1
00:00:05,672 --> 00:00:09,300
I think that's what really gives
this the proper kind of scale.
2
00:00:10,510 --> 00:00:12,971
This used to be
my favorite set.
3
00:00:12,971 --> 00:00:14,806
Wow.
Like, that's, that's it.
4
00:00:16,391 --> 00:00:18,018
Eve Best: You know,
I was nearly crashin' the car
5
00:00:18,018 --> 00:00:19,894
'cause it was
just so beautiful.
6
00:00:20,562 --> 00:00:21,771
Pfft, blows my mind.
7
00:00:22,313 --> 00:00:23,648
Someone told me that in Spain.
8
00:00:23,982 --> 00:00:25,316
It gets messy.
9
00:00:25,650 --> 00:00:27,861
It just makes everything
a little bit more excitin'.
10
00:00:28,903 --> 00:00:31,906
(epic music playing)
11
00:00:46,004 --> 00:00:48,173
(music fades out)
12
00:00:48,173 --> 00:00:51,760
(light piano music playing)
13
00:00:52,344 --> 00:00:55,138
Clare Kilner:
Episode five is
called "Regent."
14
00:00:55,138 --> 00:00:58,308
And it's, you know--
That, obviously, refers
15
00:00:58,308 --> 00:01:01,019
to Aemond taking control.
16
00:01:02,020 --> 00:01:04,814
And cut. Thank you, guys.
Thank you very much. Thanks.
17
00:01:04,814 --> 00:01:08,068
This episode is
very much a power grab.
18
00:01:08,068 --> 00:01:10,362
People vying for power,
19
00:01:10,362 --> 00:01:14,115
but also, it's very much about
that happening through grief.
20
00:01:15,283 --> 00:01:17,285
♪
21
00:01:21,790 --> 00:01:23,416
Steve Toussaint:
So, when we meet Corlys
22
00:01:23,416 --> 00:01:25,502
in episode five,
he's devastated.
23
00:01:25,502 --> 00:01:27,337
She gets the death,
I guess, that she would want,
24
00:01:27,337 --> 00:01:28,672
in the sense that--
I think Baela says it,
25
00:01:28,672 --> 00:01:30,340
you know, she dies
by dragonfire.
26
00:01:30,340 --> 00:01:32,717
But, of course, that doesn't
take away the pain.
27
00:01:32,717 --> 00:01:34,094
Sitting in the Hall of Nine,
28
00:01:34,094 --> 00:01:35,345
but it means nothing
to him anymore
29
00:01:35,345 --> 00:01:36,554
because she's gone.
30
00:01:37,138 --> 00:01:39,557
Kilner:
Steve is an incredible actor.
31
00:01:39,557 --> 00:01:44,562
He has such deep soul
to all of his performances.
32
00:01:44,562 --> 00:01:46,523
When you're
dealing with grief,
33
00:01:46,523 --> 00:01:48,942
I don't really talk to them
that much about it.
34
00:01:48,942 --> 00:01:50,735
It's such a vulnerable place
35
00:01:50,735 --> 00:01:53,238
to be mining your grief
of your own personal life,
36
00:01:53,238 --> 00:01:54,906
which is kind of
what you have to do,
37
00:01:54,906 --> 00:01:58,785
and then, let them find it
and you see what they bring.
38
00:01:58,785 --> 00:02:00,578
And, with Corlys,
39
00:02:00,578 --> 00:02:04,082
I had no clue that he was
gonna have this tear.
40
00:02:04,082 --> 00:02:06,042
Like, this silent tear
roll down his face.
41
00:02:06,042 --> 00:02:09,254
It was incredibly
moving to see it.
42
00:02:09,254 --> 00:02:11,297
♪
43
00:02:13,508 --> 00:02:15,135
Alejandro Martínez:
Yeah, that was
a beautiful scene.
44
00:02:15,135 --> 00:02:16,553
Corlys was shot
in the Hall of Nine,
45
00:02:16,553 --> 00:02:18,555
which had to be a blue screen
46
00:02:18,555 --> 00:02:21,599
because the original big set,
we don't have it anymore.
47
00:02:24,936 --> 00:02:27,439
So what we did
is we built part of it
48
00:02:27,439 --> 00:02:28,648
and then everything else
was blue screen.
49
00:02:28,648 --> 00:02:30,900
So that was
a, a nice challenge.
50
00:02:30,900 --> 00:02:33,153
Nick Heckstall-Smith:
The advantage was
we had shot on season one,
51
00:02:33,153 --> 00:02:34,904
so we knew
what the set was,
52
00:02:34,904 --> 00:02:36,114
we knew how the set felt.
53
00:02:36,114 --> 00:02:38,616
And also, the actors,
or Steve himself,
54
00:02:38,616 --> 00:02:40,952
obviously, had worked
in that set extensively
on season one,
55
00:02:40,952 --> 00:02:44,998
so he knew kind of where he was,
even though 90% of it was blue.
56
00:02:44,998 --> 00:02:48,460
So, this used to be
my favorite set...
57
00:02:48,460 --> 00:02:49,836
and I don't know what
they've done with it.
58
00:02:49,836 --> 00:02:53,798
It's now a warehouse,
and I'm embarrassed and hurt.
