1
00:00:05,005 --> 00:00:06,965
♪♪

2
00:00:06,965 --> 00:00:08,717
This is an epic scene.

3
00:00:10,176 --> 00:00:13,513
Jim Clay is a mad man
of all the best kinds.

4
00:00:13,555 --> 00:00:15,015
Oh, I couldn't wait, to be fair.

5
00:00:15,056 --> 00:00:16,975
♪♪

6
00:00:16,975 --> 00:00:19,728
She's badass.
Why wouldn't you
have a crossbow?

7
00:00:20,395 --> 00:00:22,188
-It was a funeral.
-(laughter)

8
00:00:22,230 --> 00:00:23,565
But I had so much fun.

9
00:00:24,190 --> 00:00:25,817
That's a shot.

10
00:00:25,859 --> 00:00:27,861
I just had the best
seats in the house.

11
00:00:28,528 --> 00:00:31,531
(epic music playing)

12
00:00:47,881 --> 00:00:51,092
(light, tense music playing)

13
00:00:54,429 --> 00:00:57,807
Clare Kilner:
I wanted to make the opening
of the episode chaotic

14
00:00:57,849 --> 00:01:01,311
and unfair and violent.

15
00:01:01,353 --> 00:01:06,191
Because I felt everyone
was blinded by the rage.

16
00:01:06,191 --> 00:01:11,071
I also wanted to intercut it
with Aegon smashing up

17
00:01:11,112 --> 00:01:14,199
Viserys's model
of Old Valyria.

18
00:01:14,199 --> 00:01:16,201
♪♪

19
00:01:20,372 --> 00:01:22,039
We shot a lot of that
model in season one.

20
00:01:22,039 --> 00:01:23,541
crew member:
And action.

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00:01:24,125 --> 00:01:26,211
The Lady Alicent Hightower,
Your Grace.

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00:01:27,545 --> 00:01:29,547
Alejandro Martínez:
It was a beautiful, huge model

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00:01:29,547 --> 00:01:31,716
that took half
of the king's apartment.

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00:01:31,758 --> 00:01:33,718
It's truly wondrous
what you've built.

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00:01:33,718 --> 00:01:35,553
Martínez:
But it was so nice
and so beautiful

26
00:01:35,595 --> 00:01:37,430
that it was just
big part of the room,

27
00:01:37,472 --> 00:01:39,473
so we got to destroy it...

28
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and it was really fun.

29
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The good news is, they made
a stunt version that was

30
00:01:46,146 --> 00:01:48,108
specifically for smashing,
so the,

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00:01:48,149 --> 00:01:51,485
the beautiful Valyrian
model is still intact.

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00:01:54,739 --> 00:01:56,574
Kilner:
The incredible props people

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00:01:56,616 --> 00:02:00,578
made these, like,
3D-printed extra ones

34
00:02:00,620 --> 00:02:02,539
that would look real
when we smashed,

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00:02:02,580 --> 00:02:06,292
and that we could have
the sort of powder of it
into the air.

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00:02:06,334 --> 00:02:08,752
Katie Lodge:
Has to be made out
of really light material.

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00:02:08,794 --> 00:02:10,714
And that's, obviously,
when our mold team

38
00:02:10,755 --> 00:02:12,757
and, um, all their knowledge
come into play there

39
00:02:12,757 --> 00:02:14,426
and they give us--
and they do a few tests

40
00:02:14,467 --> 00:02:16,761
and we do some smashes,
and we just make sure that

41
00:02:16,803 --> 00:02:18,763
we've got the look
that they want.

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00:02:20,265 --> 00:02:22,767
Kilner:
The actual 3D models
are really expensive,

43
00:02:22,767 --> 00:02:25,645
so we couldn't have
many shots of it.

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00:02:25,687 --> 00:02:29,315
So I said,
"Okay, Tom, you know,
let's do this in one."

45
00:02:29,357 --> 00:02:30,358
crew member:
Action!

46
00:02:32,652 --> 00:02:34,320
(yells)
I'll kill them!

47
00:02:34,362 --> 00:02:36,656
Tom Glynn-Carney:
I had extreme pangs
of guilt doing that

48
00:02:36,698 --> 00:02:38,658
because I, I was aware
how much work

49
00:02:38,700 --> 00:02:40,285
goes into a piece like that.

50
00:02:40,326 --> 00:02:43,288
Um, but I guess they made
those pieces with the knowledge

51
00:02:43,329 --> 00:02:45,665
that they were gonna
be smashed to bits.

52
00:02:45,707 --> 00:02:47,334
(yells)
I'll kill them all!

53
00:02:47,876 --> 00:02:50,920
I-I think that is exactly what
was needed for us to see

54
00:02:50,962 --> 00:02:52,797
where Aegon's energy
was goin', you know?

