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The first time you walk out there,
it's jaw-dropping.
2
00:00:09,759 --> 00:00:13,263
It's completely shocking and unexpected.
3
00:00:13,263 --> 00:00:15,140
It was a great day.
4
00:00:17,308 --> 00:00:18,143
Brilliant set.
5
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It's really badass.
6
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Thank you very much. Drinks on me.
7
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It was a storm inside.
8
00:00:23,148 --> 00:00:24,482
Oh, my God.
9
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It's unbelievable!
10
00:00:52,218 --> 00:00:55,805
This is a very iconic moment
in George's books.
11
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The Battle of Burning Mill.
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Two houses that were pitted
against each other.
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And it's the metaphor
for the history of violence
14
00:01:03,646 --> 00:01:07,567
and how you get to a point
where there is no forgiveness.
15
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And that's where we
find ourselves this season.
16
00:01:16,326 --> 00:01:17,994
Morning. Morning. How we doin'?
17
00:01:19,371 --> 00:01:22,540
Jim Clay, in collaboration with
the special effects department,
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created a place that
truly felt real and haunted
19
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and brought the book to life.
20
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I was well pleased when Ryan said
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we're going to feature
the interior of Harrenhal,
22
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so that was one of the first things
we went to work on designing.
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Harrenhal, "It's a cursed castle
designed by a deranged mind,"
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was the sort of brief I got.
25
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And so, it's dilapidated.
26
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It's haunted by its past and its present.
27
00:01:46,690 --> 00:01:49,275
Oh, it's huge.
It goes on and on and on.
28
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Jim Clay has just done brilliant work.
29
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The texture and the scale
30
00:01:53,613 --> 00:01:57,367
and the vision behind
a lot of his work is really superior.
31
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It's a set that I'd find
myself getting lost in.
32
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You'd turn the wrong corner
and you're like,
33
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"Wait, where am I?"
34
00:02:03,623 --> 00:02:06,209
Like, you could get
as disoriented as Daemon
35
00:02:06,209 --> 00:02:07,293
walking through that set.
36
00:02:07,293 --> 00:02:09,796
And I think that's
really saying something.
37
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It was pretty big.
It filled the whole stage.
38
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From a structural point of view, mainly,
39
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how are you gonna hide
your integral structure
40
00:02:21,516 --> 00:02:24,227
if you've got a steel frame that,
obviously, you can't see in shot,
41
00:02:24,227 --> 00:02:26,146
then we've gotta try and conceal that.
42
00:02:26,146 --> 00:02:28,273
That's what makes it fun, really, though.
43
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I wanted to give
the whole four-walled world
44
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the advantages of tracking shots,
Steadicam shots,
45
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and the actors being
enveloped in the entire world.
46
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You can go where you like,
shoot what you like,
47
00:02:39,034 --> 00:02:42,162
pretty much 360 around the set.
48
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Whichever way you look, you'd be covered.
49
00:02:44,414 --> 00:02:46,750
And the idea was
it should be quite a maze.
50
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You shouldn't feel like
you know where you are
51
00:02:48,418 --> 00:02:50,462
at any given time in that castle.
52
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Got lost in there most mornings.
53
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This is honestly my favorite set
that Jim has built, to date,
54
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because it's so well brought to life,
the idea of this ruined castle,
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the fact that he made it rain inside,
the way he made the weirwood roots
56
00:03:03,350 --> 00:03:05,685
break through all
of the stones that you see,
57
00:03:05,685 --> 00:03:08,730
that, slowly, the castle being
reclaimed by the old gods.
58
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This here is the guy who makes me wet.
59
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Yeah.
60
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He's the rain punisher. Tom.
61
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- This is it.
- Screws me up every day.
62
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Harrenhal, wetter than an otter's pocket.
63
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I know. But I do like a bit of rain.
64
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Harrenhal's supposed
to be this windy, wet place
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and we're doing some interior stuff
and we need it to be raining inside
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'cause the whole idea
of it being dilapidated
67
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was there's holes in the wall
and holes in the roof.
68
00:03:32,504 --> 00:03:34,589
Man, did we soak that place.
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But it really brings an incredible amount
of realism and texture to the place
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which was really important
for the storytelling.
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My brief was, "It's gonna be really damp."
That was it.
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And in the end, my last brief was,
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"It's gotta rain inside
like it does outside."