59
00:02:53,798 --> 00:02:55,008
Personally offended by it,
60
00:02:55,008 --> 00:02:57,344
but, uh, I'm sure
with the CGI stuff,
61
00:02:57,344 --> 00:02:59,304
it'll look wonderful.
62
00:02:59,304 --> 00:03:01,097
Heckstall-Smith:
The Cyclops was
really helpful,
63
00:03:01,097 --> 00:03:02,515
especially in sets
like Hall of Nine,
64
00:03:02,515 --> 00:03:05,101
because the cameras
and us understand
65
00:03:05,101 --> 00:03:06,811
exactly what we're seeing
66
00:03:06,811 --> 00:03:09,647
wherever we place the camera
in that environment.
67
00:03:10,148 --> 00:03:11,983
Jim Clay: The Cyclops
the visual effects guys use
68
00:03:11,983 --> 00:03:13,777
is enormously important,
69
00:03:13,777 --> 00:03:15,987
and, especially, for directors
and actors as well
70
00:03:15,987 --> 00:03:18,823
to be able to look around
a blue screen stage
71
00:03:18,823 --> 00:03:21,659
and then see what
the final image will be.
72
00:03:21,659 --> 00:03:24,829
- (indistinct chatter)
- crewmembers: Rolling!
73
00:03:27,165 --> 00:03:28,583
(gasps)
74
00:03:29,209 --> 00:03:30,835
That's brilliant!
75
00:03:33,922 --> 00:03:36,508
Aw! This is
the best set, you know?
76
00:03:36,758 --> 00:03:39,844
Thomas Horton:
We had a fully textured
scan of the set,
77
00:03:39,844 --> 00:03:42,514
and I remember opening
the scan and going,
78
00:03:42,514 --> 00:03:44,224
"Wow. Like, that's, that's it."
79
00:03:44,224 --> 00:03:47,143
You know, like, literally,
the kind of the fine detail.
80
00:03:47,143 --> 00:03:49,562
So it was a pretty
straightforward rebuild for us
81
00:03:49,562 --> 00:03:50,897
'cause we had all
of the material.
82
00:03:51,564 --> 00:03:54,984
Dominic Masters:
The cost of rebuilding
the whole set for that, uh,
83
00:03:54,984 --> 00:03:57,320
as opposed to picking
our angles and saying,
84
00:03:57,320 --> 00:04:00,156
"Right, we need this angle,
we need that angle,
we don't need that,"
85
00:04:00,156 --> 00:04:02,659
we worked it out what
was essential to build
86
00:04:02,659 --> 00:04:04,661
and what could be
put in digitally
87
00:04:04,661 --> 00:04:07,997
to recreate the set
and not have to build
the whole thing again.
88
00:04:07,997 --> 00:04:10,750
And that, hopefully,
has proved very successful.
89
00:04:11,126 --> 00:04:12,961
Kilner:
Cut. Thank you.
90
00:04:15,714 --> 00:04:18,717
(tense music playing)
91
00:04:21,469 --> 00:04:25,140
knight:
Behold! The traitor
dragon Meleys!
92
00:04:25,724 --> 00:04:28,435
Freddie Fox:
Parading Meleys's head,
it's sort of grotesque.
93
00:04:28,435 --> 00:04:31,229
It's also a reminder
of a battle gone bad.
94
00:04:31,229 --> 00:04:34,441
And also, Cole
perceives quite quickly
95
00:04:34,441 --> 00:04:36,526
has the reverse effect
of what is intended.
96
00:04:36,526 --> 00:04:38,945
It's intended to be
a sort of rallying call
97
00:04:38,945 --> 00:04:42,032
to the people of King's Landing
and, "Look how we're doing."
98
00:04:42,032 --> 00:04:44,868
But, of course,
the people of King's Landing
99
00:04:44,868 --> 00:04:47,620
see the beginnings
of nuclear warfare,
100
00:04:47,620 --> 00:04:49,748
and they're like,
(scoffs) "I wanna get out."
101
00:04:49,748 --> 00:04:52,083
townsperson:
'Tis an abomination.
102
00:04:52,083 --> 00:04:54,461
Don't they realize
we won the battle?
103
00:04:55,337 --> 00:04:56,796
Strange victory.
104
00:04:57,589 --> 00:04:58,965
Fabien Frankel:
Yeah, I mean,
it was amazing.
105
00:04:58,965 --> 00:05:02,427
Any time I get to work
with Clare Kilner is a joy.
106
00:05:02,427 --> 00:05:04,554
And she makes me laugh
very, very much,
107
00:05:04,554 --> 00:05:06,765
and I think she takes
some sort of small pleasure
108
00:05:06,765 --> 00:05:09,476
in watching me and Freddie
struggle on these horses.
109
00:05:09,476 --> 00:05:11,770
It was, it was
really, really great.
110
00:05:11,770 --> 00:05:15,106
Martínez: The way we shot it is
big parade, streets of Spain,
111
00:05:15,106 --> 00:05:17,817
streets of Trujillo,
and streets of backlot,
112
00:05:17,817 --> 00:05:19,277
and the whole procession.
