1
00:00:06,339 --> 00:00:09,759
It felt like we were
in this other world.

2
00:00:09,801 --> 00:00:12,637
There are dangerous
pitfalls and sinkholes.

3
00:00:13,013 --> 00:00:15,473
I can handle mud wrestling,
but singing was the worst.

4
00:00:15,473 --> 00:00:17,350
There were incredible
challenges shooting there.

5
00:00:17,392 --> 00:00:19,978
I said to Geeta,
"This is an impossible shot."

6
00:00:20,645 --> 00:00:23,023
Every time it happens,
I was going,
"How is that working?"

7
00:00:23,064 --> 00:00:24,774
Bring on the birds!

8
00:00:24,816 --> 00:00:26,860
It's about to kick off.

9
00:00:26,901 --> 00:00:28,486
Come on, let's go.

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

11
00:00:49,090 --> 00:00:51,343
(music fades out)

12
00:00:54,346 --> 00:00:58,224
The cast has found
their characters this season

13
00:00:58,266 --> 00:01:00,894
in a way that is
really fun to see.

14
00:01:00,935 --> 00:01:03,188
They've been able
to elevate the scenes

15
00:01:03,188 --> 00:01:04,855
that were
already wonderful.

16
00:01:05,522 --> 00:01:07,359
Melissa Bernstein:
We have five directors
this season.

17
00:01:07,400 --> 00:01:10,028
They are all
incredibly talented.

18
00:01:10,028 --> 00:01:12,405
Olivia Cooke:
Every director brings
their own perspectives

19
00:01:12,447 --> 00:01:16,033
and it's been really fun
to dance with them each episode.

20
00:01:17,077 --> 00:01:20,038
Matt Smith:
Every day I think the amount
of work that goes in.

21
00:01:20,038 --> 00:01:21,581
Thank you to everyone
who does work on this show

22
00:01:21,623 --> 00:01:24,292
because it is done
with such grandeur.

23
00:01:25,210 --> 00:01:28,338
Clare Kilner:
Everyone is so skilled
in their own department

24
00:01:28,380 --> 00:01:30,382
that I just feel like
the luckiest girl in the world

25
00:01:30,423 --> 00:01:33,218
to really be able to work
with these people.

26
00:01:33,801 --> 00:01:38,264
Two years in, the sheer scope
of it still stuns me.

27
00:01:38,306 --> 00:01:40,517
Danny Gulliver:
There's not an element
of the day

28
00:01:40,558 --> 00:01:42,310
that doesn't become
a pinch me moment.

29
00:01:42,644 --> 00:01:46,021
It's just turned into
something bigger and grander

30
00:01:46,064 --> 00:01:47,732
than I ever
could've imagined.

31
00:01:48,274 --> 00:01:51,235
It's been incredible.
What a story to tell.

32
00:01:53,113 --> 00:01:56,324
(upbeat, tense music playing)

33
00:01:57,658 --> 00:02:01,705
When Tyland Lannister
goes to the Tyroshi pavilion,

34
00:02:01,746 --> 00:02:04,249
we needed to create
a new world for him

35
00:02:04,290 --> 00:02:05,750
to feel uncomfortable in.

36
00:02:07,168 --> 00:02:09,753
It's an opportunity for us
to explore this new world

37
00:02:09,795 --> 00:02:11,756
that we haven't been to yet.

38
00:02:11,756 --> 00:02:14,092
Geeta really seized
that opportunity with both hands

39
00:02:14,134 --> 00:02:17,429
and got everybody
around the table to really
build that world.

40
00:02:18,096 --> 00:02:20,265
Ryan Condal:
There was a good bit
of concepting

41
00:02:20,306 --> 00:02:22,767
to make it feel like it was
one cohesive world.

42
00:02:23,435 --> 00:02:26,438
The exotic location
is to feel that this is
a different culture

43
00:02:26,478 --> 00:02:28,773
than the Westerosi culture
that we're used to seeing.

44
00:02:29,482 --> 00:02:30,817
Jim Clay:
For the Tyroshi pavilion,

45
00:02:30,859 --> 00:02:32,902
I was trying to strike
a completely new

46
00:02:32,944 --> 00:02:34,112
vernacular for that.