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And it didn't stop raining.
75
00:03:48,978 --> 00:03:51,022
My God, it was horrendous.
76
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But it looks amazing.
77
00:03:53,149 --> 00:03:55,568
It was a slightly
late-in-the-day idea to have the water
78
00:03:55,568 --> 00:03:58,196
dripping into the set,
so we weren't totally prepared
79
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in terms of tanking the set
80
00:03:59,322 --> 00:04:02,200
which we normally would
if you had a lot of water.
81
00:04:02,200 --> 00:04:04,411
But we coped, and special effects
did a great job
82
00:04:04,411 --> 00:04:07,997
with soaking up the water around the set
when it was all pouring in.
83
00:04:07,997 --> 00:04:12,752
It was too late to retrospectively fix it,
so we had to just minimize damage.
84
00:04:12,752 --> 00:04:16,172
So we did individual tanks
and tried to contain it that way,
85
00:04:16,172 --> 00:04:18,299
which worked really well
and it looked real.
86
00:04:20,802 --> 00:04:22,512
I thought, "Matt's gonna
freak out, ya know,
87
00:04:22,512 --> 00:04:25,140
walking around in his armor
all day long with rain."
88
00:04:25,140 --> 00:04:27,684
But it looked so good,
and he was lovin' it.
89
00:04:27,684 --> 00:04:31,062
We were wet from, like,
eight in the morning 'til eight at night,
90
00:04:31,062 --> 00:04:32,772
which was quite fun,
actually, to be honest.
91
00:04:32,897 --> 00:04:35,483
I love all that.
Like, gettin' sort of properly wet,
92
00:04:35,483 --> 00:04:39,738
and I hate being really hot,
but I quite like being really wet.
93
00:04:39,738 --> 00:04:42,365
To make sure his continuity is correct,
he's gotta be soaked all the time
94
00:04:42,365 --> 00:04:44,909
and the best way of doin' it is
turn the water on and say,
95
00:04:44,909 --> 00:04:46,286
"Matt, can you go stand
under that, please?"
96
00:04:46,286 --> 00:04:49,122
In my experience with working with Matt,
he likes to embrace all the challenges
97
00:04:49,247 --> 00:04:51,708
you throw at him, in that sense,
so it was good.
98
00:04:51,708 --> 00:04:53,418
The script is describing
the character can't see.
99
00:04:53,418 --> 00:04:54,961
What does that mean for the audience?
100
00:04:54,961 --> 00:04:58,048
So that sequence wound up
being incredibly fun
101
00:04:58,048 --> 00:05:00,050
to light and conceive and shoot
102
00:05:00,050 --> 00:05:01,885
because, obviously,
it's raining and lightning,
103
00:05:01,885 --> 00:05:05,930
and we were playing a lot with shadows
and silhouettes and film noir
104
00:05:05,930 --> 00:05:09,976
but the way it looks
when it's completely wet and dripping
105
00:05:09,976 --> 00:05:11,186
and he's standing there,
106
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I mean, it's really badass.
107
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Quite fun, though.
108
00:05:21,154 --> 00:05:22,822
The Brackens and the Blackwoods
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00:05:22,822 --> 00:05:25,450
are the Hatfields and McCoys
of this time period.
110
00:05:25,450 --> 00:05:27,535
We don't really know why
they hate each other.
111
00:05:27,535 --> 00:05:28,912
They simply just hate each other.
112
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And they're always ready
to fight each other.
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That guy's gonna rip your face off.
114
00:05:32,165 --> 00:05:34,459
- Okay. Yeah.
- Okay? Great.
115
00:05:34,459 --> 00:05:37,504
Directing that opening moment
of episode 203,
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where you find all the bodies
dead after a battle
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00:05:41,174 --> 00:05:43,927
took quite a bit of prep.
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00:05:43,927 --> 00:05:48,640
Aeron Bracken is a human one minute
and a prosthetic dummy the next,
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but you can't tell.
120
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First thing we did was scan his head.
121
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- So we gonna just lie you on the floor.
- Cool.
122
00:05:54,646 --> 00:05:56,773
And then we'll do
a couple of options of, like,
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00:05:56,773 --> 00:05:59,901
mouth open, eyes closed, eyes open
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00:05:59,901 --> 00:06:02,821
maybe, head back,
and then, we'll run it past Geeta
125
00:06:02,821 --> 00:06:03,863
and she can tell us what she likes.