113
00:05:19,277 --> 00:05:20,570
And it's Meleys's head,
114
00:05:20,570 --> 00:05:22,989
which it was just,
like, a big, blue
115
00:05:22,989 --> 00:05:25,450
(laughs)
head.
116
00:05:25,450 --> 00:05:27,577
But I think once
the whole scene is finished
117
00:05:27,577 --> 00:05:29,662
and once you can actually
see that dragon head,
118
00:05:29,662 --> 00:05:31,081
it's gonna be quite amazing.
119
00:05:31,081 --> 00:05:32,665
townsperson:
Rhaenyra will answer this.
120
00:05:32,665 --> 00:05:35,460
Horton:
So that obviously will be
a fully CG dragon head,
121
00:05:35,460 --> 00:05:37,837
kinda more complicated
than some in that-that,
you know, there--
122
00:05:37,837 --> 00:05:39,464
lot of blood and guts and gore.
123
00:05:39,464 --> 00:05:41,341
In all of our sequences,
the starting point
124
00:05:41,341 --> 00:05:42,967
is always
an incredible concept.
125
00:05:42,967 --> 00:05:44,928
And so, we-- there was
a lot of iterations
126
00:05:44,928 --> 00:05:48,014
that went through to get
the right type of dragon head,
127
00:05:48,014 --> 00:05:49,474
the right amount
of gore and blood,
128
00:05:49,474 --> 00:05:51,476
and we'll, literally,
be taking that, you know,
129
00:05:51,476 --> 00:05:53,311
those concepts and, you know,
making them real,
130
00:05:53,311 --> 00:05:56,523
but the dragon head was created
from our real dragon head model
131
00:05:56,523 --> 00:05:58,274
and then scaled down a little
132
00:05:58,274 --> 00:06:00,944
and we had the horns
on it because it's got
massive horns,
133
00:06:00,944 --> 00:06:03,196
and it's a big show,
big dragons.
134
00:06:03,196 --> 00:06:04,989
(roars)
135
00:06:04,989 --> 00:06:09,661
knight:
Slain at Rook's Rest
by your king. To Aegon!
136
00:06:11,663 --> 00:06:13,957
Heckstall-Smith:
The victory parade
with the dragon head
137
00:06:13,957 --> 00:06:18,169
was a massive amount
of wagons and horses
138
00:06:18,169 --> 00:06:21,006
and characters that needed
to march through the streets.
139
00:06:21,006 --> 00:06:24,342
It was a challenge to move
that parade back and forth.
140
00:06:24,342 --> 00:06:29,014
You could never
turn it 'round and reset back
to a first position easily.
141
00:06:29,014 --> 00:06:30,682
You had to unhitch
all the horses,
142
00:06:30,682 --> 00:06:32,851
push the wagons back,
push the horses back,
143
00:06:32,851 --> 00:06:34,519
re-hitch again.
144
00:06:35,186 --> 00:06:36,396
(neighs)
145
00:06:36,396 --> 00:06:38,064
It was 15 minutes
before you could roll
146
00:06:38,064 --> 00:06:39,983
the cameras again,
so that was challenging.
147
00:06:39,983 --> 00:06:42,193
(all singing a tune)
148
00:06:46,865 --> 00:06:49,367
Trujillo was built
for medieval parades for sure.
149
00:06:49,367 --> 00:06:52,746
A lot of our street,
street-based shooting was
actually done in Trujillo
150
00:06:52,746 --> 00:06:56,207
'cause it offered
these wider streets
and these grand squares
151
00:06:56,207 --> 00:06:58,001
and the right looks
of the buildings.
152
00:06:58,001 --> 00:06:59,878
So definitely lend itself,
you know, very well to,
153
00:06:59,878 --> 00:07:01,713
um, staging this action.
154
00:07:01,713 --> 00:07:03,506
Knight:
The dragon Meleys!
155
00:07:03,506 --> 00:07:05,717
apprentice: I thought
the dragons was gods.
156
00:07:05,717 --> 00:07:07,552
It's just meat.
157
00:07:07,552 --> 00:07:08,928
Kieran Bew:
Shooting in Spain was surreal
158
00:07:08,928 --> 00:07:11,348
because the set is just--
It's just there, you know?
159
00:07:11,348 --> 00:07:13,516
(stammers) I can understand
why they shoot there.
160
00:07:13,516 --> 00:07:15,727
The other thing about Spain
is it was an opportunity
161
00:07:15,727 --> 00:07:17,187
to spend time
with some of the cast,
162
00:07:17,187 --> 00:07:19,564
and it's always nice
to, to meet your costars.
163
00:07:20,231 --> 00:07:23,026
But I find the stuff that they
manage to do when we're away
164
00:07:23,026 --> 00:07:25,612
like dressing up
C-Các-- uh, Cáceres--
165
00:07:25,612 --> 00:07:28,073
(softly)
That's how you pronounce it.
Someone told me that in Spain.
166
00:07:28,073 --> 00:07:29,908
Don't tell anyone.
167
00:07:29,908 --> 00:07:31,785
It's-- Pretend camera.
168
00:07:31,785 --> 00:07:35,622
You know, to look like
the "Game of Thrones" film set
169
00:07:35,622 --> 00:07:38,083
or Trujillo, which we shot in
as well, or, you know--
170
00:07:38,083 --> 00:07:40,293
I-I find that stuff
pretty amazing.