47
00:02:34,154 --> 00:02:35,447
It's another look at

48
00:02:35,447 --> 00:02:37,781
different architecture
in the show.

49
00:02:39,034 --> 00:02:41,411
Geeta Vasant Patel:
Ryan and I started thinking
about all the things

50
00:02:41,453 --> 00:02:43,621
that a Westerner would feel
uncomfortable around.

51
00:02:43,663 --> 00:02:45,582
If you have
to take off your shoes,

52
00:02:45,623 --> 00:02:47,500
if you have
to sit on the floor,

53
00:02:47,542 --> 00:02:49,961
if there are wild
animals around you.

54
00:02:49,961 --> 00:02:55,341
We started trying to create
a culture and put Tyland in it,

55
00:02:55,383 --> 00:02:57,302
make him uncomfortable.

56
00:02:58,011 --> 00:03:00,638
Kieran Belshaw: Geeta wanted
a really wide shot

57
00:03:00,680 --> 00:03:03,641
introducing this place
in this really epic landscape.

58
00:03:04,225 --> 00:03:07,520
The opening starts
where they've been sitting
there for hours.

59
00:03:07,562 --> 00:03:10,357
It was Geeta's idea that
we come in via a monkey.

60
00:03:10,398 --> 00:03:11,816
We had a monkey.
Yeah, Rosie.

61
00:03:11,858 --> 00:03:14,652
The one issue was
Jefferson doesn't like monkeys.

62
00:03:14,652 --> 00:03:16,321
Jefferson Hall: I went up
to the monkey handler

63
00:03:16,363 --> 00:03:17,822
and I said, "Is the monkey
gonna be okay?"

64
00:03:17,822 --> 00:03:19,199
And she said,
"Oh yeah, she's lovely.

65
00:03:19,240 --> 00:03:20,825
"But if you look her in the eye,

66
00:03:20,867 --> 00:03:22,702
she'll bite you in the face."

67
00:03:23,745 --> 00:03:24,954
That monkey did not listen.

68
00:03:24,996 --> 00:03:26,289
Jason Rickwood:
There was one point where

69
00:03:26,331 --> 00:03:27,540
Rosie started veering off
towards Jefferson.

70
00:03:27,582 --> 00:03:29,000
Jefferson could hear
the handler saying,

71
00:03:29,042 --> 00:03:30,335
"No, Rosie,
no, Rosie, no, Rosie!"

72
00:03:30,919 --> 00:03:33,004
So survived that,
but that was intimidating.

73
00:03:33,463 --> 00:03:34,339
(laughs)

74
00:03:35,340 --> 00:03:39,511
Admiral Lohar,
this is Tyland Lannister.

75
00:03:40,428 --> 00:03:43,430
Well met, Lord Tywin.

76
00:03:44,182 --> 00:03:45,767
It's Tyland.

77
00:03:47,018 --> 00:03:49,187
Condal: Sharako is
the commander of this fleet.

78
00:03:49,228 --> 00:03:51,356
She feels like one of these
very colorful characters

79
00:03:51,398 --> 00:03:53,650
ripped right out of the pages
of George's books.

80
00:03:53,692 --> 00:03:55,026
They really listened
to me and asked,

81
00:03:55,026 --> 00:03:56,569
"Do you have ideas
for the character?"

82
00:03:56,611 --> 00:03:58,321
So I said, "Yeah, I'd love
to take her in this dimension

83
00:03:58,363 --> 00:04:00,073
"that she's, like,
a female Blackbeard.

84
00:04:00,115 --> 00:04:01,658
"Like, what if I was
just absolutely, like,

85
00:04:01,700 --> 00:04:04,369
covered in knives,
just had all this stuff?"

86
00:04:04,911 --> 00:04:08,873
We made a nice ornate sword
which would sit on her hip

87
00:04:08,873 --> 00:04:10,500
and eight different knives,

88
00:04:10,542 --> 00:04:12,836
and then it was
working closely with

89
00:04:12,877 --> 00:04:16,047
the costume department
as to where they would
sit on the body.

90
00:04:16,047 --> 00:04:18,675
Caroline McCall:
That had to be built
into the look.