126
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And we'll process whichever
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00:06:05,115 --> 00:06:06,366
version of that she likes.
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00:06:06,366 --> 00:06:08,410
- Amazin'. Cool.
- Cool.
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00:06:08,410 --> 00:06:09,911
And we're off.
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We've just literally
finished printing his head,
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00:06:13,289 --> 00:06:15,458
ready to be remolded and cleaned up.
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00:06:15,458 --> 00:06:18,545
The shoulders in two halves
on another printer.
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Just assemble it
like a jigsaw puzzle at the end.
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It's so lifelike. It's so real.
135
00:06:26,094 --> 00:06:27,470
It was incredible.
I mean, the fact that
136
00:06:27,470 --> 00:06:30,807
we were doing an extreme close-up
on the prosthetic dummy of an actor
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00:06:30,807 --> 00:06:33,935
that's in the scene before,
and you can get away with that,
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just shows the quality of Waldo's work.
139
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So, you're lying on a body bag,
by the way.
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00:06:38,898 --> 00:06:41,443
- Oh, great.
- Surprise!
141
00:06:43,945 --> 00:06:46,573
Geeta always imagined it
as one simple, elegant shot
142
00:06:46,573 --> 00:06:48,408
where we're on Aeron Bracken's face
143
00:06:48,533 --> 00:06:51,327
and you just raise up
and there's dead bodies
144
00:06:51,327 --> 00:06:53,329
as far as the eye can see.
145
00:06:53,329 --> 00:06:56,124
And on the morning when we shot it,
it had rained a lot.
146
00:06:56,124 --> 00:06:59,586
And so, it was incredibly misty
and sort of spooky-looking
147
00:06:59,586 --> 00:07:03,631
and it wound up being the perfect weather
for a scene like that.
148
00:07:03,631 --> 00:07:05,675
It's one of those ones
where you don't really know
149
00:07:05,675 --> 00:07:08,678
what it's gonna look like because
we knew it was gonna be in the water
150
00:07:08,678 --> 00:07:12,682
and he's kinda semi-submerged
and the sword is going through his neck,
151
00:07:12,682 --> 00:07:16,394
which meant getting in the stream,
having to dress it in.
152
00:07:16,394 --> 00:07:19,814
And luckily, we had some
great props guys in waders helping us out.
153
00:07:20,315 --> 00:07:24,903
The Aeron Bracken sword
is shot in extreme close-up,
154
00:07:24,903 --> 00:07:28,490
and is actually one of the most important
shots in the show, for us,
155
00:07:28,490 --> 00:07:32,535
because it's the closest
we ever get to a sword.
156
00:07:32,535 --> 00:07:35,246
There was a lot of discussion
about how we get the sword to stand up.
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00:07:35,246 --> 00:07:37,624
We ended up just driving it
so far through his neck,
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00:07:37,624 --> 00:07:41,503
it would just stand up in the ground
which was fantastic for us.
159
00:07:41,503 --> 00:07:43,880
That looks so good over there.
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That bare back of someone. That's great.
161
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In visual effects, the rule of thumb is
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you do as much practical as you can.
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With Waldo, the bar is
pretty high with him,
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00:07:53,556 --> 00:07:57,227
so he does amazing stuff,
and we can take it from there.
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00:07:57,227 --> 00:07:58,853
There's quite a bit to do.
There's obviously
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00:07:58,853 --> 00:08:01,314
a windmill that's not there
that we need to put in.
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00:08:01,314 --> 00:08:04,234
Setting fire to the mill,
and boundary stones,
168
00:08:04,234 --> 00:08:07,529
and then we get to that end shot,
which is the aftermath of the battle
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00:08:07,529 --> 00:08:09,114
but we're expanding that enormously.
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00:08:09,114 --> 00:08:11,866
So, yeah, it was a fairly big shot for us.
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When the camera tilts up
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00:08:15,161 --> 00:08:18,164
and we see the aftermath
with that beautiful sword,
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just tells the story
without actually showing
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00:08:21,501 --> 00:08:23,378
any physical violence whatsoever.
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00:08:24,629 --> 00:08:26,923
It was one of my favorite days of shooting
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00:08:26,923 --> 00:08:31,094
because all departments
came together so quickly that morning
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00:08:31,094 --> 00:08:35,890
to create the tone of that epic moment
in George's books.