55
00:02:52,797 --> 00:02:54,299
He didn't have
anywhere to put it,

56
00:02:54,341 --> 00:02:56,343
and he had people around him
tellin' him to make decisions

57
00:02:56,384 --> 00:02:57,635
and be pragmatic.

58
00:02:57,677 --> 00:02:59,929
And it's okay.
It'll get better over time.

59
00:02:59,971 --> 00:03:02,974
No, it fuckin' won't.
I need to smash the crap
outta this, ya know?

60
00:03:02,974 --> 00:03:04,976
Sorry for swearing.
(chuckles)

61
00:03:05,018 --> 00:03:06,644
(grunting)

62
00:03:08,228 --> 00:03:11,232
-(indistinct chatter)
-speaker: Alright, brilliant.

63
00:03:12,484 --> 00:03:14,486
♪♪

64
00:03:16,905 --> 00:03:19,949
(somber music playing)

65
00:03:19,991 --> 00:03:21,993
(bell tolling)

66
00:03:23,370 --> 00:03:26,206
The funeral,
it was very exciting
to get that set piece.

67
00:03:26,247 --> 00:03:30,001
-(singers vocalizing)
-(bell tolling)

68
00:03:30,001 --> 00:03:33,630
I sort of looked into,
you know, "The Godfather"

69
00:03:33,672 --> 00:03:37,509
and all those great movies
who have these incredible
funeral scenes.

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00:03:37,509 --> 00:03:41,346
And I also-- it also made me
think very much about,

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00:03:41,388 --> 00:03:46,351
um, Princess Di's funeral
and how slow the cortège was.

72
00:03:47,560 --> 00:03:51,189
And it made me think
about Alicent and Helaena

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00:03:51,189 --> 00:03:56,986
being forced to be
public fodder in their grief.

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00:03:57,028 --> 00:03:58,822
♪♪

75
00:03:58,863 --> 00:04:01,533
We always saw it
as an opportunity
to open the episode,

76
00:04:01,533 --> 00:04:05,370
go outside,
see King's Landing,
see Flea Bottom.

77
00:04:05,412 --> 00:04:08,540
And we wanted the funeral
to become about the queen,

78
00:04:08,581 --> 00:04:12,043
about what she's feeling
about being exposed that way.

79
00:04:12,043 --> 00:04:13,837
So it had to be scope-y,

80
00:04:13,878 --> 00:04:15,880
but it had to be
very intimate.

81
00:04:17,132 --> 00:04:19,216
Welcome to Cáceres.

82
00:04:26,641 --> 00:04:28,685
To shoot season two
of "House of the Dragon"

83
00:04:28,727 --> 00:04:31,438
in Spain has been amazing.

84
00:04:31,479 --> 00:04:32,897
Ryan Condal:
Spain is always great.

85
00:04:32,939 --> 00:04:34,399
You know, we went back
to Cáceres and Trujillo

86
00:04:34,441 --> 00:04:36,109
to cover off, essentially,
King's Landing

87
00:04:36,151 --> 00:04:38,069
and its immediate surrounds.

88
00:04:38,069 --> 00:04:39,529
Sara Hess: Locations give
a real sense of just

89
00:04:39,571 --> 00:04:41,531
scope and scale
and then bigness.

90
00:04:41,573 --> 00:04:42,866
There's a fullness to our world

91
00:04:42,907 --> 00:04:44,701
that you couldn't get
just on set.

92
00:04:45,493 --> 00:04:48,371
Cáceres, where we filmed,
was so beautiful,

93
00:04:48,413 --> 00:04:52,584
and the people were
so wonderful and kind
and welcomin'.

94
00:04:52,584 --> 00:04:54,586
Martínez: Spain was the place
where we shot season one.

95
00:04:54,586 --> 00:04:56,379
So, it was kinda
like going back home.

96
00:04:56,421 --> 00:04:57,756
We know
the nooks and crooks.

97
00:04:57,797 --> 00:05:00,008
We, we know where
to place the lights.

98
00:05:00,425 --> 00:05:03,261
Kilner: You know,
you're hit by this big skies,

99
00:05:03,261 --> 00:05:06,598
bright sunshine,
this warm, glowing light.

100
00:05:06,639 --> 00:05:10,268
And this beautiful,
old stonework.

101
00:05:10,310 --> 00:05:13,438
And that just influences you.
You can't help it.

102
00:05:13,980 --> 00:05:16,983
Olivia Cooke:
It sort of does all
the acting for you

103
00:05:17,025 --> 00:05:18,985
being in environments
like that.

104
00:05:19,027 --> 00:05:21,029
You don't really
have to pretend.

105
00:05:22,614 --> 00:05:24,824
Welcome to King's Landing.

