,136 --> 00:02:59,012
And that's how we started.

66
00:02:59,054 --> 00:03:00,472
Then, now,
we've got two units,

67
00:03:00,472 --> 00:03:02,599
plus a splinter unit,
plus an elements unit,

68
00:03:02,640 --> 00:03:03,975
and sometimes,
units are splitting into two

69
00:03:03,975 --> 00:03:05,226
to accomplish more things.

70
00:03:05,810 --> 00:03:08,813
My brain would short out
and I would just give up
trying to grasp it all.

71
00:03:08,813 --> 00:03:11,274
♪♪

72
00:03:11,816 --> 00:03:13,276
Danny Gulliver:
It's huge and it's just

73
00:03:13,318 --> 00:03:14,944
the level
and the scale of the sets,

74
00:03:14,986 --> 00:03:17,655
the number of crew,
the catering figures.

75
00:03:17,697 --> 00:03:21,534
There's no one unit
that seems to be having
a easy time of it.

76
00:03:21,576 --> 00:03:23,495
For me,
it's script beget plan,

77
00:03:23,536 --> 00:03:25,497
beget schedule, beget budget.

78
00:03:25,497 --> 00:03:27,832
When you work that system
and you have a collective,

79
00:03:27,832 --> 00:03:30,377
everybody is putting
every minute of every day

80
00:03:30,418 --> 00:03:32,671
into improving that narrative.

81
00:03:38,510 --> 00:03:41,471
♪♪

82
00:03:42,389 --> 00:03:43,682
Taylor: As a director,
you're not quite sure

83
00:03:43,723 --> 00:03:45,183
what you're going
to be handed,

84
00:03:45,183 --> 00:03:46,643
and you look for the things
and find the things

85
00:03:46,685 --> 00:03:48,395
that you know  are gonna
be personally satisfying.

86
00:03:48,436 --> 00:03:50,480
And I got to go back
to Winterfell.

87
00:03:50,522 --> 00:03:52,232
I didn't really ask why
'cause I was so happy to do it

88
00:03:52,273 --> 00:03:54,192
that I, (laughs)
I-I just went with it.

89
00:03:54,192 --> 00:03:56,194
Condal:
Hearing that music
and seeing Winterfell

90
00:03:56,236 --> 00:03:58,363
be revealed over the mountains
and then going to the Wall,

91
00:03:58,363 --> 00:03:59,698
it's hard not
to get emotional,

92
00:03:59,739 --> 00:04:01,825
even as a salty,
old veteran like me.

93
00:04:02,534 --> 00:04:05,537
Taylor: Walking on the Wall,
being surrounded by Starks,

94
00:04:05,537 --> 00:04:07,330
that was one
of the best moments.

95
00:04:07,372 --> 00:04:09,749
PJ Dillon:
It's such an iconic part
of this whole world.

96
00:04:09,791 --> 00:04:12,168
We definitely wanted
to be faithful to the look

97
00:04:12,210 --> 00:04:13,545
that had been
established there,

98
00:04:13,545 --> 00:04:14,838
but there are
differences as well.

99
00:04:14,879 --> 00:04:16,589
Like, the grade
for "House of the Dragon"

100
00:04:16,630 --> 00:04:18,507
is quite different
to the grade
for "Game of Thrones,"

101
00:04:18,550 --> 00:04:20,343
but you still want the fans to

102
00:04:20,385 --> 00:04:22,178
get that little buzz
of excitement as well

103
00:04:22,220 --> 00:04:23,888
that we get
from shooting it again.

104
00:04:25,098 --> 00:04:27,100
♪♪

105
00:04:31,229 --> 00:04:33,231
We definitely did not want
to reinvent the wheel

106
00:04:33,231 --> 00:04:35,025
with the Wall and Winterfell.

107
00:04:35,066 --> 00:04:38,278
That was such a sort of fond
memory for all the audience.

108
00:04:38,319 --> 00:04:39,738
We've tried to do justice to it

109
00:04:39,779 --> 00:04:42,073
and bring it back
as they remember it.

110
00:04:42,991 --> 00:04:44,784
So it had to have that
"Game of Thrones" look,

111
00:04:44,826 --> 00:04:47,203
and we went back to see
how they did it

112
00:04:47,245 --> 00:04:50,040
and get that feel
as closely as we could.

113
00:04:50,081 --> 00:04:54,085
That was necessary
to hold within the scriptures,
if you like. (laughs)

114
00:04:54,127 --> 00:04:56,254
Jim Clay:
Quite a part of that set,
actually, is digital,

115
00:04:56,254 --> 00:04:59,591
so we'd done all of those
drawings prior to shooting.

116
00:04:59,591 --> 00:05:02,052
The whole opening was
really heavily previs'd.

117
00:05:02,093 --> 00:05:03,887
You know, it's a huge wall.