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00:08:35,890 --> 00:08:37,017
No, it's good. Tight.
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00:08:42,647 --> 00:08:45,442
It's genuinely been the best time
I've ever had on set.
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Ever! It's so much fun.
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00:08:49,738 --> 00:08:51,573
Moondancer's a brand-new dragon,
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so the description
that I gave to the designers
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00:08:53,658 --> 00:08:54,701
was simply, "David Bowie."
184
00:08:54,701 --> 00:08:56,828
And we ended up with
this like tiger-striped,
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00:08:56,828 --> 00:08:59,748
green punk rocker with a mohawk
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00:08:59,748 --> 00:09:01,875
and I'm thrilled with the outcome of it.
187
00:09:01,875 --> 00:09:04,669
She is the coolest of them all.
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00:09:04,669 --> 00:09:08,131
I am biased,
but she's really, really slender.
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00:09:08,131 --> 00:09:10,925
She's pale green. She's so fast.
190
00:09:11,760 --> 00:09:16,306
The Crownlands sequence
where Baela is chasing Cole and Gwayne,
191
00:09:17,724 --> 00:09:20,894
it's just a very fun, classic chase scene.
192
00:09:21,603 --> 00:09:24,397
Everybody has to use their imagination
in those moments
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00:09:24,522 --> 00:09:28,651
but ultimately, it's down
to the VFX team to make it real.
194
00:09:28,651 --> 00:09:30,779
So, it's essential that
they're right next to you
195
00:09:30,779 --> 00:09:33,239
and what you're shooting
is going to work for them.
196
00:09:33,823 --> 00:09:35,533
This is what happens behind the scenes.
197
00:09:35,533 --> 00:09:38,912
I'm just goin' on a practice joyride.
198
00:09:39,537 --> 00:09:41,539
Katie, the DP, and the guys in the buck
199
00:09:41,539 --> 00:09:43,583
and all the lighting technicians
are working there
200
00:09:43,583 --> 00:09:46,127
with the manumatic rig
and all that technology,
201
00:09:46,127 --> 00:09:47,921
they get together
and work through everything
202
00:09:47,921 --> 00:09:50,757
to make sure they're getting what
the VFX department need for the post work.
203
00:09:51,383 --> 00:09:54,177
So the whole dragon process
was incredibly complicated,
204
00:09:54,177 --> 00:09:56,304
as they are characters
acting within a scene,
205
00:09:56,304 --> 00:09:59,933
and we have to work out their performance
before we get to the actual location.
206
00:09:59,933 --> 00:10:03,895
A lot of moving parts in terms of scale,
size, speed.
207
00:10:03,895 --> 00:10:05,897
So really a lot of logistics
about how this is gonna
208
00:10:05,897 --> 00:10:07,982
come together from
a practical point of view
209
00:10:07,982 --> 00:10:09,526
and what can we actually shoot,
210
00:10:09,526 --> 00:10:11,528
and then, what actually
really needs to be happening
211
00:10:11,528 --> 00:10:12,779
in the shots at the end.
212
00:10:12,779 --> 00:10:14,280
So there's a lot of
science involved in that
213
00:10:14,280 --> 00:10:18,159
in terms of dragon speeds and distances,
in terms of that chase.
214
00:10:18,660 --> 00:10:20,620
We have developed a system,
215
00:10:20,620 --> 00:10:23,123
so, through camera,
we can take the footage
216
00:10:23,123 --> 00:10:27,335
and we can apply it to a CG scene
using Unreal Engine.
217
00:10:27,335 --> 00:10:32,757
And what that does is allow us
to see the solved camera move on the buck
218
00:10:32,757 --> 00:10:37,303
recomposed onto the dragon in CG
for a sort of slap comp, if you like,
219
00:10:37,303 --> 00:10:41,266
just so they can see in video village
that the move is working correctly.
220
00:10:41,266 --> 00:10:42,517
It's hard work.
221
00:10:42,517 --> 00:10:44,978
Dragonriding, you know?
222
00:10:44,978 --> 00:10:47,647
Because we shot the buck work
of that sequence
223
00:10:47,647 --> 00:10:50,025
before we had shot the location work,
224
00:10:50,025 --> 00:10:52,193
the main challenge, lighting-wise,
was we didn't know
225
00:10:52,193 --> 00:10:54,988
if the location was gonna be sunny,
if it would be cloudy.