171
00:07:40,293 --> 00:07:44,297
I think that's the key factor,
to shoot on real locations.
172
00:07:44,297 --> 00:07:46,549
It has the feeling
of reality, of course,
173
00:07:46,549 --> 00:07:48,093
but once you arrive here,
174
00:07:48,093 --> 00:07:50,095
it feels like
the birth of the sets,
175
00:07:50,095 --> 00:07:52,889
where all of these
locations started here,
176
00:07:52,889 --> 00:07:56,643
so you really feel that
you are in King's Landing.
177
00:07:56,643 --> 00:07:58,144
And action.
178
00:07:58,144 --> 00:08:00,563
Sofia Noronha:
And also, going back
to the stage,
179
00:08:00,563 --> 00:08:02,732
back in England,
it's weird because
180
00:08:02,732 --> 00:08:06,152
you can feel that
this is there, somehow,
181
00:08:06,152 --> 00:08:11,282
so you kinda feel
both worlds in, in
the different locations.
182
00:08:11,282 --> 00:08:13,076
Clay: I think you
always go through that process
183
00:08:13,076 --> 00:08:14,077
right at the very beginning.
184
00:08:14,077 --> 00:08:15,495
Should this be a location?
185
00:08:15,495 --> 00:08:17,789
So it had been
my ambition on this season
186
00:08:17,789 --> 00:08:20,208
to build part
of King's Landing.
187
00:08:20,625 --> 00:08:24,587
So, everything that you're
about to see is season two.
188
00:08:24,587 --> 00:08:26,339
So let's walk through.
189
00:08:26,798 --> 00:08:28,800
And you can see
the colors of the Red Keep
190
00:08:28,800 --> 00:08:32,804
now blend
into the sandstone
191
00:08:32,804 --> 00:08:35,974
of Cáceres and Trujillo
with streets going off
192
00:08:35,974 --> 00:08:39,477
and, clearly,
blue screens goin' behind
the background there,
193
00:08:39,477 --> 00:08:43,023
so we can extend
and put in the streets
that we filmed in Spain.
194
00:08:43,982 --> 00:08:46,484
King's Landing, large set,
195
00:08:46,484 --> 00:08:48,987
now occupying several acres
on the backlot.
196
00:08:48,987 --> 00:08:51,281
This section
still remains dressed.
197
00:08:51,281 --> 00:08:54,200
We complete photography
in three more days,
198
00:08:54,200 --> 00:08:56,286
and then,
all of the dressing will go
199
00:08:56,286 --> 00:08:59,164
and the sets will weather
their way through the winter.
200
00:08:59,164 --> 00:09:01,207
And now if we look
back from here,
201
00:09:01,207 --> 00:09:04,461
you can see the approach
to the Red Keep
202
00:09:04,461 --> 00:09:06,546
and how this set
all ties together.
203
00:09:07,505 --> 00:09:09,883
So it's quite
an expansive set
204
00:09:09,883 --> 00:09:11,843
and allows us to play
a lot of action out
205
00:09:11,843 --> 00:09:15,680
and to change it and dress it
and replicate the, um, areas
206
00:09:15,680 --> 00:09:18,641
of King's Landing
to flesh out the story.
207
00:09:18,641 --> 00:09:20,685
(indistinct chatter)
208
00:09:23,021 --> 00:09:26,024
(light music playing)
209
00:09:31,029 --> 00:09:34,032
Kilner:
Oh, Aegon's story here
is absolutely tragic,
210
00:09:34,032 --> 00:09:37,118
so they hide Aegon's body.
211
00:09:39,204 --> 00:09:43,708
I wanted to really
shoot Aegon's litter
212
00:09:43,708 --> 00:09:47,045
and really get the sense
that he is dead, you know,
213
00:09:47,045 --> 00:09:48,880
so that when
they pull him out,
214
00:09:48,880 --> 00:09:51,341
it's a shock, one,
that he's alive,
215
00:09:51,341 --> 00:09:55,345
and then to see the state
of disrepair that he's in,
216
00:09:55,345 --> 00:09:57,389
um, how burnt he is.
217
00:09:57,389 --> 00:10:00,725
We also elongated
that journey from the script
218
00:10:00,725 --> 00:10:05,689
because we wanted
to follow him with Steadicam
into the Red Keep,
219
00:10:05,689 --> 00:10:09,067
up the steps,
through the hallways,
and into the room.
220
00:10:09,651 --> 00:10:13,363
Then, I wanted to sort of
see the lid come off
221
00:10:13,363 --> 00:10:15,782
but still not see
what was inside.
222
00:10:15,782 --> 00:10:17,742
So, really sort of
tease the audience
223
00:10:17,742 --> 00:10:19,869
with the mystery
of what's inside that box.
224
00:10:20,412 --> 00:10:22,414
Martínez:
We always thought about it
as a dark scene.
225
00:10:22,414 --> 00:10:24,040
It's really gritty.
226
00:10:24,040 --> 00:10:26,751
Even the script talks
about curtains being closed.
227
00:10:26,751 --> 00:10:28,294
It's supposed to be
a grim and dark scene,
228
00:10:28,294 --> 00:10:29,587
so we always
saw it that way.