106
00:05:24,866 --> 00:05:28,286
♪♪

107
00:05:28,286 --> 00:05:30,080
Kilner:
The incredible team of people

108
00:05:30,121 --> 00:05:33,291
who put this funeral
scene together,

109
00:05:33,332 --> 00:05:35,168
from the building
of the carriage

110
00:05:35,210 --> 00:05:38,171
and the incredible,
beautiful horses

111
00:05:38,213 --> 00:05:40,131
and how
well-behaved they are.

112
00:05:40,131 --> 00:05:41,633
The armor that they
are covered in.

113
00:05:41,633 --> 00:05:43,635
It's just, like-- took
my breath away when I saw it.

114
00:05:43,677 --> 00:05:45,762
It's absolutely beautiful.

115
00:05:45,804 --> 00:05:47,847
Then, the design
of the costumes.

116
00:05:49,140 --> 00:05:52,310
I loved the veils
because I shot

117
00:05:52,352 --> 00:05:54,604
all of the funeral
at 40 frames per second,

118
00:05:54,604 --> 00:05:57,649
so we could choose which bits
we'd use in slow-mo or not.

119
00:05:57,649 --> 00:06:01,111
And so,
those veils in slow-mo
are absolutely stunning.

120
00:06:01,152 --> 00:06:05,824
And then, I also wanted
to sort of fill the air.

121
00:06:05,865 --> 00:06:07,659
So they're throwing hops.

122
00:06:07,701 --> 00:06:09,661
So when we have
these slow-mo moments,

123
00:06:09,703 --> 00:06:12,997
we've got all these
pieces slowly falling
through the air.

124
00:06:12,997 --> 00:06:16,167
And there's a sort of
sad beauty to that.

125
00:06:17,210 --> 00:06:20,171
And then,
prosthetics with Jaehaerys,

126
00:06:20,213 --> 00:06:21,881
little body of Jaehaerys.

127
00:06:21,923 --> 00:06:24,634
♪♪

128
00:06:24,676 --> 00:06:27,887
So, Jaehaerys was
our first, uh, first scan.

129
00:06:27,929 --> 00:06:29,639
So, we had him
laid on the table.

130
00:06:29,681 --> 00:06:31,516
We did a full-body scan.

131
00:06:31,933 --> 00:06:34,310
We had a very good
3D, uh, cleanup person

132
00:06:34,352 --> 00:06:38,064
who made a, an absolutely
beautiful copy of his body,

133
00:06:38,106 --> 00:06:40,567
which we then had,
um, milled out

134
00:06:40,608 --> 00:06:41,860
by an outside company,

135
00:06:41,901 --> 00:06:44,362
molded and turned
into a, a silicone body.

136
00:06:45,196 --> 00:06:48,241
Once he was a silicone body,
we just had to,

137
00:06:48,283 --> 00:06:50,034
(chuckles) we just had
to take his head off

138
00:06:50,034 --> 00:06:52,037
and decide how
to stitch it back on.

139
00:06:52,620 --> 00:06:55,498
So, we went through
a few different versions

140
00:06:55,540 --> 00:06:58,251
of, um, sort of medieval
stitch reference

141
00:06:58,293 --> 00:07:00,086
and these kind of metal loops

142
00:07:00,128 --> 00:07:03,173
that we had to sort of
pin the neck together.

143
00:07:03,214 --> 00:07:05,884
We're supposed to see
that the head's very
obviously stitched on

144
00:07:05,884 --> 00:07:08,178
because, uh, the Greens
want to demonstrate

145
00:07:08,219 --> 00:07:10,722
how barbaric
Rhaenyra has been.

146
00:07:10,722 --> 00:07:15,727
-Behold the works
of Rhaenyra Targaryen!
-(drumming)

147
00:07:16,603 --> 00:07:19,272
♪♪

148
00:07:19,314 --> 00:07:23,068
-Defiler of the innocent!
-(smallfolk chattering)

149
00:07:23,109 --> 00:07:27,280
I saw how we could intercut
the funeral pieces

150
00:07:27,322 --> 00:07:31,076
with Aegon
bludgeoning Blood.

151
00:07:32,118 --> 00:07:36,748
And I started thinking about
a drum and the beat of the drum,

152
00:07:36,790 --> 00:07:39,751
and then matching the drumbeat
to the use of the mace.

153
00:07:39,793 --> 00:07:43,129
♪♪

154
00:07:44,255 --> 00:07:45,757
So I asked for us
to have a drummer

155
00:07:45,799 --> 00:07:48,301
at the beginning
of the procession,

156
00:07:48,343 --> 00:07:50,929
so that we could
use this drumbeat

157
00:07:50,929 --> 00:07:53,598
to sort of increase
and sort of get inside
Helaena's head,

158
00:07:53,640 --> 00:07:56,601
which is part of the building
up of her panic attack.

159
00:07:56,601 --> 00:08:00,438
smallfolk:
A curse on Rhaenyra,
the monstrous!