118
00:05:03,928 --> 00:05:06,931
You need to make sure that
we kinda get a sense of that.

119
00:05:06,931 --> 00:05:09,309
And we do have some assets
that have been kept

120
00:05:09,351 --> 00:05:10,977
from "Game of Thrones"
that we can work with,

121
00:05:11,019 --> 00:05:12,979
but, of course,
you always develop on them.

122
00:05:13,772 --> 00:05:15,774
Visual effects
moves quite quickly.

123
00:05:16,608 --> 00:05:17,776
Dadi Einarsson:
There was the backlot set,

124
00:05:17,817 --> 00:05:19,319
which is up
on top of the Wall.

125
00:05:19,361 --> 00:05:20,987
It's so cleverly built,

126
00:05:21,029 --> 00:05:23,823
that most of what we're
seeing is just the sky

127
00:05:23,865 --> 00:05:26,409
until you go out on
the kind of outlook pieces

128
00:05:26,451 --> 00:05:28,745
and then that
becomes our world.

129
00:05:28,787 --> 00:05:30,747
It's a pretty contained set
once we're in it,

130
00:05:30,789 --> 00:05:31,998
from a dramatic point of view.

131
00:05:32,040 --> 00:05:33,500
You know, we're adding
the Northern view,

132
00:05:33,541 --> 00:05:36,795
which, you know,
we all, we all love and fear.

133
00:05:36,836 --> 00:05:38,713
What does it keep out?

134
00:05:39,464 --> 00:05:40,465
Death.

135
00:05:41,216 --> 00:05:44,094
To get it right was important,
so we used all the references

136
00:05:44,135 --> 00:05:46,429
that we could
from the original build.

137
00:05:46,429 --> 00:05:48,640
We thought we'd try
and give it what it deserved

138
00:05:48,682 --> 00:05:51,810
in givin' it an icy feel to it,
which we did with wax.

139
00:05:51,851 --> 00:05:55,313
Harry Collett:
It's amazing how much
fake snow and stuff

140
00:05:55,355 --> 00:05:57,691
can really make you
get in the mood for it.

141
00:05:57,732 --> 00:05:59,818
There was a couple of times
where me and Tom,

142
00:05:59,859 --> 00:06:01,695
who plays Cregan,
were trying to do our lines

143
00:06:01,736 --> 00:06:04,489
and, you know, you just get
a couple of snow up the nose

144
00:06:04,489 --> 00:06:06,825
(laughing) 'cause it's
just snow everywhere.

145
00:06:07,909 --> 00:06:10,161
Mike Dawson:
I wanted my snow
to be a little bit whiter

146
00:06:10,161 --> 00:06:12,497
because their wall is older.

147
00:06:12,497 --> 00:06:14,040
So, I wanted it to be newer.

148
00:06:14,082 --> 00:06:16,668
You have to stipulate like,
"I want icicles,

149
00:06:16,668 --> 00:06:18,211
I want bit there
and a bit there,"

150
00:06:18,253 --> 00:06:20,672
and you go down
and tweak it durin' the day.

151
00:06:20,672 --> 00:06:22,007
And then we will
dress it with, like--

152
00:06:22,048 --> 00:06:23,758
make it sparkly
and all that kinda stuff.

153
00:06:24,509 --> 00:06:26,511
Paddy Connolly:
What we have
on the van there is

154
00:06:26,553 --> 00:06:29,014
a Krendl that's an agitator.

155
00:06:29,014 --> 00:06:30,473
So we put
the product in there,

156
00:06:30,473 --> 00:06:32,475
the agitator kinda
breaks it up and stuff for us.

157
00:06:32,517 --> 00:06:33,727
Got a water tank

158
00:06:33,768 --> 00:06:36,021
that pumps the water down
to this nozzle here.

159
00:06:36,021 --> 00:06:37,856
Paper will come
through then as well.

160
00:06:38,189 --> 00:06:39,733
Test the water.

161
00:06:40,275 --> 00:06:41,317
Good.

162
00:06:41,359 --> 00:06:43,528
So we got a 300-liter drum,

163
00:06:43,570 --> 00:06:47,073
tanks there as well
that we use, so.

164
00:06:47,115 --> 00:06:48,491
We'll probably use
one or two of them,

165
00:06:48,533 --> 00:06:50,534
depending on how
big the dress is.

166
00:06:56,707 --> 00:06:58,543
♪♪

167
00:06:59,878 --> 00:07:02,339
Dominic Masters:
The main changes really
have been different people

168
00:07:02,380 --> 00:07:03,548
have moved
into different spaces

169
00:07:03,590 --> 00:07:04,924
with the change of regime.

170
00:07:04,966 --> 00:07:06,217
There was a thinking in how

171
00:07:06,217 --> 00:07:07,385
we distribute
those apartments.

172
00:07:07,385 --> 00:07:09,679
Obviously, when Helaena
became the Queen,

173
00:07:09,721 --> 00:07:11,514
she would inherit
the Queen's apartments.