91
00:04:18,716 --> 00:04:22,012
She has a waistcoat piece
and that's got all the trinkets,

92
00:04:22,053 --> 00:04:25,140
coins, and things
that she's pillaged.

93
00:04:26,891 --> 00:04:30,145
I will not sail with a man
who cannot best me.

94
00:04:31,062 --> 00:04:32,063
At, at what?

95
00:04:34,274 --> 00:04:37,068
I put him through
absolute hell.

96
00:04:38,903 --> 00:04:40,905
I can handle mud wrestling,
but singing was the worst.

97
00:04:41,239 --> 00:04:45,076
(sings)
♪ Cross the Narrow Sea to
the ladies of King's Landing ♪

98
00:04:45,076 --> 00:04:48,121
So it kinda worked.
They're like,
"You really can't sing."

99
00:04:48,163 --> 00:04:50,081
Well done, Lord Tyrod!

100
00:04:50,832 --> 00:04:53,710
And Jefferson is
a natural comedic actor.

101
00:04:53,752 --> 00:04:57,422
Having him reacting
to the bonkersness around him
is really enjoyable.

102
00:04:57,464 --> 00:04:59,758
Hall:
On reflection at the end
he looks back, you know,

103
00:04:59,799 --> 00:05:01,259
"Wow, that was
a hell of a trip."

104
00:05:03,720 --> 00:05:05,764
♪♪

105
00:05:08,016 --> 00:05:10,060
Catherine Goldschmidt:
The banquet scene
in Dragonstone

106
00:05:10,101 --> 00:05:11,603
between Rhaenyra
and her dragonriders,

107
00:05:11,603 --> 00:05:14,147
we wanted it to feel
like a new space,

108
00:05:14,189 --> 00:05:15,648
so we shot it in the chamber
of the Painted Table,

109
00:05:15,690 --> 00:05:17,609
but we removed the table,

110
00:05:17,650 --> 00:05:20,820
and then we just wanted it
to feel like an intimate feast

111
00:05:20,862 --> 00:05:23,490
that she's throwing
for the riders

112
00:05:23,531 --> 00:05:25,325
so that she can tell them

113
00:05:25,367 --> 00:05:27,994
(laughs) you're going to war
and you might die.

114
00:05:28,036 --> 00:05:29,329
(laughs)

115
00:05:29,871 --> 00:05:33,457
I'm always, like,
amazed by the creativity
of the craftsmanship

116
00:05:33,457 --> 00:05:36,419
of, like, pie, cakes,
the puddings, the blancmanges.

117
00:05:36,461 --> 00:05:38,630
So stunning.
And such a contrast, actually,

118
00:05:38,672 --> 00:05:41,341
to this granite brickwork
of Dragonstone.

119
00:05:41,383 --> 00:05:44,010
Claire Nia Richards:
I love the pomegranates
and those rich colors

120
00:05:44,052 --> 00:05:45,679
and the figs
and the artichokes.

121
00:05:45,720 --> 00:05:47,764
What a beautiful thing
that is.

122
00:05:47,806 --> 00:05:49,516
It's like a little work of art.

123
00:05:49,557 --> 00:05:51,101
Richards:
I was trying to keep
the opulent colors

124
00:05:51,142 --> 00:05:52,852
and use flowers as well

125
00:05:52,894 --> 00:05:54,312
that they could hit light off,

126
00:05:54,354 --> 00:05:56,189
like pockets
of fire almost.

127
00:05:56,231 --> 00:05:58,316
Just try and give it
different tiered levels,

128
00:05:58,358 --> 00:06:01,361
so that you could have different
height and candles amongst it.

129
00:06:01,403 --> 00:06:03,822
And then I think it
really pops beautifully.

130
00:06:05,490 --> 00:06:07,659
It's hard work
training dragons, you know?

131
00:06:07,701 --> 00:06:10,495
So, just gotta store
the protein

132
00:06:10,495 --> 00:06:12,664
and, uh,
get the carbs in, ya know?

133
00:06:13,081 --> 00:06:16,835
I picked duck,
which is probably a--
quite a bad decision

134
00:06:16,876 --> 00:06:18,837
'cause we were just
eatin' the whole day.