226
00:10:54,988 --> 00:10:58,867
So, we had to do one pass for sun
and one pass for shade.
227
00:10:58,867 --> 00:11:00,744
It's fun filming on the buck.
228
00:11:00,744 --> 00:11:05,415
It's incredibly strategic
because you have to understand
229
00:11:05,415 --> 00:11:09,461
the difference between
fantasy and naturalism.
230
00:11:09,461 --> 00:11:12,964
So, thinking about how much
wind goes on someone's face
231
00:11:12,964 --> 00:11:15,633
when you're actually going
at terminal velocity,
232
00:11:15,633 --> 00:11:18,094
how someone moves on an animal.
233
00:11:18,094 --> 00:11:21,097
All of these things are really important.
234
00:11:21,848 --> 00:11:24,225
I don't think there's much
you can do in a profile shot.
235
00:11:26,603 --> 00:11:29,773
Unless you turn to the camera and go,
"This is amazing!"
236
00:11:31,983 --> 00:11:35,945
You get shown a mock-up
of what you look like on the dragon,
237
00:11:35,945 --> 00:11:38,948
like a half-hybrid cartoon version of you
238
00:11:38,948 --> 00:11:40,200
doing the whole sequence,
239
00:11:40,200 --> 00:11:41,534
and then, suddenly, you're really, like,
240
00:11:41,534 --> 00:11:43,161
digging your heels in
as though it's a horse.
241
00:11:43,161 --> 00:11:44,829
It's bonkers.
242
00:11:44,829 --> 00:11:47,082
It's great when you get
an actor like Bethany,
243
00:11:47,082 --> 00:11:48,541
who loves the experience
244
00:11:48,541 --> 00:11:50,293
and is putting their all into it
245
00:11:50,293 --> 00:11:54,255
because so much of what
you're doing is imaginary,
246
00:11:54,255 --> 00:11:57,050
so everybody has to be on the same page.
247
00:11:57,050 --> 00:11:58,843
Nothing can prepare you for what
248
00:11:58,843 --> 00:12:00,762
that first day on the buck
is gonna be like.
249
00:12:00,762 --> 00:12:05,308
It's the most insane thing
I've ever done in my career so far
250
00:12:05,308 --> 00:12:08,436
and being so high up and bein' able to see
251
00:12:08,436 --> 00:12:10,730
how many people it takes
to make this show
252
00:12:10,730 --> 00:12:12,857
and you're just all
on your own on that dragon.
253
00:12:12,857 --> 00:12:16,903
I was like, "Wow. This is a really
cool thing that we're doin'."
254
00:12:17,529 --> 00:12:19,030
She was havin' an amazing time.
255
00:12:19,030 --> 00:12:20,407
She couldn't wait to get
on the buck every day,
256
00:12:20,407 --> 00:12:23,076
which makes everyone else's
life a lot easier.
257
00:12:23,076 --> 00:12:26,746
It's like goin' to Disneyland
at, like, terminal velocity,
258
00:12:26,746 --> 00:12:30,083
only you're dressed like this.
259
00:12:30,083 --> 00:12:32,460
It's the best day at work ever.
260
00:12:38,341 --> 00:12:40,343
Do you like me gold bits?
261
00:12:42,095 --> 00:12:44,264
- Fancy gold bits.
- Well, ya know.
262
00:12:44,264 --> 00:12:47,392
Aegon is obsessed with namesakes
and symbols of legitimacy.
263
00:12:47,392 --> 00:12:49,436
He has his father's Valyrian dagger,
264
00:12:49,436 --> 00:12:51,980
which, of course, he doesn't realize
the full significance of.
265
00:12:51,980 --> 00:12:54,399
He has Aegon the Conqueror's crown,
he has his name,
266
00:12:54,399 --> 00:12:56,151
and I think he's trying
to legitimize himself
267
00:12:56,151 --> 00:12:59,571
now in the absence of Otto saying,
"This is my reign now,"
268
00:12:59,571 --> 00:13:02,407
and he wants to cut this image
of this warrior conqueror king.