229
00:10:29,587 --> 00:10:31,631
We wanted to leave a lot
for the imagination
230
00:10:31,631 --> 00:10:34,551
so somebody that's been--
half the body's been burned,
231
00:10:34,551 --> 00:10:37,470
you can only imagine
his wounds.
232
00:10:37,470 --> 00:10:38,763
Dracarys.
233
00:10:38,763 --> 00:10:41,141
(roars)
234
00:10:41,141 --> 00:10:42,600
No, no! (yells)
235
00:10:45,020 --> 00:10:48,064
Martínez:
Things like breastplate
being stuck to the flesh
236
00:10:48,064 --> 00:10:50,942
or, you know, things like that
that we wanted to show,
237
00:10:50,942 --> 00:10:53,403
but not too much,
so the dark environment
helped
238
00:10:53,403 --> 00:10:57,407
but it was a lot about
the amazing prosthetic work
that they did.
239
00:10:57,407 --> 00:10:58,950
It's-- It looked
really, really good.
240
00:10:58,950 --> 00:11:00,452
I think people are gonna be,
241
00:11:00,452 --> 00:11:03,288
uh, a bit in shock
when they see Aegon.
242
00:11:04,789 --> 00:11:07,125
Waldo Mason:
When we did the return
to the Red Keep with Aegon
243
00:11:07,125 --> 00:11:08,668
after he's been burnt,
244
00:11:08,668 --> 00:11:11,671
uh, him coming back
and everything being
peeled off him,
245
00:11:11,671 --> 00:11:13,673
and I see wh-what's
actually happened to him
246
00:11:13,673 --> 00:11:15,133
was, yeah, a big one for Clare,
247
00:11:15,133 --> 00:11:18,303
so we wanted to make sure
we sold that enough
248
00:11:18,303 --> 00:11:21,139
and made it kind of
disgusting enough.
249
00:11:21,890 --> 00:11:24,309
So we start with
our kind of pussiest version
250
00:11:24,309 --> 00:11:26,019
because he's been brought
straight off the battlefield.
251
00:11:26,019 --> 00:11:28,313
So that would've been time
for infection to set in,
252
00:11:28,313 --> 00:11:30,774
so we've got a lot of pus
going on, a lot of wetness.
253
00:11:30,774 --> 00:11:33,985
Then we kind of reveal,
in stages, how burnt
his chest is
254
00:11:33,985 --> 00:11:35,862
and how extensive
the damage is.
255
00:11:35,862 --> 00:11:38,114
- It's all fuckin' melted.
- What's happenin' here?
256
00:11:38,114 --> 00:11:40,158
What's this?
Oh, psoriasis. Sorry.
257
00:11:40,158 --> 00:11:42,327
- (laughter)
- I don't like that bit.
258
00:11:42,327 --> 00:11:44,537
My self-esteem is rock bottom.
259
00:11:44,537 --> 00:11:46,164
Move it there.
260
00:11:46,164 --> 00:11:47,832
It was great.
Tom was really into it as well.
261
00:11:47,832 --> 00:11:50,543
The whole thing
of his burn is it's not
a direct burn.
262
00:11:50,543 --> 00:11:52,879
It's not a burn
from the flame.
263
00:11:52,879 --> 00:11:55,173
It's where his armor
has become super hot
264
00:11:55,173 --> 00:11:58,093
and it's burned into his face
like a, like a hot plate.
265
00:11:58,677 --> 00:12:02,972
Valyrian armor,
in "Game of Thrones" lore,
is flame-resistant,
266
00:12:02,972 --> 00:12:07,018
as opposed to a normal armor,
which will just melt.
267
00:12:07,018 --> 00:12:10,355
Caroline McCall:
So, that was a big
breakdown job for Tim,
268
00:12:10,355 --> 00:12:12,482
our chief of breakdown.
269
00:12:12,482 --> 00:12:13,692
And so, he blackened it.
270
00:12:13,692 --> 00:12:16,236
He did some really
lovely techniques on it.
271
00:12:16,236 --> 00:12:21,032
And then, David, who does
sort of specialist jewelry
272
00:12:21,032 --> 00:12:23,660
and he made some
of the chainmail look like
it was melted,
273
00:12:23,660 --> 00:12:26,079
tried to make it look
as, as real as possible
274
00:12:26,079 --> 00:12:28,039
of somethin' that
had been up in flames.
275
00:12:28,623 --> 00:12:30,667
Amanda Knight:
We love getting to those
moments in the script.
276
00:12:30,667 --> 00:12:33,253
And you see that
and you think burns and think,
277
00:12:33,253 --> 00:12:36,589
oh, well, we--
you know there's gonna be
burns in a story like this.
278
00:12:36,589 --> 00:12:38,758
With dragons,
there's gonna be some burns.
279
00:12:38,758 --> 00:12:41,553
And it's great
because that's allowing
us to play
280
00:12:41,553 --> 00:12:45,223
and to find those characters
and to research.
281
00:12:45,223 --> 00:12:47,350
We've gotta think about
the shooting schedule as well.
282
00:12:47,350 --> 00:12:50,854
It's gotta be viable
that it can work every day.
283
00:12:50,854 --> 00:12:53,023
With the severe burns,
it's a six-hour makeup.