160
00:08:00,438 --> 00:08:02,607
(smallfolk shouting)

161
00:08:07,862 --> 00:08:10,490
Filming with Phia
and seein'...

162
00:08:10,532 --> 00:08:14,828
just, yeah, her,
her grief come to life,

163
00:08:14,869 --> 00:08:16,996
it was,
it was really hard.

164
00:08:17,038 --> 00:08:19,332
It was really beautiful
and really movin'.

165
00:08:19,374 --> 00:08:20,792
(laughs) Then she--

166
00:08:20,834 --> 00:08:22,460
Then we, then we broke
and she, like, wiped the tear

167
00:08:22,502 --> 00:08:24,504
and she was like,
"I really felt like you
were my mummy then."

168
00:08:24,546 --> 00:08:26,172
I was like,
"Oh, good. Great!"

169
00:08:26,214 --> 00:08:28,925
(indistinct chatter, laughter)

170
00:08:28,967 --> 00:08:30,760
It was a funeral,
but I had so much fun.

171
00:08:30,802 --> 00:08:33,804
It was so fun.
I mean, me and Phia
get on really well,

172
00:08:33,804 --> 00:08:36,599
so, like, in between takes,
you know, very sad, very sad,

173
00:08:36,640 --> 00:08:40,020
but, like, (laughs)
singin', singin', ya know,

174
00:08:40,061 --> 00:08:42,272
show tunes, doin' whatever.

175
00:08:42,313 --> 00:08:44,315
You know, it was quite nice
to sit down and be, like,

176
00:08:44,315 --> 00:08:47,402
driven around
by horse and cart.

177
00:08:48,653 --> 00:08:50,655
Condal: Oh, it's so
beautifully filmed.

178
00:08:50,697 --> 00:08:54,325
All the layers of texture,
Phia and Olivia's performance.

179
00:08:54,367 --> 00:08:56,161
And I'm thrilled
with the outcome of it.

180
00:08:59,164 --> 00:09:03,209
♪♪

181
00:09:05,545 --> 00:09:07,672
Nick Heckstall-Smith:
The hanging of the ratcatchers
was fun...

182
00:09:07,714 --> 00:09:09,341
in a morbid kinda way.

183
00:09:09,341 --> 00:09:13,219
It takes a village, really,
to create a scene like that.

184
00:09:13,261 --> 00:09:15,847
We wanted a mixture
of prosthetic, fake bodies

185
00:09:15,889 --> 00:09:18,892
and real-life people
hanging there.

186
00:09:18,933 --> 00:09:20,393
Tom Bennett:
The bodies are incredible.

187
00:09:20,435 --> 00:09:22,020
Like, I knew it was 50/50,

188
00:09:22,020 --> 00:09:23,855
but you've gotta
get really close.

189
00:09:23,855 --> 00:09:25,648
I knew one of them
was a stuntman

190
00:09:25,690 --> 00:09:28,735
when he got hoicked up
and started laughing.

191
00:09:28,777 --> 00:09:31,029
He gave that,
he shouldn't have done
that on camera.

192
00:09:31,071 --> 00:09:33,156
Very unprofessional.

193
00:09:33,198 --> 00:09:35,367
-How does that feel, sir?
-It's really nice.

194
00:09:35,408 --> 00:09:37,035
-Really nice.
-(laughter)

195
00:09:37,035 --> 00:09:40,705
♪♪

196
00:09:42,749 --> 00:09:45,752
-(indistinct chatter)
-(laughter)

197
00:09:45,794 --> 00:09:49,005
Rowley and his team
had to work out these
pulley systems

198
00:09:49,047 --> 00:09:51,508
where people could look
like they're hanging.

199
00:09:51,549 --> 00:09:54,344
Rowley Irlam:
We made a metal frame
that goes over the shoulders.

200
00:09:54,386 --> 00:09:58,223
From these shoulders,
we have cables that go down,
past the hips,

201
00:09:58,223 --> 00:10:00,558
and we had stirrups
that went underneath the feet.

202
00:10:00,600 --> 00:10:02,894
So, basically, for all
intents and purposes,

203
00:10:02,894 --> 00:10:05,772
you're standing in your harness,
not hanging in your harness.

204
00:10:05,814 --> 00:10:09,401
It just means
you can hang there
almost indefinitely.

205
00:10:09,442 --> 00:10:11,695
Now, we can push down
on these legs.

206
00:10:11,736 --> 00:10:13,238
When you're liftin' here,

207
00:10:13,238 --> 00:10:15,865
so this, this--
the energy goes from here

208
00:10:15,907 --> 00:10:17,075
all the way down the straps

209
00:10:17,117 --> 00:10:18,702
down to the stirrups
at the bottom.

210
00:10:18,743 --> 00:10:20,870
It's like standing up
in the air,

211
00:10:20,912 --> 00:10:22,247
but we're actually not standing.