174
00:07:11,890 --> 00:07:15,226
When it was Alicent's reign,
it was quite monastic

175
00:07:15,268 --> 00:07:17,604
and minimal
to support her character.

176
00:07:17,645 --> 00:07:20,231
And now, Helaena,
who is much more dreamlike

177
00:07:20,231 --> 00:07:21,858
and of the natural world,

178
00:07:21,900 --> 00:07:23,610
has actually scrawled

179
00:07:23,651 --> 00:07:26,237
what we could respectfully
call "graffiti" on the walls

180
00:07:26,279 --> 00:07:29,240
to illustrate her thoughts,
her thinking process.

181
00:07:29,240 --> 00:07:31,242
Just as any writer or artist

182
00:07:31,284 --> 00:07:33,912
might make notes in a book
or a sketchbook.

183
00:07:38,582 --> 00:07:40,543
Condal:
Helaena sees and perceives
the world in a different way

184
00:07:40,585 --> 00:07:42,295
and cultivates
different things

185
00:07:42,337 --> 00:07:44,923
out of day-to-day interaction
than perhaps you and I would.

186
00:07:44,964 --> 00:07:48,551
She has graffitied her walls
with her dreams,

187
00:07:48,593 --> 00:07:49,803
and we think it really
imbued the place

188
00:07:49,844 --> 00:07:52,263
with a great deal
of character for her.

189
00:07:52,305 --> 00:07:54,224
Claire Nia Richards:
Helaena was fantastic.

190
00:07:54,265 --> 00:07:56,226
Her character was engaging.

191
00:07:56,267 --> 00:07:58,144
You know, the fact
that her anxiety

192
00:07:58,186 --> 00:08:00,939
and her walls
of graffiti and graphics

193
00:08:00,939 --> 00:08:04,275
sort of exposes the life
that she's going through

194
00:08:04,275 --> 00:08:07,112
and her only way of escapism.

195
00:08:09,698 --> 00:08:12,784
I introduced these
really beautiful cabinets,

196
00:08:12,784 --> 00:08:14,244
which I bought
in India, actually,

197
00:08:14,285 --> 00:08:16,079
they were high up
in this kind of, like, room

198
00:08:16,121 --> 00:08:18,832
that I wasn't allowed to go to,
covered in dust and dirt.

199
00:08:18,873 --> 00:08:20,792
And the people were saying,
"You can't go up there."

200
00:08:20,834 --> 00:08:24,587
And I was like,
"I've spotted four of these
cabinets, and I want them."

201
00:08:25,130 --> 00:08:27,257
When you tilt them open,
they're really pretty

202
00:08:27,298 --> 00:08:29,801
with all the lovely
butterflies and insects.

203
00:08:29,843 --> 00:08:31,469
Just so many insects.

204
00:08:31,469 --> 00:08:33,346
I got to work
with these crickets

205
00:08:33,388 --> 00:08:34,931
in these little
wooden cages.

206
00:08:34,972 --> 00:08:38,143
They were making quite
a few escapes, actually,

207
00:08:38,143 --> 00:08:39,519
which was quite fun.

208
00:08:39,561 --> 00:08:40,937
Just loads of embroidery,

209
00:08:40,979 --> 00:08:43,815
like, so many spiders
and owls and bats

210
00:08:43,857 --> 00:08:46,860
and kind of just
creepy, cool Helaena things.

211
00:08:46,901 --> 00:08:49,195
♪♪

212
00:08:49,863 --> 00:08:52,991
We had this dilemma,
well, where do we place Alicent?

213
00:08:52,991 --> 00:08:56,327
And it seemed that there
was a kind of nice irony

214
00:08:56,327 --> 00:08:58,997
that she would end up
in Rhaenyra's apartment.

215
00:08:59,539 --> 00:09:02,000
Olivia Cooke:
Interesting scene
as that's where

216
00:09:02,000 --> 00:09:03,376
Rhaenyra lost her virginity.

217
00:09:03,418 --> 00:09:05,170
And then that's where
she's having sex with Cole.

218
00:09:05,211 --> 00:09:07,505
They both had sex with Cole
in the same room.

219
00:09:07,505 --> 00:09:08,882
(laughing)

220
00:09:09,716 --> 00:09:12,344
Ah, sweet irony.
It's all very, very messy.

221
00:09:12,385 --> 00:09:14,637
The Red Keep is
a very incestuous place.

222
00:09:15,013 --> 00:09:18,475
The Princess Rhaenyra
is brazen and relentless,

223
00:09:18,475 --> 00:09:22,562
a spider who stings
and sucks her prey dry.