135
00:06:18,837 --> 00:06:21,548
Tom Bennett:
Actors have got a thing where
if there is an eating scene,

136
00:06:21,589 --> 00:06:23,800
they'll go, "I'll cut
this raspberry in half

137
00:06:23,842 --> 00:06:25,719
and I'll just pop that in."

138
00:06:25,760 --> 00:06:28,555
I've got some raspberries
and blackberries.

139
00:06:28,596 --> 00:06:32,350
I was like, "Do you know what?
We're gonna do this take
a lot of times,

140
00:06:32,392 --> 00:06:33,977
so I'm gonna munch
on them berries."

141
00:06:34,019 --> 00:06:36,354
I ate, probably,
seven punnets of berries.

142
00:06:36,855 --> 00:06:39,024
Kieran Bew:
In King's Landing, you haven't
had meat for months,

143
00:06:39,065 --> 00:06:40,525
and suddenly,
we're sitting at a table

144
00:06:40,567 --> 00:06:42,068
and there's plates of meat.

145
00:06:42,110 --> 00:06:44,404
I think I had, like,
five slices of duck every take.

146
00:06:44,446 --> 00:06:46,489
Clinton Liberty:
Before we'd even
gotten halfway through,

147
00:06:46,531 --> 00:06:48,074
he was, like,
stuffed with duck.

148
00:06:48,116 --> 00:06:50,368
Thanks very much.
Ah, magic.

149
00:06:50,409 --> 00:06:53,121
And I was just there
eatin' my berries like,
"Aw, you guys."

150
00:06:54,080 --> 00:06:55,707
I'm not eatin'
a thing tonight.

151
00:06:55,749 --> 00:06:57,250
It's gonna
save me a fortune.

152
00:06:57,292 --> 00:07:00,920
When you're the bloke saying,
"More little birds."

153
00:07:00,962 --> 00:07:02,589
And some more
of these little birds.

154
00:07:02,630 --> 00:07:05,884
When those little birds arrive,
you have to fucking eat them.

155
00:07:05,884 --> 00:07:07,719
Bring on the birds!

156
00:07:08,261 --> 00:07:09,554
Tom ate two birds a take.

157
00:07:09,596 --> 00:07:11,222
I said more
of these little birds.

158
00:07:11,556 --> 00:07:13,892
We're on bird
number eight, nine?

159
00:07:13,892 --> 00:07:15,560
He ate so many quails.

160
00:07:16,394 --> 00:07:18,772
There comes a point in the day
where you say to yourself,

161
00:07:18,813 --> 00:07:21,399
"Okay, I'm being paid
to eat birds today..."

162
00:07:21,441 --> 00:07:23,109
Sixteen, 17 now.

163
00:07:23,151 --> 00:07:25,278
"...and I'm gonna keep
doing it until I'm sick."

164
00:07:25,320 --> 00:07:27,530
Goldschmidt:
He didn't look like
he was sufferin',

165
00:07:27,572 --> 00:07:29,199
but maybe he's just
a really good actor.

166
00:07:29,240 --> 00:07:30,450
Twenty.

167
00:07:30,492 --> 00:07:31,868
I'm gonna make you all think

168
00:07:31,910 --> 00:07:33,286
I'm so hungry,

169
00:07:33,328 --> 00:07:34,954
that you want to eat
the little birds.

170
00:07:34,996 --> 00:07:36,581
Twenty-four.

171
00:07:36,581 --> 00:07:37,791
At some point,
he's gonna have to stop.

172
00:07:38,166 --> 00:07:41,419
It was over 30... 30 quails.

173
00:07:41,461 --> 00:07:43,880
I said more
of these little birds.

174
00:07:43,922 --> 00:07:48,093
A knight will comport himself
with grace at the Queen's table.

175
00:07:48,510 --> 00:07:50,512
Best make me a knight, then.

176
00:07:53,098 --> 00:07:56,142
(tense music playing)

177
00:07:57,686 --> 00:08:00,438
Coming into second season
and having the honor

178
00:08:00,480 --> 00:08:05,568
of directing the final vision
was quite amazing for me.