212
00:10:22,288 --> 00:10:23,498
It's quite comfortable.

213
00:10:24,416 --> 00:10:25,583
The other thing
we did as well

214
00:10:25,625 --> 00:10:28,253
was we concealed
the wire within rope,

215
00:10:28,294 --> 00:10:30,547
and it looks like the rope's
just hanging on the davits,

216
00:10:30,547 --> 00:10:33,299
but we put pulleys inside,
to a system,

217
00:10:33,341 --> 00:10:35,260
so we can literally
lift people up and down

218
00:10:35,301 --> 00:10:37,012
really quickly, really easily.

219
00:10:39,806 --> 00:10:42,934
I think the first thing
we did was looking for people
that we could lifecast.

220
00:10:44,602 --> 00:10:47,272
So, we would have people
in our scanning tent.

221
00:10:47,313 --> 00:10:49,941
We'd have to physically have
a noose around their neck

222
00:10:49,941 --> 00:10:53,611
and pull it up, so we'd get all
the creasing and wrinkling,

223
00:10:53,653 --> 00:10:55,071
which most people
were up for.

224
00:10:55,113 --> 00:10:57,240
Um, I think
nobody complained.

225
00:10:57,282 --> 00:10:58,950
Jamie's one of our ratcatchers.

226
00:10:58,992 --> 00:11:01,911
So, you can see where
the rope... went around there.

227
00:11:01,953 --> 00:11:04,581
And Jamie just gave us
a nice dead expression.

228
00:11:04,622 --> 00:11:05,915
-(indistinct).
-(laughs)

229
00:11:05,957 --> 00:11:09,002
And, Danny--
We've kept these
because I think

230
00:11:09,044 --> 00:11:11,087
we're probably gonna have
to let Danny have this.

231
00:11:11,880 --> 00:11:13,506
Danny Gulliver:
It is an honor to be
used on a show

232
00:11:13,548 --> 00:11:14,966
of this level and scale,

233
00:11:14,966 --> 00:11:17,469
and also to see
the intricate detail

234
00:11:17,469 --> 00:11:19,637
and work that the prosthetic
team have put into

235
00:11:19,637 --> 00:11:21,514
all of those ratcatchers.

236
00:11:21,556 --> 00:11:24,976
There's a lot of processes
involved just to get, you know,
the scan done.

237
00:11:24,976 --> 00:11:28,313
Then we mold that
and we get a plaster one
that we tighten up,

238
00:11:28,355 --> 00:11:29,689
mold that into a silicone,

239
00:11:29,731 --> 00:11:31,358
and then paint it,
do all the hair work.

240
00:11:31,399 --> 00:11:33,360
And then we've gotta
put 'em onto a body.

241
00:11:33,401 --> 00:11:35,320
So, yeah,
it's fairly convoluted.

242
00:11:36,571 --> 00:11:38,823
It was great, actually,
just seeing them all,

243
00:11:38,823 --> 00:11:40,325
all hanging there, finally,

244
00:11:40,367 --> 00:11:41,993
kinda finally take it in,
you know?

245
00:11:42,035 --> 00:11:44,662
You're like, oh, that looks,
that's quite cool.

246
00:11:46,247 --> 00:11:48,249
-Well done.
-(chatter)

247
00:11:48,833 --> 00:11:50,835
♪♪

248
00:11:53,713 --> 00:11:56,174
Jim Clay is a mad man
of all the best kinds.

249
00:11:56,174 --> 00:11:58,510
He outdid himself
with Dragonstone,

250
00:11:58,510 --> 00:12:01,346
and we've expanded
Dragonstone quite a bit.

251
00:12:01,346 --> 00:12:03,640
Ryan had said that
Dragonstone going to feature,

252
00:12:03,640 --> 00:12:05,558
this was very early
in the writing process,

253
00:12:05,600 --> 00:12:07,185
so we decided to allocate

254
00:12:07,185 --> 00:12:08,937
the big stage
to build the set on.

255
00:12:10,188 --> 00:12:12,857
Essentially, in season one
with Dragonstone,

256
00:12:12,899 --> 00:12:15,985
the main area we see
is the Painted Table Room.

257
00:12:16,027 --> 00:12:18,029
Dominic Masters:
That room came originally
from "Game of Thrones"

258
00:12:18,029 --> 00:12:20,740
but we felt it was time
to expand that world

259
00:12:20,782 --> 00:12:22,867
into a bigger environment.

260
00:12:25,704 --> 00:12:27,580
We wanted it
to be one complete set

261
00:12:27,622 --> 00:12:29,624
with these different rooms
all interconnected.

262
00:12:30,875 --> 00:12:33,420
It extended from
the hall of the Painted Table

263
00:12:33,461 --> 00:12:36,840
into, again,
a composite world,

264
00:12:36,881 --> 00:12:41,678
which is the corridors,
Rhaenyra's bed chambers,
the library set.