224
00:09:22,604 --> 00:09:24,230
Clay:
We changed a little bit
of the furniture,

225
00:09:24,272 --> 00:09:27,317
but we wanted it to be apparent
there was a constant memory

226
00:09:27,317 --> 00:09:29,402
of Rhaenyra
being in this room,

227
00:09:29,444 --> 00:09:31,488
so we kept the architecture

228
00:09:31,529 --> 00:09:33,365
and the position of furniture.

229
00:09:36,534 --> 00:09:38,203
In Aegon's apartment,

230
00:09:38,203 --> 00:09:40,372
we decided that that would
pretty much stay the same.

231
00:09:40,413 --> 00:09:43,708
He wasn't the man
who was interested
in decoration or furniture,

232
00:09:43,750 --> 00:09:45,710
so he just moved in.

233
00:09:46,628 --> 00:09:49,923
Cooke: Gone are all
the histories and books

234
00:09:49,964 --> 00:09:52,717
because Aegon thinks
he doesn't need that.

235
00:09:52,759 --> 00:09:56,638
Him wearing the crown
is enough for him to rule.

236
00:09:57,555 --> 00:09:59,265
There is a new sheriff in town,

237
00:09:59,307 --> 00:10:04,062
and Aegon's reign as king
is very different than Viserys,

238
00:10:04,104 --> 00:10:07,023
and the way that
Viserys obsessed about
history and legacy

239
00:10:07,065 --> 00:10:09,901
is not something
that is on Aegon's mind.

240
00:10:10,652 --> 00:10:12,654
♪♪

241
00:10:14,823 --> 00:10:16,449
-Your Grace.
-Good day.

242
00:10:16,491 --> 00:10:19,244
Because, in the Council Chamber,
most of the camera angles

243
00:10:19,285 --> 00:10:21,037
are looking towards
the big window,

244
00:10:21,079 --> 00:10:22,372
looking out
across the view,

245
00:10:22,414 --> 00:10:23,707
we ended up, first season,

246
00:10:23,748 --> 00:10:24,916
with a lot of visual effects,

247
00:10:24,916 --> 00:10:26,376
which, obviously,
is very costly,

248
00:10:26,418 --> 00:10:28,920
so we decided to go
a slightly old-fashioned route

249
00:10:28,920 --> 00:10:31,423
and put a scenically painted
backing in there

250
00:10:31,423 --> 00:10:34,259
by this brilliant artist
called Steve Mitchell.

251
00:10:34,259 --> 00:10:36,428
And if you go
right up close to it,

252
00:10:36,428 --> 00:10:39,389
it seems to be
just a blur of splodges.

253
00:10:39,431 --> 00:10:41,558
And then when you step back
to where the camera is,

254
00:10:41,599 --> 00:10:43,101
it just comes into focus

255
00:10:43,101 --> 00:10:45,103
as a view across
King's Landing.

256
00:10:45,145 --> 00:10:47,063
It's a technique that's
been used for many years,

257
00:10:47,105 --> 00:10:50,316
and it's persuading people
that it's still a good way

258
00:10:50,358 --> 00:10:53,111
to do a in-camera view
out of a window.

259
00:10:54,446 --> 00:10:55,905
Condal:
A lot of times in the series,

260
00:10:55,947 --> 00:10:57,615
we're looking at maps
as top shots

261
00:10:57,657 --> 00:10:58,658
looking down at the table,

262
00:10:58,700 --> 00:11:00,118
and often,
because of that,

263
00:11:00,160 --> 00:11:02,120
they don't get serviced,
in a way.

264
00:11:02,120 --> 00:11:04,456
We just thought it was
interesting to see the map

265
00:11:04,497 --> 00:11:06,958
in a y-axis space
versus an x-axis space.

266
00:11:06,958 --> 00:11:09,669
So it was just a more
interesting visual way
to dramatize the war

267
00:11:09,711 --> 00:11:11,838
and got people up
and moving around a bit.

268
00:11:11,880 --> 00:11:14,257
Those council sessions
can be challenging to shoot

269
00:11:14,299 --> 00:11:17,010
because everybody's
sitting down, sipping wine.

270
00:11:17,052 --> 00:11:19,304
(indistinct chatter)

271
00:11:19,304 --> 00:11:21,806
♪♪

272
00:11:21,806 --> 00:11:24,476
Ellie Murphy:
I was trying to pitch
that the map that

273
00:11:24,476 --> 00:11:26,811
Otto Hightower brings
in the Small Council Chamber

274
00:11:26,853 --> 00:11:28,480
is something
that sits on the table

275
00:11:28,521 --> 00:11:30,273
and is potentially
being put together

276
00:11:30,315 --> 00:11:31,858
as, like, pieces of ivory.

277
00:11:31,900 --> 00:11:33,818
And the first time
I showed it to Ryan,

278
00:11:33,818 --> 00:11:35,612
his initial reaction was,
"Yes, I love it,

279
00:11:35,653 --> 00:11:39,157
but, please, can you make it
like World War II map?"