269
00:13:02,407 --> 00:13:04,534
So we see him having this ancient armor
270
00:13:04,534 --> 00:13:06,619
that's probably been pulled
out of some dusty corner
271
00:13:06,619 --> 00:13:08,788
of the armory being fitted to him.
272
00:13:08,788 --> 00:13:10,623
What's it actually called?
273
00:13:10,623 --> 00:13:12,167
- A gorget.
- A gorget.
274
00:13:12,167 --> 00:13:13,710
- A gorget.
- Like a courgette that you eat.
275
00:13:13,710 --> 00:13:16,421
It's way better. Gorget's way better.
276
00:13:17,964 --> 00:13:19,591
We hear a lot
about Valyrian steel weapons.
277
00:13:19,591 --> 00:13:22,302
We don't hear a lot
about Valyrian steel armor,
278
00:13:22,302 --> 00:13:24,095
but it felt like that was something that
279
00:13:24,095 --> 00:13:26,389
Aegon the Conqueror would've had
from his time in Old Valyria
280
00:13:26,389 --> 00:13:28,850
as, like, a House Targaryen
family heirloom,
281
00:13:28,850 --> 00:13:30,602
a suit of armor that would be, in theory,
282
00:13:30,602 --> 00:13:33,271
very light and very strong
because of its make.
283
00:13:33,271 --> 00:13:35,940
So the assignment that I gave
to Caroline and Simon Brindle
284
00:13:35,940 --> 00:13:40,111
was that I wanted an ancient suit of armor
made of Valyrian steel
285
00:13:40,111 --> 00:13:42,614
that seemed like it was from Old Valyria.
286
00:13:42,614 --> 00:13:44,574
And I think the execution is dazzling.
287
00:13:45,617 --> 00:13:47,243
- Hello.
- Hello.
288
00:13:47,744 --> 00:13:49,329
- Nice armor.
- Yes!
289
00:13:49,996 --> 00:13:52,415
Aegon's armor was a huge challenge for us.
290
00:13:52,415 --> 00:13:54,084
In the designing and the making of it,
291
00:13:54,084 --> 00:13:57,379
I've never had so many meetings
about a set of armor in my life.
292
00:13:58,254 --> 00:14:03,093
It was a significant undertaking
in terms of Aegon the Conqueror
293
00:14:03,093 --> 00:14:07,597
is a really major character
in the whole Westeros universe,
294
00:14:07,597 --> 00:14:11,184
so we wanted to create
something that was iconic.
295
00:14:11,184 --> 00:14:13,395
Caroline spent a lot of time designing it,
296
00:14:13,395 --> 00:14:15,772
and then, we developed it.
297
00:14:19,984 --> 00:14:21,695
- Okay, great. Thank you.
- Shout for help
298
00:14:21,695 --> 00:14:23,988
- when you need to get up.
- I will. Turtle.
299
00:14:24,739 --> 00:14:29,160
Ordinarily, a build like that would be
somewhere between 16 to 20 weeks.
300
00:14:29,160 --> 00:14:32,580
It can be shorter, but if you're doing
a bespoke piece,
301
00:14:32,580 --> 00:14:35,041
with every element sized to the actor,
302
00:14:35,041 --> 00:14:38,128
you, essentially, have to make
every piece from scratch.
303
00:14:38,128 --> 00:14:40,338
So that was 20 weeks of work.
304
00:14:40,338 --> 00:14:44,843
It's got quite architectural shapes
within the forms and outline.
305
00:14:44,843 --> 00:14:47,262
And then, probably, another
good four weeks plus
306
00:14:47,262 --> 00:14:49,764
just putting on
the Valyrian steel detailing.
307
00:14:49,764 --> 00:14:52,100
A lot of work, but great to do.
308
00:14:52,851 --> 00:14:55,020
The first thing was practicality,
309
00:14:55,020 --> 00:14:57,355
so it should be as flexible as possible.
310
00:14:57,355 --> 00:15:01,151
So I looked at every
sort of armor you can imagine.
311
00:15:01,151 --> 00:15:07,073
It needed to feel like an ancient culture,
so there's some Greco-Roman influences.
312
00:15:08,033 --> 00:15:11,327
I wanted the dragon
reflected in its design,
313
00:15:11,327 --> 00:15:14,372
so that there's
a scale-like quality to it.