265
00:12:41,720 --> 00:12:45,348
So, you have a set that
is essentially a collection
of many other mini sets,

266
00:12:45,390 --> 00:12:47,392
so you can walk
from one room to another

267
00:12:47,392 --> 00:12:50,562
and make the audience feel
like you're in a real castle.

268
00:12:50,603 --> 00:12:53,732
It's crazy 'cause you can
walk all the way down

269
00:12:53,773 --> 00:12:55,483
and it's fantastic.

270
00:12:56,484 --> 00:12:58,695
Kieran Belshaw:
Rhaenyra's a very
important character

271
00:12:58,737 --> 00:13:01,406
so we wanted a room
that sort of really echoed

272
00:13:01,448 --> 00:13:03,700
the uniqueness
of her character.

273
00:13:03,742 --> 00:13:06,077
Jim really liked these
sort of more cathedral-like,

274
00:13:06,077 --> 00:13:07,620
sort of tall windows,

275
00:13:07,662 --> 00:13:10,623
and it's got an interesting
sort of asymmetrical shape

276
00:13:10,665 --> 00:13:13,585
that just gives it
this interesting kind of quirk.

277
00:13:13,585 --> 00:13:15,712
Jim Clay: What we wanted
to provide for Rhaenyra

278
00:13:15,754 --> 00:13:18,965
is a sense of the history
behind her and her family,

279
00:13:19,007 --> 00:13:20,925
and the history
of Dragonstone.

280
00:13:20,967 --> 00:13:22,761
So that big sculpture
in her room,

281
00:13:22,802 --> 00:13:26,431
it's a temple to the history
that's gone before.

282
00:13:26,431 --> 00:13:30,643
It's like the engravings
in Egyptian architecture.

283
00:13:36,775 --> 00:13:38,526
(crew chatter)

284
00:13:40,278 --> 00:13:41,988
Clay:
The brief of the library set

285
00:13:42,030 --> 00:13:43,573
was it was an enormous
scrolls library

286
00:13:43,615 --> 00:13:45,575
containing all
of the Valyrian history,

287
00:13:45,617 --> 00:13:47,994
essentially in
the form of scrolls.

288
00:13:48,036 --> 00:13:50,580
We were just trying
to figure out a way
to do that shelving,

289
00:13:50,622 --> 00:13:53,415
so we came up
with the, the diamond idea,

290
00:13:53,458 --> 00:13:56,836
and that continued
as a theme through that room.

291
00:13:56,878 --> 00:13:58,838
And then Claire dressed it
with many layers then

292
00:13:58,880 --> 00:14:02,676
of other artifacts and element
of Valyrian history.

293
00:14:04,302 --> 00:14:09,015
That was phenomenal to do
that set and combining marble,

294
00:14:09,057 --> 00:14:11,309
really beautiful
textures of marble

295
00:14:11,351 --> 00:14:13,770
that has the oranges
running through it,

296
00:14:13,812 --> 00:14:16,606
which I took from doing
the Painted Table

297
00:14:16,648 --> 00:14:21,027
because of those
rich colors and tones
of heat, light, fire.

298
00:14:23,321 --> 00:14:25,532
♪♪

299
00:14:25,573 --> 00:14:28,785
Emma D'Arcy:
For every book
and document and scroll

300
00:14:28,827 --> 00:14:31,371
operates hours of work,

301
00:14:31,413 --> 00:14:33,707
um, that have been put
into these objects.

302
00:14:33,748 --> 00:14:38,378
You have ravens with messages,
full messages written on them.

303
00:14:38,420 --> 00:14:43,758
You have full family trees
and it's all been handmade.

304
00:14:45,760 --> 00:14:48,013
It's all thought through,
every little bit of it,

305
00:14:48,013 --> 00:14:51,349
every piece,
every color, every texture,

306
00:14:51,349 --> 00:14:54,019
every small item
is thought about.

307
00:14:54,060 --> 00:14:56,730
The detail and the craftsmanship
that goes into these places,

308
00:14:56,771 --> 00:14:58,898
it's just-- it's just amazing.

309
00:14:58,940 --> 00:15:00,567
It didn't take any imagination

310
00:15:00,608 --> 00:15:03,028
to put yourself
where you need to be.

311
00:15:05,030 --> 00:15:07,032
♪♪

312
00:15:08,199 --> 00:15:09,534
(yells)
Brother!

313
00:15:11,953 --> 00:15:16,332
The Erryk and Arryk duel
is a, is a giant moment
in Westerosi history.

314
00:15:16,374 --> 00:15:17,792
Brother against brother.