280
00:11:39,157 --> 00:11:40,825
We've had our concept artist
working on making it

281
00:11:40,867 --> 00:11:42,118
a standing-up map.

282
00:11:42,160 --> 00:11:43,953
All of these areas of Westeros

283
00:11:43,995 --> 00:11:47,457
are gonna be split
into separate sets of ivory
based on, like,

284
00:11:47,499 --> 00:11:50,669
the geographical
elements of Westeros.

285
00:11:52,003 --> 00:11:53,505
They expect to march quickly,

286
00:11:53,546 --> 00:11:55,632
meeting little resistance
until they reach

287
00:11:55,674 --> 00:11:56,966
the Riverlands.

288
00:11:57,008 --> 00:11:58,802
♪♪

289
00:11:58,843 --> 00:12:02,013
We just talked a little bit,
the early days of design,

290
00:12:02,055 --> 00:12:03,682
had a little input,
and then she did

291
00:12:03,723 --> 00:12:05,642
a beautiful job
of evolving that

292
00:12:05,684 --> 00:12:08,895
and made it into
the stunning piece that it is.

293
00:12:08,937 --> 00:12:10,855
Lee Wiseman:
It's an amazing bit
of dressing.

294
00:12:10,897 --> 00:12:12,982
It's an amazing action prop
is what it actually is,

295
00:12:13,024 --> 00:12:15,235
biggest one that Ellie
or I have been involved in.

296
00:12:15,276 --> 00:12:17,362
Logistically,
there's a lotta times
it has to move

297
00:12:17,362 --> 00:12:18,905
and there's a lotta manpower
involved in doin' it.

298
00:12:18,947 --> 00:12:20,532
It was a lump.

299
00:12:20,532 --> 00:12:22,951
It was made for real
and it was very heavy.

300
00:12:24,953 --> 00:12:26,955
♪♪

301
00:12:31,793 --> 00:12:34,838
De La Noy:
The Red Keep had
a 400% extension.

302
00:12:34,879 --> 00:12:37,048
The general consensus was,
from legacy players,

303
00:12:37,090 --> 00:12:38,550
the courtyard was small.

304
00:12:40,635 --> 00:12:44,764
The number of scenes,
season one didn't justify
that scale of build,

305
00:12:44,806 --> 00:12:46,558
so this season,
we've been able to do it

306
00:12:46,599 --> 00:12:49,519
and it links directly into
the King's Landing streets,

307
00:12:49,561 --> 00:12:51,896
which we had done
digitally last year.

308
00:12:53,648 --> 00:12:56,359
And it's really given
scale and depth

309
00:12:56,401 --> 00:12:57,694
to that run of street.

310
00:12:57,736 --> 00:13:00,363
One of the magical things
about Jim's sets

311
00:13:00,405 --> 00:13:01,573
is that once you're on them,

312
00:13:01,614 --> 00:13:02,907
you can forget
you're on a set.

313
00:13:02,949 --> 00:13:04,576
You can walk around
for a good 10 minutes

314
00:13:04,617 --> 00:13:07,245
before you see
a scaffolding tube.

315
00:13:07,245 --> 00:13:09,914
It makes it possible
to do so much

316
00:13:09,914 --> 00:13:12,250
without mounting
the incredible costs

317
00:13:12,292 --> 00:13:13,960
that come along
with filming on location.

318
00:13:14,002 --> 00:13:16,254
♪♪

319
00:13:16,296 --> 00:13:18,423
Clay:
So far, we've done
our King's Landing scenes

320
00:13:18,423 --> 00:13:22,927
in a beautiful medieval town
in Spain called Cáceres.

321
00:13:22,969 --> 00:13:24,721
Condal:
The problem with shooting
in beautiful cities

322
00:13:24,763 --> 00:13:25,930
like Cáceres and Trujillo

323
00:13:25,972 --> 00:13:27,307
is these are
World Heritage Sites,

324
00:13:27,349 --> 00:13:28,933
so you can't throw
horse crap

325
00:13:28,975 --> 00:13:31,770
and mud all over the street
and set things on fire.

326
00:13:31,811 --> 00:13:33,146
If you wanna do
that kind of thing,

327
00:13:33,188 --> 00:13:34,314
you have to build your set.

328
00:13:34,356 --> 00:13:35,899
So, what we did this year
is we expanded

329
00:13:35,940 --> 00:13:37,776
our King's Landing
backlot set.

330
00:13:37,817 --> 00:13:39,778
(laughs)
Nice.

331
00:13:41,279 --> 00:13:43,073
Clay:
It had been my ambition
on this season

332
00:13:43,114 --> 00:13:45,116
to build part
of King's Landing,

333
00:13:45,116 --> 00:13:46,910
so the point was to make it

334
00:13:46,951 --> 00:13:49,454
seamlessly connect
to the real place.