284
00:12:53,023 --> 00:12:56,276
You can't sustain that
over the course
of a whole show.
285
00:12:56,276 --> 00:12:58,361
Tom's been brilliant.
He's been amazing.
286
00:12:58,361 --> 00:13:01,156
He's sat there
and allowed us to do it.
287
00:13:01,740 --> 00:13:03,742
(laughing)
288
00:13:03,742 --> 00:13:06,036
It's amazing.
The team I have around me is--
289
00:13:06,036 --> 00:13:07,454
are just phenomenal.
290
00:13:07,454 --> 00:13:08,747
They're an absolute dream team.
291
00:13:08,747 --> 00:13:11,291
The, the detail
they can see that
292
00:13:11,291 --> 00:13:12,959
they go, "Oh yeah,
this needs doin'."
293
00:13:12,959 --> 00:13:14,586
I just can't see
that sort of thing.
294
00:13:14,586 --> 00:13:16,379
But we've all got to know
each other very well.
295
00:13:16,379 --> 00:13:17,756
There's been
a lot of time in the chair.
296
00:13:17,756 --> 00:13:20,383
We had a day where it
was, like, close to seven.
297
00:13:20,383 --> 00:13:23,261
It's a process, but these guys
are so good at what they do.
298
00:13:23,261 --> 00:13:25,305
If it looked rubbish,
then you'd be devastated
299
00:13:25,305 --> 00:13:27,140
that you were in the chair
for that long, but it doesn't.
300
00:13:27,140 --> 00:13:28,600
It looks incredible.
I mean,
301
00:13:28,600 --> 00:13:30,935
these guys put their
heart and souls into it.
302
00:13:30,935 --> 00:13:32,270
Pfft, blows my mind.
303
00:13:36,524 --> 00:13:38,985
Daemon Targaryen:
The hour is late
and my dragon is hungry.
304
00:13:38,985 --> 00:13:40,904
Our terms are simple,
Lord Bracken.
305
00:13:40,904 --> 00:13:43,782
Renounce the false
king Aegon as a usurper
306
00:13:44,616 --> 00:13:46,117
and bend the knee to me.
307
00:13:47,452 --> 00:13:49,245
Or your house burns.
308
00:13:49,245 --> 00:13:52,457
(tense music playing)
309
00:13:52,457 --> 00:13:55,293
These are not a people that
can be forced into submission.
310
00:13:55,293 --> 00:13:58,254
And then he's shocked here
to learn that the Brackens
311
00:13:58,254 --> 00:14:01,633
would rather burn in dragonfire
than submit to the Blackwoods.
312
00:14:01,633 --> 00:14:03,593
And he's frustrated,
but he also says,
313
00:14:03,593 --> 00:14:04,969
"Hey, I-I kinda like these guys
314
00:14:04,969 --> 00:14:06,971
and I could use people
like this on my team."
315
00:14:06,971 --> 00:14:08,640
We really believed
in that scene.
316
00:14:08,640 --> 00:14:10,809
Um, we really thought
the tone of the scene
317
00:14:10,809 --> 00:14:13,186
can be really fun,
but yet really sarcastic.
318
00:14:13,186 --> 00:14:14,646
We created a lot of tension
319
00:14:14,646 --> 00:14:16,815
but it was just, like,
a really nice acting scene.
320
00:14:16,815 --> 00:14:19,484
I would sooner be
the Lord of Bones and Cinders
321
00:14:19,484 --> 00:14:23,321
than bend my knee
before some heathen
Blackwood cunt.
322
00:14:23,321 --> 00:14:25,156
Martínez:
There was a lot
of help from VFX.
323
00:14:25,156 --> 00:14:27,867
We previs'd that scene
because that dragon was,
324
00:14:27,867 --> 00:14:29,661
you know, played such
a big role in the scene
325
00:14:29,661 --> 00:14:31,496
and it's just
a dragon standing,
326
00:14:31,496 --> 00:14:32,997
which we haven't seen much.
327
00:14:32,997 --> 00:14:34,207
So it was very challenging
328
00:14:34,207 --> 00:14:36,126
but it was really,
it was really cool.
329
00:14:36,126 --> 00:14:38,336
- We choose fire.
- (horse neighs)
330
00:14:38,336 --> 00:14:40,839
(Caraxes grumbles)
331
00:14:40,839 --> 00:14:43,383
Dadi Einarsson:
It was storyboarded
by Alejandro and Clare,
332
00:14:43,383 --> 00:14:46,469
and we-- with the Cyclops
there on the day of,
333
00:14:46,469 --> 00:14:49,347
that was quite kind of involved
in setting up
334
00:14:49,347 --> 00:14:50,473
just the staging of the scene.
335
00:14:50,473 --> 00:14:52,392
How big is Caraxes
in that space?
336
00:14:52,392 --> 00:14:54,894
Is he gonna fit?
We kind of previs'd that.
337
00:14:54,894 --> 00:14:56,813
And on the day,
it just, with every shot,
338
00:14:56,813 --> 00:14:59,357
it's kind of, you hand over
the iPad and you can line it up.