315
00:15:18,376 --> 00:15:20,879
This is an epic scene
because, you know,

316
00:15:20,879 --> 00:15:23,840
the actors, Luke and Elliott,
are brothers, are twins,

317
00:15:23,882 --> 00:15:25,884
and they love
each other deeply.

318
00:15:26,217 --> 00:15:28,219
So much of our action
in the show is dragon-based.

319
00:15:28,261 --> 00:15:31,890
It’s fun to see, uh, two knights
go at it, sword against sword.

320
00:15:33,266 --> 00:15:35,727
Martínez: That was
the first conversation
we had when we arrived.

321
00:15:35,727 --> 00:15:39,898
We sat down, we said,
"Okay, let's talk about
the twins."

322
00:15:39,898 --> 00:15:42,233
And we started thinking
about ways of shooting it,

323
00:15:42,275 --> 00:15:43,860
how the fight
should look like.

324
00:15:44,736 --> 00:15:48,740
Rowley then did extensive
rehearsals and blocking
with his team,

325
00:15:48,740 --> 00:15:52,077
which would then be filmed
and presented to Clare.

326
00:15:52,077 --> 00:15:53,370
That would be tweaked,

327
00:15:53,411 --> 00:15:56,081
and then Rowley introduced
the twins into that.

328
00:15:57,665 --> 00:16:00,210
Those guys performed
that entire scene themselves.

329
00:16:00,251 --> 00:16:02,128
They trained for it,
they learned it.

330
00:16:02,170 --> 00:16:04,297
They got themselves
in shape for it.

331
00:16:07,258 --> 00:16:08,593
Oh, I couldn't wait,
to be fair.

332
00:16:08,635 --> 00:16:10,720
Me and El have got
martial art backgrounds

333
00:16:10,762 --> 00:16:12,389
and we're quite active,
physical lads,

334
00:16:12,430 --> 00:16:13,890
so the activeness of it

335
00:16:13,932 --> 00:16:16,434
and throwin' ourselves into it
was never a worry really.

336
00:16:16,476 --> 00:16:18,395
It was just making sure
that we'd learned the dance

337
00:16:18,436 --> 00:16:20,605
to really
throw ourselves at it

338
00:16:20,605 --> 00:16:22,107
with the energy
it needed.

339
00:16:23,274 --> 00:16:26,903
Really, it was just about
gettin' it as tight and as clean
as we could,

340
00:16:26,945 --> 00:16:29,739
and then, just comin'
on to set on the day
and just smashing it out.

341
00:16:29,781 --> 00:16:31,074
Fortunately,
we didn't lose any fingers

342
00:16:31,116 --> 00:16:33,201
(laughs)
so we did do that right.

343
00:16:34,786 --> 00:16:37,747
We knew from season one,
um, how hard,

344
00:16:37,789 --> 00:16:39,665
um, Elliott and Luke
would work.

345
00:16:41,292 --> 00:16:42,919
And the only thing
I wouldn't let 'em do

346
00:16:42,961 --> 00:16:44,462
was actually just
to smash into the pot.

347
00:16:45,797 --> 00:16:47,090
Everything else they did.

348
00:16:47,632 --> 00:16:49,509
Eddie, the stunt guy,
bless him, like,

349
00:16:49,551 --> 00:16:52,429
he clamored this pot
so hard, smashed it.

350
00:16:53,346 --> 00:16:57,642
And rather Eddie than me.
He's earned his money today,
that's for sure anyway.

351
00:16:58,476 --> 00:17:00,395
(crew applauding)

352
00:17:02,397 --> 00:17:05,650
♪♪

353
00:17:05,650 --> 00:17:07,193
crew member:
Marker.

354
00:17:08,653 --> 00:17:10,989
We all agreed there should be
a moment in the fight

355
00:17:10,989 --> 00:17:13,157
where you don't know
who's Arryk and who's Erryk.

356
00:17:13,199 --> 00:17:14,992
You really get confused.

357
00:17:15,035 --> 00:17:16,661
Irlam: So, even with
the choreography,

358
00:17:16,661 --> 00:17:18,704
if you watch it
really carefully,

359
00:17:18,747 --> 00:17:21,708
you'll see that they each
get wounded the same.

360
00:17:21,750 --> 00:17:24,669
It's just so that
if anyone was to piece--
go through it

361
00:17:24,711 --> 00:17:27,672
at any one moment and go,
"Right, well, I kn--
I know he's Erryk

362
00:17:27,672 --> 00:17:31,676
because his leg was cut here
or his arm was cut here,"

363
00:17:31,718 --> 00:17:33,845
it won't work because,
during the fight,

364
00:17:33,887 --> 00:17:35,972
they both end up
with the same injuries.

365
00:17:36,014 --> 00:17:38,641
Although, we don't telegraph
that's what we're doing.

366
00:17:38,683 --> 00:17:41,019
-(jiggles doorknob)
-(grunting)

367
00:17:41,061 --> 00:17:42,103
Which?!
Which is Erryk?!