335
00:13:49,454 --> 00:13:52,332
Hopefully, we've done that
with the look and the style.

336
00:13:57,629 --> 00:14:00,632
I'm told you bear
a mislike for the Hightowers.

337
00:14:00,632 --> 00:14:02,592
Fuck the Hightowers.

338
00:14:02,634 --> 00:14:04,260
Condal:
The boldest thing that
I think we did there

339
00:14:04,302 --> 00:14:06,638
was decide to give the last
10 minutes of the episode

340
00:14:06,680 --> 00:14:08,932
over to these two characters
that we had never met before.

341
00:14:09,641 --> 00:14:11,685
Knowing that you're watching
"Game of Thrones"

342
00:14:11,726 --> 00:14:13,353
and you don't know what
is going to come from you,

343
00:14:13,395 --> 00:14:14,813
from where,
hopefully, is the fun

344
00:14:14,854 --> 00:14:16,189
and the, and the horror

345
00:14:16,231 --> 00:14:17,816
for the audience
that's yet to come.

346
00:14:18,650 --> 00:14:20,026
I was also given
to understand

347
00:14:20,068 --> 00:14:22,654
that you possess a unique
knowledge of the Red Keep.

348
00:14:22,696 --> 00:14:26,366
Maegor's tunnels.
Great big rat's nest, it is.

349
00:14:27,867 --> 00:14:29,828
I know them better than
the shape of my own co--

350
00:14:29,828 --> 00:14:31,454
♪♪

351
00:14:31,496 --> 00:14:33,331
Philippa Goslett:
We have all these
monumental sets.

352
00:14:33,331 --> 00:14:35,834
We have Dragonstone,
we've got the Red Keep,

353
00:14:35,875 --> 00:14:37,627
and we've got Driftmark.

354
00:14:37,669 --> 00:14:42,007
But the most intense reaction
the crew had to a set

355
00:14:42,048 --> 00:14:44,968
was when we shot the sewer
for "Blood and Cheese."

356
00:14:45,010 --> 00:14:46,553
I'd never really thought
about Maegor's tunnels,

357
00:14:46,594 --> 00:14:48,972
but we had to explore them,
we had to represent them.

358
00:14:49,014 --> 00:14:51,516
Jim Clay did an amazing job
of building some mini sets,

359
00:14:51,558 --> 00:14:54,185
and then sort of
incorporating into the larger
set of the Red Keep.

360
00:14:54,185 --> 00:14:56,646
Clay:
It's always great to do
a sewer for an art department.

361
00:14:56,688 --> 00:14:58,648
Mike Dawson
put in the water

362
00:14:58,690 --> 00:15:01,693
and it was absolutely flowing
like a mad river.

363
00:15:01,735 --> 00:15:03,403
Dawson:
The sewer is probably
my favorite set,

364
00:15:03,445 --> 00:15:05,989
my easiest set,
the prettiest set, I think.

365
00:15:06,031 --> 00:15:07,198
I know it's a sewer.

366
00:15:07,198 --> 00:15:09,701
We wanna delay
that first fluid dump, mate,

367
00:15:09,743 --> 00:15:11,745
just until they're
slightly deeper in there.

368
00:15:13,705 --> 00:15:15,373
Dawson:
We didn't get much
of a brief on that.

369
00:15:15,415 --> 00:15:17,542
They were just plowing
through the water and I thought,

370
00:15:17,542 --> 00:15:19,878
"I'm gonna go
to town on this."

371
00:15:19,919 --> 00:15:21,254
Condal:
They're all mad men.

372
00:15:21,296 --> 00:15:23,048
It was incredible
and kind of horrible.

373
00:15:23,048 --> 00:15:26,176
A medieval sewer.
I can imagine better places
to spend time.

374
00:15:26,217 --> 00:15:28,219
♪♪

375
00:15:30,430 --> 00:15:33,433
Dawson: We were like,
"How are we gonna build
this tank effectively,

376
00:15:33,475 --> 00:15:35,226
quickly, portable?"

377
00:15:35,268 --> 00:15:38,897
So, we ended up
buying these concrete blocks
that slot together

378
00:15:38,938 --> 00:15:41,066
and we built up
a wall around it.

379
00:15:41,107 --> 00:15:44,402
We designed it so that
we had big pumps on one end

380
00:15:44,402 --> 00:15:46,613
makin' a flow down
through the canal.

381
00:15:46,654 --> 00:15:48,865
And then I put in tip tanks,

382
00:15:48,907 --> 00:15:50,742
so it looks like people
are flushing water down.

383
00:15:50,784 --> 00:15:53,578
And there was multiple layers,
so you get, like, cascades.

384
00:15:53,578 --> 00:15:56,247
Then we opened it up
for Malcolm to come in
with all these guys,

385
00:15:56,289 --> 00:15:57,374
and they built on top of it.

386
00:15:57,415 --> 00:15:58,792
We didn't have
one single leak.