179
00:08:05,610 --> 00:08:08,947
Do you wish then to learn
what is given to you?

180
00:08:09,531 --> 00:08:11,449
We wanted Daemon
to have this final experience

181
00:08:11,449 --> 00:08:12,909
that was undeniable to him.

182
00:08:12,951 --> 00:08:17,956
These visions are going
to change his world outlook.

183
00:08:17,997 --> 00:08:21,001
Patel:
Ryan and Sara put together
a list of all the things

184
00:08:21,042 --> 00:08:22,419
that needed
to be in the vision,

185
00:08:22,460 --> 00:08:24,295
and then it was up to me

186
00:08:24,295 --> 00:08:27,757
to visually connect
everything and stylize it.

187
00:08:27,799 --> 00:08:32,303
We came up with a tableau that
really told the story quickly

188
00:08:32,303 --> 00:08:33,638
with a palpable feeling.

189
00:08:37,017 --> 00:08:39,644
We shot the beginning
as a dire wolf point of view,

190
00:08:39,686 --> 00:08:41,645
running through
the snowy forest.

191
00:08:42,147 --> 00:08:45,316
This wave of White Walkers
starts walking towards you

192
00:08:45,358 --> 00:08:48,069
and you just smash
into their face basically.

193
00:08:49,529 --> 00:08:51,489
Come on, that's cool.

194
00:08:51,489 --> 00:08:53,450
Patel: In preparing
for the White Walker scene,

195
00:08:53,491 --> 00:08:56,202
we definitely went back
to "Game of Thrones."

196
00:08:56,244 --> 00:08:58,621
We looked at how
their eyes were depicted.

197
00:08:58,663 --> 00:09:01,666
We looked at makeup.
We looked at costumes.

198
00:09:02,083 --> 00:09:03,835
Waldo Mason: We're very lucky
to have people on our crew

199
00:09:03,877 --> 00:09:05,879
who actually worked
on the White Walkers

200
00:09:05,920 --> 00:09:07,047
in "Game of Thrones"

201
00:09:07,088 --> 00:09:08,506
who were able
to sorta tell us

202
00:09:08,548 --> 00:09:09,799
what kinda color palette
we should be using

203
00:09:09,841 --> 00:09:12,135
to stay consistent
with what's gone before.

204
00:09:12,177 --> 00:09:14,679
From the time we knew we were
gonna do a White Walker,

205
00:09:14,721 --> 00:09:16,848
we had our performer
in mind, Paul Casey.

206
00:09:16,848 --> 00:09:18,975
He's a movement performer,
stunt coordinator,

207
00:09:19,017 --> 00:09:21,227
and he's got a very
measured way of moving.

208
00:09:21,269 --> 00:09:24,689
And Paul was amazing.
He's like a prosthetics veteran.

209
00:09:24,731 --> 00:09:26,733
So he's like a statue when
you're stickin' stuff on him.

210
00:09:26,775 --> 00:09:27,692
An old pro.

211
00:09:27,859 --> 00:09:29,235
Patel:
The first thing we need to do

212
00:09:29,277 --> 00:09:32,697
-is just get all
the basics right.
-Timing, yes.

213
00:09:32,739 --> 00:09:34,324
Mason:
The set got quite busy.

214
00:09:34,366 --> 00:09:37,077
As soon as Paul came on set
in his White Walker makeup,

215
00:09:37,118 --> 00:09:39,245
it suddenly started
buzzing a little bit.

216
00:09:39,287 --> 00:09:41,206
Rickwood: All of a sudden,
there's 150 people in there

217
00:09:41,206 --> 00:09:42,874
and I thought, the only reason
all these people are here

218
00:09:42,915 --> 00:09:45,710
is 'cause of these
White Walkers,
but I couldn't blame them.

219
00:09:45,710 --> 00:09:51,049
crewmember:
One, two, three, four, five.

220
00:09:51,049 --> 00:09:54,052
-Marching.
-(growling exhale)

221
00:09:56,554 --> 00:09:59,891
There were 20 undead,
slashes down their faces,

222
00:09:59,933 --> 00:10:03,728
prosthetic cheekbones,
contact lenses, dentures.