314
00:15:14,914 --> 00:15:17,667
It's Aegon I,
so it's still an ancient piece,
315
00:15:17,667 --> 00:15:20,962
but being Valyrian steel,
it's immaculately crafted.
316
00:15:21,421 --> 00:15:25,175
We wanted to create something
ancient and otherworldly.
317
00:15:25,175 --> 00:15:28,178
There's an element of almost brutalist
architecture in there.
318
00:15:28,178 --> 00:15:33,058
It draws a lot on the architecture
of the Targaryen dynasty.
319
00:15:33,058 --> 00:15:35,352
It wound through three processes.
320
00:15:35,352 --> 00:15:38,229
We started with the initial armor build,
321
00:15:38,229 --> 00:15:40,565
individually fitted
and crafted and sculpted
322
00:15:40,565 --> 00:15:42,067
to the shape of Tom.
323
00:15:42,067 --> 00:15:45,153
Then we introduced
the angularity and sharpness
324
00:15:45,153 --> 00:15:47,322
and a lot of referencing to dragon forms.
325
00:15:47,322 --> 00:15:49,616
With it being Aegon,
there's a lot of talon
326
00:15:49,616 --> 00:15:53,828
and scale forms in there that run through
the tassets and the skirt scales
327
00:15:53,828 --> 00:15:56,373
through a lot of small detailings.
328
00:15:56,373 --> 00:15:58,792
And then we got into
the whole Valyrian steel,
329
00:15:58,792 --> 00:16:03,129
which was like adding an additional build
on top of everything
330
00:16:03,129 --> 00:16:05,465
because we then come back to our original
331
00:16:05,465 --> 00:16:09,803
forms and shapes, lift patterns
from the surfaces of every piece,
332
00:16:09,803 --> 00:16:14,224
create artwork for the Valyrian steel,
and then apply it to every surface.
333
00:16:14,224 --> 00:16:16,267
So it was quite involved.
334
00:16:17,185 --> 00:16:19,187
Give it a bit of a shimmy, I reckon.
335
00:16:20,814 --> 00:16:22,190
That's it.
336
00:16:24,734 --> 00:16:30,699
They work so unbelievably hard on
creating the armor and the helmet
337
00:16:30,699 --> 00:16:32,701
and everything that goes with it.
338
00:16:32,701 --> 00:16:34,452
The attention to detail is mind-blowing.
339
00:16:35,245 --> 00:16:37,831
It is satisfying when you can see them
enjoy the costume
340
00:16:37,831 --> 00:16:41,584
and it works for them and it's helping
them develop their character.
341
00:16:41,584 --> 00:16:43,670
And he looks incredible in his armor.
342
00:16:43,670 --> 00:16:48,383
Heavy. Conqueror's armor is very heavy,
but it looks amazing, Valyrian steel.
343
00:16:48,383 --> 00:16:50,927
It's got the crown sort of built into it,
which is amazing.
344
00:16:50,927 --> 00:16:52,220
It took a little while to get right
345
00:16:52,220 --> 00:16:54,389
but I've never felt
more heroic in my life.
346
00:16:55,306 --> 00:16:57,517
I'm as fearsome as any of them.
347
00:17:07,193 --> 00:17:10,780
It's just so rainy. So rainy and so wet.
348
00:17:11,656 --> 00:17:13,950
Driftmark Harbor is a dry dock.
349
00:17:13,950 --> 00:17:17,871
The Sea Snake boat has come back from war
and is being repaired.
350
00:17:17,871 --> 00:17:19,539
The harbor itself is quite high.
351
00:17:19,539 --> 00:17:22,459
It's about five meters high,
going down into the mud
352
00:17:22,459 --> 00:17:25,337
and the silt of the dock
when the sea is out.
353
00:17:25,337 --> 00:17:26,504
And then, obviously,
that has to be surrounded,
354
00:17:26,504 --> 00:17:28,923
so you can shoot 360 degrees.
355
00:17:28,923 --> 00:17:32,927
From start to walking on the set
was probably 16 or 18 weeks.
356
00:17:33,720 --> 00:17:35,221
Jim is the master of the grand scale,
357
00:17:35,221 --> 00:17:39,476
so it started off an already
big project to take on.
358
00:17:39,476 --> 00:17:42,562
A lot of structure in that
because we built up to,
359
00:17:42,562 --> 00:17:44,189
I think, probably, five meters high.