387
00:15:58,833 --> 00:16:01,753
Which is very unusual
for any tank anywhere.

388
00:16:01,753 --> 00:16:04,089
That's massive,
fully functioning pumps

389
00:16:04,130 --> 00:16:05,465
in there turnin'
the water around.

390
00:16:05,507 --> 00:16:07,425
It actually recycled water.

391
00:16:07,425 --> 00:16:10,095
They brought the tank in,
then we built the set inside

392
00:16:10,095 --> 00:16:13,264
using the tunnel
from season one
with the water.

393
00:16:13,264 --> 00:16:15,475
The way the special effects
done their side of it,

394
00:16:15,517 --> 00:16:17,268
it looked fantastic.

395
00:16:17,268 --> 00:16:18,895
Dawson:
I remember turning it on
for the first time

396
00:16:18,937 --> 00:16:21,439
and everything was working
really, really good.

397
00:16:21,481 --> 00:16:24,192
And I thought,
"I'm gonna get
a gold star here."

398
00:16:25,193 --> 00:16:27,946
I called Alan up and said,
"Would you like to come
and see it?"

399
00:16:27,946 --> 00:16:30,115
And he just walked in.
He went, "Ooh..."

400
00:16:31,032 --> 00:16:33,576
And that was good.

401
00:16:33,618 --> 00:16:35,620
And then,
the production office
rang me up and they said,

402
00:16:35,620 --> 00:16:37,497
"Oh, can we come
and see the sewer set?"

403
00:16:37,539 --> 00:16:39,665
So we was turning it on
for, like, a guided tour.

404
00:16:39,708 --> 00:16:40,959
I think we were taking
more people in it

405
00:16:40,959 --> 00:16:42,669
than the "Harry Potter"
tour at one point.

406
00:16:42,711 --> 00:16:43,712
I was really thrilled.

407
00:16:44,796 --> 00:16:47,799
We're shooting right here
for the, um, sewer entrance.

408
00:16:47,841 --> 00:16:49,843
♪♪

409
00:16:53,722 --> 00:16:55,265
Sam C. Wilson:
I mean, when they said,
"You're in a sewer,"

410
00:16:55,306 --> 00:16:57,267
I thought,
"Okay, I'm gonna
be up to here

411
00:16:57,308 --> 00:16:59,477
"in a swimming pool,
and there'll be green screens

412
00:16:59,519 --> 00:17:01,479
all around me,
and they'll get it done."

413
00:17:01,521 --> 00:17:04,607
And then I get there,
and they've built a sewer.

414
00:17:04,983 --> 00:17:07,652
Mark Stobbart:
The water's waist-high,
carrying a dog and a torch.

415
00:17:07,694 --> 00:17:11,156
It's like, we're in a hangar
20 minutes from where I live.

416
00:17:11,156 --> 00:17:13,616
And here I am at the Red Keep.
Yeah. It's just-- It's bonkers.

417
00:17:14,159 --> 00:17:16,828
Okay, send the, uh,
water, please, Tommy.

418
00:17:16,869 --> 00:17:19,164
Taylor:
I think PJ was excited
about doing these big spaces

419
00:17:19,204 --> 00:17:20,790
lit only by a torch.

420
00:17:20,832 --> 00:17:22,166
You know, we all watched
"The Third Man" again

421
00:17:22,166 --> 00:17:23,376
'cause anybody who
shoots in a tunnel

422
00:17:23,417 --> 00:17:24,669
has to go back
and watch "The Third Man."

423
00:17:24,669 --> 00:17:26,128
It was great imagery,
I think.

424
00:17:26,171 --> 00:17:27,213
Dillon:
That was a lot of fun.

425
00:17:27,255 --> 00:17:28,798
We got to chase these two guys,

426
00:17:28,840 --> 00:17:30,050
follow these two guys,

427
00:17:30,091 --> 00:17:32,177
lead these two guys
through all these spaces,

428
00:17:32,218 --> 00:17:35,221
tramping through a sewer
with running sewer water

429
00:17:35,263 --> 00:17:38,308
and see parts of the Red Keep
we'd never seen before.

430
00:17:38,350 --> 00:17:39,851
It's just a DP's dream.

431
00:17:39,893 --> 00:17:41,353
Sean Savage:
The design team on this

432
00:17:41,353 --> 00:17:43,021
have just
surpassed themselves.

433
00:17:43,063 --> 00:17:45,023
We rarely double up on angles

434
00:17:45,065 --> 00:17:47,734
because of the opportunities
this set gives us.

435
00:17:49,611 --> 00:17:52,197
Dillon:
Because their mission
is about subterfuge.

436
00:17:52,238 --> 00:17:53,698
They're trying to be secret,

437
00:17:53,698 --> 00:17:55,325
but, obviously,
the castle is dark

438
00:17:55,367 --> 00:17:56,659
and the space they're
going through is dark,

439
00:17:56,701 --> 00:17:57,994
so they're
carrying the torch.