223
00:10:03,728 --> 00:10:06,064
Our man who played
the hero wight upstairs

224
00:10:06,106 --> 00:10:08,566
with his, uh, teeth
as part of the bust.

225
00:10:09,401 --> 00:10:13,196
Adam Lawrence:
We had the costume department
green out areas,

226
00:10:13,238 --> 00:10:16,032
so it appeared as though they
were skeletons or missing limbs

227
00:10:16,074 --> 00:10:17,450
and stuff like that.

228
00:10:17,492 --> 00:10:20,537
It's just gonna be
a really powerful part

229
00:10:20,578 --> 00:10:22,580
of the end of the series,
I think.

230
00:10:24,332 --> 00:10:25,959
Patel:
The White Walker moment

231
00:10:26,001 --> 00:10:28,753
was something that took
me back to the roots

232
00:10:28,753 --> 00:10:30,839
of why I love
George's writing

233
00:10:31,631 --> 00:10:35,677
and why I love this world
and this story.

234
00:10:36,594 --> 00:10:38,930
Condal: This sequence is
a way of showing how

235
00:10:38,930 --> 00:10:41,725
our series does interconnect
with that future series,

236
00:10:41,766 --> 00:10:43,143
and the events
that are happening now

237
00:10:43,184 --> 00:10:45,270
do have an impact
on how that future

238
00:10:45,311 --> 00:10:46,396
is going to play out.

239
00:10:47,272 --> 00:10:49,232
Ellie Murphy:
Daemon is the one
who finds these eggs,

240
00:10:49,274 --> 00:10:50,900
and then we're goin'
to see him have a vision

241
00:10:50,942 --> 00:10:52,652
of Daenerys's eggs
in the fire,

242
00:10:52,694 --> 00:10:55,947
which are the fossilized
lichen-covered eggs.

243
00:10:55,989 --> 00:10:58,450
It's been really fun
to make sure that these are

244
00:10:58,491 --> 00:11:00,952
glisteny, shiny, lovely eggs
that you could believe
would hatch,

245
00:11:00,952 --> 00:11:02,996
and then get to display
Dany's eggs again,

246
00:11:03,038 --> 00:11:05,498
which are canon
to "Game of Thrones."

247
00:11:07,584 --> 00:11:10,128
Goldschmidt:
All of these epic tentpoles

248
00:11:10,128 --> 00:11:12,464
of "Game of Thrones"
universe were there.

249
00:11:12,464 --> 00:11:15,133
What Geeta did,
which was incredible,

250
00:11:15,133 --> 00:11:18,636
was sort of piece them
all together into a narrative

251
00:11:18,636 --> 00:11:20,513
and have it have this arc.

252
00:11:21,306 --> 00:11:24,476
It brings a lot of the different
elements of this great,

253
00:11:24,476 --> 00:11:27,270
brilliant show that
we're all part of together.

254
00:11:27,312 --> 00:11:29,773
And I think that's
really exciting.

255
00:11:29,814 --> 00:11:31,983
(echoes) You know your part.

256
00:11:36,738 --> 00:11:38,740
♪♪

257
00:11:42,243 --> 00:11:44,621
(whispers) There is a message
from Harrenhal, Your Grace.

258
00:11:44,662 --> 00:11:49,000
Daemon has raised his army,
but Ser Simon fears treachery.

259
00:11:49,709 --> 00:11:51,961
Condal: Harrenhal is
a Riverlands location.

260
00:11:52,003 --> 00:11:54,547
It's often ensconced
in fog and mist.

261
00:11:54,589 --> 00:11:56,841
When our line producer
showed us this location,

262
00:11:56,883 --> 00:11:58,718
all of us looked
at it and said,

263
00:11:58,760 --> 00:12:00,679
"That's the basis
for Harrenhal."

264
00:12:00,679 --> 00:12:03,848
I loved Wales.
I just can't get over
the landscape.

265
00:12:04,391 --> 00:12:06,643
Patel: And the location
was extraordinary.

266
00:12:06,685 --> 00:12:09,396
It felt like we were
in this other world.