339
00:15:00,025 --> 00:15:02,652
Kilner:
So we talked with Matt
about this buck,
340
00:15:02,652 --> 00:15:06,698
so he could sit really,
really high up in the saddle
341
00:15:06,698 --> 00:15:10,035
on this mechanical buck
that would move as he moved.
342
00:15:10,035 --> 00:15:11,828
Horton: Yeah, that was
an interesting one where
343
00:15:11,828 --> 00:15:13,747
we started as a blue screen,
344
00:15:13,747 --> 00:15:14,914
you know, shot at the studio,
and we were like,
345
00:15:14,914 --> 00:15:16,332
"No, no, we-we
wanna do it there."
346
00:15:16,332 --> 00:15:19,419
And the location
was just stunning, so,
347
00:15:19,419 --> 00:15:21,004
you know, the performances
were all heightened,
348
00:15:21,004 --> 00:15:22,505
I think, because of that.
349
00:15:22,505 --> 00:15:23,715
Heckstall-Smith:
It was very different from
350
00:15:23,715 --> 00:15:25,008
our usual buck work.
351
00:15:25,008 --> 00:15:27,552
Matt, he enjoyed it.
He loved it.
352
00:15:27,552 --> 00:15:30,055
Every location gave the,
gave the show the scale
353
00:15:30,055 --> 00:15:32,223
and these amazing landscapes,
so it was great.
354
00:15:32,474 --> 00:15:35,727
I just love being on a big,
grand location like that.
355
00:15:35,727 --> 00:15:37,228
It was lovely
to be outside.
356
00:15:37,228 --> 00:15:38,897
And it was raining
and I was on a plinth.
357
00:15:38,897 --> 00:15:40,940
And it was, like,
sideways rain.
358
00:15:40,940 --> 00:15:42,859
I think that's
what really gives us
359
00:15:42,859 --> 00:15:44,736
the, the, the proper
kind of scale,
360
00:15:44,736 --> 00:15:46,613
those beaches
and those vistas,
361
00:15:46,613 --> 00:15:48,573
and it's a show
that really needs that.
362
00:15:48,573 --> 00:15:50,241
And so, it's good.
363
00:15:50,241 --> 00:15:51,910
I think as much location
as we can have, really,
364
00:15:51,910 --> 00:15:53,411
I think really adds to it.
365
00:15:54,579 --> 00:15:58,750
(tense music playing)
366
00:15:58,750 --> 00:16:02,253
Having North Wales as this
really dense set of locations
367
00:16:02,253 --> 00:16:04,923
that could play Dragonstone
and the Riverlands
368
00:16:04,923 --> 00:16:06,758
and the Crownlands
was really useful.
369
00:16:06,758 --> 00:16:08,927
And I-I, honestly,
I don't know that
we would've been able
370
00:16:08,927 --> 00:16:11,429
to produce a season two
as, as we did
371
00:16:11,429 --> 00:16:13,264
without the abundance
of North Wales.
372
00:16:13,264 --> 00:16:14,808
Danny Gulliver:
It just opens up the doors
373
00:16:14,808 --> 00:16:17,560
'cause, you know,
as wonderful and as beautiful
374
00:16:17,560 --> 00:16:19,062
as these sets are
and designed,
375
00:16:19,062 --> 00:16:20,438
you can't fit a dragon
in Dragonstone,
376
00:16:20,438 --> 00:16:21,481
but you can definitely fit it
377
00:16:21,481 --> 00:16:23,108
on the Welsh countryside
hillsides.
378
00:16:23,983 --> 00:16:26,611
Philippa Goslett:
I spent a lot of time
on the Welsh shoot,
379
00:16:26,611 --> 00:16:29,322
but any time you're
shooting on location,
380
00:16:29,322 --> 00:16:31,324
the thing you're gonna come up
against is the weather.
381
00:16:31,324 --> 00:16:34,327
And Wales gets e-every
kind of weather there is.
382
00:16:34,327 --> 00:16:37,455
And I think that we have
been, overall, very lucky
383
00:16:37,455 --> 00:16:39,290
in that
the weather we've got
384
00:16:39,290 --> 00:16:42,252
seems to have
perfectly, uh, matched
385
00:16:42,252 --> 00:16:44,295
the scenes that
we had to film it in.
386
00:16:44,295 --> 00:16:46,506
Kilner:
This rich scenery.
387
00:16:46,506 --> 00:16:49,843
You know,
we're on top of mountains
with the wind in our hair.
388
00:16:49,843 --> 00:16:51,261
Like, you can't fake that.
389
00:16:51,261 --> 00:16:52,929
There'd been
torrential rain,
390
00:16:52,929 --> 00:16:56,141
but we were lucky not to be
in that torrential rain.
391
00:16:58,852 --> 00:17:01,479
Clay:
Locations are a big
logistics, uh, operation.
392
00:17:01,479 --> 00:17:05,358
Just creating
the, the facility to be able
to shoot what you want
393
00:17:05,358 --> 00:17:06,651
and build what you want there.
394
00:17:07,027 --> 00:17:08,987
Ryan Condal:
They are headaches
and those, those places
395
00:17:08,987 --> 00:17:11,281
are often inaccessible
to equipment,
396
00:17:11,281 --> 00:17:13,033
and we are not
a small footprint.
397
00:17:13,033 --> 00:17:16,202
We have heavy equipment
and cranes that we haul
everywhere.