440
00:17:58,036 --> 00:18:01,706
The interplay of the firelight
bouncing off walls

441
00:18:01,706 --> 00:18:02,916
makes it really magical.

442
00:18:02,957 --> 00:18:04,209
I really wanted
to lean into that,

443
00:18:04,209 --> 00:18:06,544
so we kept the lighting
of the set itself

444
00:18:06,544 --> 00:18:08,213
to a bare minimum,

445
00:18:08,254 --> 00:18:10,382
so that as they move
through spaces,

446
00:18:10,382 --> 00:18:12,592
you had a sense that you
were moving through the space.

447
00:18:12,634 --> 00:18:15,095
You never had
a sense that you knew
where they were heading.

448
00:18:15,136 --> 00:18:18,056
You were discovering
where they were going
as they discovered it.

449
00:18:18,056 --> 00:18:19,933
Wilson:
In terms of getting
into character,

450
00:18:19,974 --> 00:18:21,518
you don't really
have to do very much.

451
00:18:21,559 --> 00:18:23,728
I don't have to say to myself,
"Okay, you're in a castle.

452
00:18:23,728 --> 00:18:25,730
Deliver--"
Like, all that's done.

453
00:18:27,899 --> 00:18:30,902
-We need to get our head
and get out.
-(Helaena grunting)

454
00:18:30,902 --> 00:18:33,238
We had to just not think
of it as, like,

455
00:18:33,238 --> 00:18:36,783
we're going into film the most,
like, horrifying thing.

456
00:18:36,825 --> 00:18:40,036
Another heartwarming moment
from George R. R. Martin,
everybody.

457
00:18:40,078 --> 00:18:43,331
♪♪

458
00:18:43,581 --> 00:18:46,793
This shot involved
a lot of different methods

459
00:18:46,835 --> 00:18:50,046
of moving the camera,
going backwards at speed,

460
00:18:50,088 --> 00:18:52,257
up and down stairs,
spinning around,

461
00:18:52,257 --> 00:18:54,050
trying to capture
the performance

462
00:18:54,092 --> 00:18:55,802
from fear at the same time.

463
00:18:55,844 --> 00:18:57,721
Yeah, this certainly
had its challenges.

464
00:18:58,430 --> 00:19:00,223
And by the time we come around,
we want him to be that--

465
00:19:00,265 --> 00:19:01,766
that far away from us.

466
00:19:01,766 --> 00:19:03,268
So she's going
faster and faster.

467
00:19:03,309 --> 00:19:05,437
So when we come around,
she's, you know--

468
00:19:05,478 --> 00:19:06,438
we're seeing her
head to toe there.

469
00:19:06,438 --> 00:19:07,439
She's-- We're--
She's getting--

470
00:19:07,480 --> 00:19:08,732
She's going
faster than us.

471
00:19:08,773 --> 00:19:10,400
-Yes.
-And we want it
to be believable.

472
00:19:10,442 --> 00:19:12,277
Then when we come around here
and she's that far away from us.

473
00:19:12,318 --> 00:19:13,570
crew member:
Yeah.

474
00:19:13,611 --> 00:19:15,113
Iain Mackay:
SFX did an amazing job

475
00:19:15,113 --> 00:19:17,282
making it look
very atmospheric

476
00:19:17,282 --> 00:19:19,784
with all the rain
and the wind inside the stage.

477
00:19:21,786 --> 00:19:23,747
We got 10,000 liters
of water sittin' outside,

478
00:19:23,788 --> 00:19:25,832
ready to pump into the stage.

479
00:19:28,209 --> 00:19:30,670
We have to make sure
that the landing area

480
00:19:30,712 --> 00:19:32,255
for the water is sealed.

481
00:19:32,297 --> 00:19:33,757
We've got a membrane down,

482
00:19:33,798 --> 00:19:35,175
we've got some
sort of management

483
00:19:35,216 --> 00:19:36,760
so we can get some pumps in.

484
00:19:36,801 --> 00:19:38,261
And then, ultimately,
it just comes down

485
00:19:38,303 --> 00:19:40,013
to a lotta squeegees,

486
00:19:40,055 --> 00:19:43,350
a lotta labor, and some pumps
just pumpin' it out the door.

487
00:19:44,684 --> 00:19:46,853
It's a small piece
of a large puzzle.

488
00:19:46,895 --> 00:19:48,271
I think it's gonna look epic.

489
00:19:48,980 --> 00:19:50,648
Condal:
That journey at the end
of episode one,

490
00:19:50,648 --> 00:19:53,443
it's my hope that that
kind of lives in infamy

491
00:19:53,485 --> 00:19:55,278
through "House of the Dragon"
and its legacy.

492
00:19:55,320 --> 00:19:57,489
♪♪