267
00:12:09,437 --> 00:12:11,856
I had some ideas
of how Harrenhal should be

268
00:12:11,898 --> 00:12:13,316
before we went to Wales,

269
00:12:13,358 --> 00:12:14,901
but then, most definitely,

270
00:12:14,943 --> 00:12:18,029
those Welsh locations fed into
the whole design process.

271
00:12:18,029 --> 00:12:19,572
Dominic Masters:
It just felt like
a perfect place

272
00:12:19,614 --> 00:12:21,366
to stage
a very lonely castle

273
00:12:21,366 --> 00:12:23,868
to sit in a totally desolate,
epic landscape.

274
00:12:23,868 --> 00:12:26,579
♪♪

275
00:12:26,621 --> 00:12:29,374
Addam... come with me.

276
00:12:30,041 --> 00:12:33,044
Daemon and Rhaenyra approach
Harrenhal via a dragon.

277
00:12:33,086 --> 00:12:36,172
The approach to Harrenhal
was one that we

278
00:12:36,214 --> 00:12:37,841
spent a lot of time
mapping it out

279
00:12:37,882 --> 00:12:39,843
with visual effects
in previs,

280
00:12:39,884 --> 00:12:41,594
but then when we had
an actual location,

281
00:12:41,636 --> 00:12:43,263
it was important for us
to take a drone up

282
00:12:43,304 --> 00:12:46,558
and see what that
approach would be like.

283
00:12:46,599 --> 00:12:48,059
Thomas Horton:
When Rhaenyra flies in,

284
00:12:48,059 --> 00:12:50,186
that was massively complicated

285
00:12:50,228 --> 00:12:51,730
'cause Harrenhal's so big

286
00:12:51,771 --> 00:12:54,024
and we wanted to try
and capture that scale,

287
00:12:54,065 --> 00:12:56,776
but also capture the island
and the Gods Eye lake.

288
00:12:59,279 --> 00:13:01,114
Patel: As she flies
around Harrenhal,

289
00:13:01,156 --> 00:13:03,783
she just sees troops
and troops and troops...

290
00:13:04,993 --> 00:13:06,244
through visual effects,

291
00:13:06,244 --> 00:13:09,914
then extended
to thousands of army.

292
00:13:09,914 --> 00:13:11,207
Horton:
If you read the books,

293
00:13:11,249 --> 00:13:15,545
these armies were
30,000 troops coming to war.

294
00:13:15,587 --> 00:13:17,088
We literally were
doing the maths

295
00:13:17,088 --> 00:13:18,590
on how many tents
we would need

296
00:13:18,631 --> 00:13:20,967
to house about 30,000.

297
00:13:21,009 --> 00:13:23,470
It's just a massive
scale of army.

298
00:13:23,511 --> 00:13:25,513
(all yelling)

299
00:13:26,348 --> 00:13:28,350
(Syrax roaring)

300
00:13:32,479 --> 00:13:35,482
This quarry had
this magnificent ramp.

301
00:13:35,523 --> 00:13:37,901
We really wanted to stage
the scene on the ramp

302
00:13:37,942 --> 00:13:41,237
because from the ramp
is this incredible view
down the valley.

303
00:13:41,279 --> 00:13:43,114
But we had to get
very special permission

304
00:13:43,156 --> 00:13:44,657
to get everybody up on that ramp

305
00:13:44,699 --> 00:13:47,452
because it's a rather
dangerous place to be.

306
00:13:47,786 --> 00:13:50,580
There are dangerous
pitfalls and sinkholes

307
00:13:50,622 --> 00:13:54,250
and sheer shafts of stone
and reservoir runoffs.

308
00:13:54,834 --> 00:13:57,420
Anything that's, that's
off the beaten track,
which that most certainly is,

309
00:13:57,462 --> 00:13:59,339
and literally up
a single road track,

310
00:13:59,381 --> 00:14:01,257
halfway up a mountain,
is always gonna be difficult

311
00:14:01,299 --> 00:14:02,676
when you've got
that amount of infrastructure

312
00:14:02,717 --> 00:14:05,178
that comes with shooting
a show like this.

313
00:14:05,220 --> 00:14:06,971
There were incredible
challenges shooting there

314
00:14:07,013 --> 00:14:09,307
from a number of levels,
but it was so worth it.