360
00:17:44,189 --> 00:17:46,149
A hell of a lot of plaster work
361
00:17:46,149 --> 00:17:47,901
involved in a set like that.
362
00:17:47,901 --> 00:17:50,612
And then the props came in
with some lovely dressing
363
00:17:50,612 --> 00:17:55,158
to make it feel like you're in a boatyard
because this was a ship under repair
364
00:17:55,158 --> 00:17:59,537
so it needed to have that feel
of guys heavily working.
365
00:17:59,537 --> 00:18:02,207
It's the biggest set
that I think Jim ever built.
366
00:18:02,207 --> 00:18:03,667
It's massive and expansive.
367
00:18:03,667 --> 00:18:06,336
I mean, all that stuff that you're seeing
is in camera, including the ship.
368
00:18:06,336 --> 00:18:08,838
Really only the extensions out
to sea and beyond
369
00:18:08,838 --> 00:18:11,883
into the next slips that are virtual.
370
00:18:11,883 --> 00:18:14,886
And it just blew me away
the first time I walked on it.
371
00:18:15,762 --> 00:18:17,931
I've totally forgotten what I have to say
372
00:18:17,931 --> 00:18:20,392
- because there's so much rain all over--
- All on my face, yeah.
373
00:18:21,309 --> 00:18:23,895
We had spent months
preparing for the scene
374
00:18:23,895 --> 00:18:25,939
and then we found out that the day we were
gonna shoot it,
375
00:18:25,939 --> 00:18:27,982
it was going to be torrential rain.
376
00:18:27,982 --> 00:18:31,778
So, we moved the scene
and we added rain machines.
377
00:18:32,278 --> 00:18:35,448
After eight hours of SFX rain,
you're gonna get some leaks,
378
00:18:35,448 --> 00:18:37,826
and the water started pooling
in the bottom of the set,
379
00:18:37,826 --> 00:18:39,661
and we had to keep digging it out.
380
00:18:39,661 --> 00:18:40,829
For being such a simple scene,
381
00:18:40,829 --> 00:18:43,331
it became actually
quite complicated to shoot.
382
00:18:43,331 --> 00:18:46,001
The fake rain was like a monsoon.
383
00:18:46,001 --> 00:18:47,919
If you ask Geeta,
"How heavy do you want it?"
384
00:18:47,919 --> 00:18:49,713
She goes, "I want Bollywood 10."
385
00:18:49,713 --> 00:18:51,673
But at first, I was like,
"I have no idea what you mean,"
386
00:18:51,673 --> 00:18:53,383
but I did some research
387
00:18:53,383 --> 00:18:56,553
and it's full-on heavy, big,
and I love her for that.
388
00:18:56,553 --> 00:18:59,014
And we did, did we not?
389
00:18:59,639 --> 00:19:04,227
That scene in the rain,
that was just such a bonkers day.
390
00:19:05,020 --> 00:19:08,148
And at one point, I said,
"There is actual rain outside.
391
00:19:08,148 --> 00:19:12,694
Are you sure that we need
this extra monsoon?"
392
00:19:12,694 --> 00:19:16,406
And we were all in kind of like
Noah's Ark, with the water rising.
393
00:19:16,406 --> 00:19:18,950
The minute you get out there,
pouring with rain, then they'd go,
394
00:19:18,950 --> 00:19:21,911
"Turn the machines on."
I mean, you were literally soaked.
395
00:19:21,911 --> 00:19:24,497
And by the time that
you got under the shelter
396
00:19:24,497 --> 00:19:26,541
to talk to her, you were drenched.
397
00:19:26,541 --> 00:19:28,835
And also, I was leaning on a post
398
00:19:28,835 --> 00:19:31,838
and there was, like,
a torrent of water coming down.
399
00:19:31,838 --> 00:19:34,674
So as I turn my head away from the camera,
I was getting completely bathed.
400
00:19:34,674 --> 00:19:37,927
It was, oh, it was fun, but it wasn't.
401
00:19:38,428 --> 00:19:40,889
That feels a lot of rain.
402
00:19:42,974 --> 00:19:47,228
The scene that, originally,
was very romantic ended up still romantic
403
00:19:47,228 --> 00:19:50,565
because now they were underneath
this bridge in the rain
404
00:19:51,107 --> 00:19:53,234
so I think it came full circle in the end.