368
00:17:43,438 --> 00:17:45,315
Martínez:
That was the whole point.
That, that kinda what gives it

369
00:17:45,357 --> 00:17:47,734
emotion that you become
really neutral about it.

370
00:17:47,776 --> 00:17:49,611
And it-- It, it--
The fight becomes about them.

371
00:17:50,528 --> 00:17:53,031
It's about the fifth time,
at least, it's been

372
00:17:53,073 --> 00:17:54,866
-mixed up today on set.
-On camera as well.

373
00:17:54,866 --> 00:17:56,534
Just keepin' everybody
on their toes.

374
00:17:59,204 --> 00:18:01,247
(interviewer speaking)

375
00:18:01,289 --> 00:18:03,333
Who's the better?
I suppose it's debatable,

376
00:18:03,375 --> 00:18:05,085
but I think Elliott
would probably say him

377
00:18:05,126 --> 00:18:07,170
because I hit him a couple
of times with the sword.

378
00:18:07,212 --> 00:18:08,838
Think I did catch him once,
so I've gotta say

379
00:18:08,880 --> 00:18:10,256
that he's probably better.

380
00:18:10,298 --> 00:18:12,050
If I could tell them apart
when they're in their armor,

381
00:18:12,092 --> 00:18:14,511
I might have half
a chance of telling you,

382
00:18:14,552 --> 00:18:15,887
but the actual truth
of the matter is

383
00:18:15,887 --> 00:18:18,014
they're pretty,
pretty evenly matched.

384
00:18:18,056 --> 00:18:21,267
D'Arcy:
Luke and Elliott are amazing.

385
00:18:21,309 --> 00:18:23,186
They are so amazing.

386
00:18:23,228 --> 00:18:27,399
That's what I spent the two days
saying to anyone who'd listen.

387
00:18:27,399 --> 00:18:31,236
Not only have they done
a beautiful job of Rowley's
choreography,

388
00:18:31,236 --> 00:18:34,447
but the emotion
that they filled it with

389
00:18:34,489 --> 00:18:37,117
was such a privilege to watch.

390
00:18:39,828 --> 00:18:42,789
-We were born together.
-You parted us!

391
00:18:43,331 --> 00:18:45,417
I still love you, brother.

392
00:18:45,417 --> 00:18:48,753
Seeing the divide between them
and seeing the humanity

393
00:18:48,795 --> 00:18:51,131
that they both bring
to those, to those roles,

394
00:18:51,172 --> 00:18:54,718
I think it really lands
in a absolutely brutal way.

395
00:18:55,593 --> 00:18:59,764
It's another
awe-inspiring moment
directed by Clare.

396
00:18:59,764 --> 00:19:01,891
Luke Tittensor:
Clare is such
a beautiful spirit.

397
00:19:01,933 --> 00:19:03,268
Before we did that scene,

398
00:19:03,268 --> 00:19:05,270
Clare comes up to us
and she's like,

399
00:19:05,270 --> 00:19:07,939
I've called the scene
"Searching for Love."

400
00:19:07,981 --> 00:19:09,816
And I just thought
that was such a sweet thing

401
00:19:09,858 --> 00:19:11,818
because that
kind of emotional,

402
00:19:11,860 --> 00:19:14,237
personal side
of it was so important,

403
00:19:14,279 --> 00:19:16,448
so outside of the-the fight,
we were gonna capture

404
00:19:16,489 --> 00:19:19,826
the right emotion that needed
to be captured.

405
00:19:19,868 --> 00:19:24,122
These guys were training
from day one in this fight

406
00:19:24,122 --> 00:19:27,292
and I, you know, I thought,
what can I bring to this,

407
00:19:27,334 --> 00:19:31,087
you know, in terms of looking
at it in an interesting way.

408
00:19:31,129 --> 00:19:32,839
So, throughout
the whole scene,

409
00:19:32,881 --> 00:19:35,800
I was looking to find
moments of connection

410
00:19:35,800 --> 00:19:37,302
between these two guys.

411
00:19:37,302 --> 00:19:39,596
So, you know, whilst
they're striking each other

412
00:19:39,637 --> 00:19:41,348
and their eyes meet,

413
00:19:41,389 --> 00:19:43,141
like, what are the questions?

414
00:19:43,141 --> 00:19:44,851
What are they
saying to each other,

415
00:19:44,893 --> 00:19:46,770
and it--
why is it so hard?

416
00:19:46,811 --> 00:19:49,481
It's because they love
each other so deeply.

417
00:19:50,398 --> 00:19:53,651
So, for me, this was
a story about brotherly love

418
00:19:53,651 --> 00:19:55,028
like no other.

419
00:19:55,070 --> 00:19:57,072
♪♪

420
00:19:59,824 --> 00:20:02,035
(music fades out)