398
00:17:16,202 --> 00:17:17,996
Masters:
Some of these locations
are quite tough in that
399
00:17:17,996 --> 00:17:19,497
they are special places.
400
00:17:19,497 --> 00:17:22,167
A lot of them
are SSSI locations,
401
00:17:22,167 --> 00:17:24,878
uh, which means
they are protected.
402
00:17:24,878 --> 00:17:28,048
Um, and so it limits
some of the work, you know.
403
00:17:28,048 --> 00:17:30,592
Some of our greatest ideas,
you can't achieve them.
404
00:17:31,051 --> 00:17:32,886
crewmember:
And action.
405
00:17:35,680 --> 00:17:38,516
Roger Holden:
There was a lot of, uh,
remodeling, recontouring
406
00:17:38,516 --> 00:17:40,727
of the landscape
to get those sets in.
407
00:17:40,727 --> 00:17:43,897
Other problems there is
they're all SSSI,
408
00:17:43,897 --> 00:17:47,359
which is, you know,
special s-- uh, sites
of scientific interest.
409
00:17:47,359 --> 00:17:50,403
So, certain plants
you can't move,
410
00:17:50,403 --> 00:17:52,864
you can't touch,
you have to protect.
411
00:17:52,864 --> 00:17:55,575
So, there was a lot, a lot
of juggling going on there,
412
00:17:55,575 --> 00:17:57,827
right, and that was just like
a bit of a playground for us.
413
00:17:57,827 --> 00:18:01,498
Clearing, leveling,
bringing in, redressing,
414
00:18:01,498 --> 00:18:04,501
just changing it
to, to what we required
really.
415
00:18:04,876 --> 00:18:08,254
Kilner: I think whenever
you go to a different space,
it informs you.
416
00:18:08,254 --> 00:18:11,216
You know,
the history is ingrained
417
00:18:11,216 --> 00:18:14,928
in the woods
and the stones of a place,
418
00:18:14,928 --> 00:18:18,223
and that just influences you.
You can't help it.
419
00:18:18,223 --> 00:18:20,183
Kevin de la Noy:
When I saw the work
and I saw the artwork
420
00:18:20,183 --> 00:18:23,228
of season one, I said to guys,
"You, you have to go to Wales.
421
00:18:23,228 --> 00:18:26,731
"The mountains are bigger.
It's, uh, visceral.
422
00:18:26,731 --> 00:18:28,775
There's something
magical about it."
423
00:18:29,401 --> 00:18:30,694
Phoebe Campbell:
This does not belong
to humans.
424
00:18:30,694 --> 00:18:32,112
It does not belong to us.
425
00:18:32,112 --> 00:18:34,906
And I think that fits
in the world
426
00:18:34,906 --> 00:18:36,574
of "House of the Dragon"
so well
427
00:18:36,574 --> 00:18:39,285
about what is ours
and what we can claim
428
00:18:39,285 --> 00:18:41,287
and what is bigger than us.
429
00:18:41,287 --> 00:18:44,749
Uh, staring into nothing
but landscape and nature
430
00:18:44,749 --> 00:18:47,794
with no man-made things,
it does something to ya.
431
00:18:47,794 --> 00:18:51,047
(indistinct crew chatter)
432
00:18:51,047 --> 00:18:52,924
It's amazing
shooting in Wales.
433
00:18:52,924 --> 00:18:55,093
I mean, first of all,
it's incredible
434
00:18:55,093 --> 00:18:57,220
that those
kind of landscapes,
435
00:18:57,220 --> 00:18:59,764
we don't have to fly
a million miles away.
436
00:18:59,764 --> 00:19:01,016
They're right here.
437
00:19:01,516 --> 00:19:03,643
I remember I was driving up
and I was like a tourist,
438
00:19:03,643 --> 00:19:05,145
you know, I was
nearly crashing the car
439
00:19:05,145 --> 00:19:07,647
'cause it was
just so beautiful.
440
00:19:08,273 --> 00:19:11,776
Unimaginable of-- how they,
how they got an entire crew of,
441
00:19:11,776 --> 00:19:15,447
I don't know,
maybe 2,000 people
up a mountain
442
00:19:15,447 --> 00:19:17,741
that was kind of
almost impassable,
443
00:19:17,741 --> 00:19:20,285
I don't know,
I-- Yeah, brilliant.
444
00:19:20,952 --> 00:19:25,290
It makes you feel like
you're in that period of time.
445
00:19:25,290 --> 00:19:26,958
There's not really any cars.
446
00:19:26,958 --> 00:19:30,670
There's no roads.
It's all just scenery.
447
00:19:30,670 --> 00:19:32,797
♪
448
00:19:32,797 --> 00:19:34,466
It's nice to have
a change of scenery.
449
00:19:34,466 --> 00:19:38,636
I think if we was
all in the studio
for the whole shoot,
450
00:19:38,636 --> 00:19:40,138
we would start to go
a little bit crazy.
451
00:19:41,806 --> 00:19:44,476
It's like going to school
and goin' on a school trip
452
00:19:44,476 --> 00:19:47,187
because it just makes everything
a little bit more excitin'.
453
00:19:47,187 --> 00:19:49,230
♪