315
00:14:09,724 --> 00:14:11,476
Those days are the ones
you get home and think,

316
00:14:11,518 --> 00:14:13,561
"Oh, we did it.
Oh, we got it done."

317
00:14:13,812 --> 00:14:16,022
Welcome to Harrenhal,
my Queen.

318
00:14:16,064 --> 00:14:18,066
I did not think
to see you here yourself.

319
00:14:19,359 --> 00:14:22,487
When we did Daemon
bending the knee to Rhaenyra,

320
00:14:22,529 --> 00:14:25,156
we did it
on a blue screen stage.

321
00:14:25,198 --> 00:14:26,991
We used some
very high cranes.

322
00:14:26,991 --> 00:14:28,827
We had a 70-foot crane
on that occasion,

323
00:14:28,827 --> 00:14:31,329
and a 40-foot crane
working together.

324
00:14:31,329 --> 00:14:33,039
Goldschmidt:
We thought of the scene

325
00:14:33,081 --> 00:14:34,540
"King in the North"
with Jon Snow.

326
00:14:34,582 --> 00:14:37,043
We also thought of,
even from last season,

327
00:14:37,085 --> 00:14:39,295
when Aegon gets crowned.

328
00:14:39,337 --> 00:14:42,841
There's all these
"sword in the air" moments
in cinema history

329
00:14:42,841 --> 00:14:44,217
and in "Game of Thrones"
history.

330
00:14:44,718 --> 00:14:46,845
Lev Kolobov:
We had quite a lot of people,

331
00:14:46,845 --> 00:14:48,805
but we need to make it
a full army.

332
00:14:48,847 --> 00:14:51,307
We shot different
elements of this army

333
00:14:51,349 --> 00:14:52,976
in order to replicate them

334
00:14:53,018 --> 00:14:55,854
and, and make it
much, much bigger.

335
00:14:57,439 --> 00:15:01,151
It's also that castle
environment outside
of the windows, towers,

336
00:15:01,192 --> 00:15:03,445
and other pieces
of architecture.

337
00:15:04,029 --> 00:15:06,031
Sean Savage:
By the time the visual
effects department

338
00:15:06,031 --> 00:15:07,907
have put their touch to it,

339
00:15:07,949 --> 00:15:10,994
I think it will be
a spectacular sequence.

340
00:15:11,036 --> 00:15:13,538
(shouts)
We fight for our queen!

341
00:15:13,580 --> 00:15:15,290
(all cheering)

342
00:15:21,254 --> 00:15:25,258
Uh, ladies and gentlemen,
that is a season wrap on Emma.

343
00:15:25,300 --> 00:15:27,594
(all cheering, applause)

344
00:15:31,556 --> 00:15:33,558
♪♪

345
00:15:38,897 --> 00:15:42,400
I would take
my daughter and her child
and leave it all behind.

346
00:15:42,400 --> 00:15:43,902
(scoffs) It's too late.

347
00:15:43,943 --> 00:15:47,072
We end the season
with Rhaenyra having been left

348
00:15:47,072 --> 00:15:48,573
with the burden of decision

349
00:15:48,573 --> 00:15:51,117
whether to move forward
with the war

350
00:15:51,159 --> 00:15:53,411
or trust Alicent

351
00:15:53,411 --> 00:15:54,829
and take the throne.

352
00:15:55,789 --> 00:15:56,998
(softly) Go.

353
00:15:59,417 --> 00:16:01,586
Condal: We pop out of that
very intimate moment

354
00:16:01,628 --> 00:16:03,797
to remind people that
armies are on the march,

355
00:16:03,838 --> 00:16:06,466
and all of these big pieces
on the chessboard are moving.

356
00:16:07,926 --> 00:16:10,387
The montage was
a very exciting thing

357
00:16:10,428 --> 00:16:12,138
to read on a page,
very epic.

358
00:16:12,180 --> 00:16:13,932
We storyboarded it first

359
00:16:13,973 --> 00:16:15,934
to get an idea
of how it would flow

360
00:16:15,975 --> 00:16:18,645
and we really wanted
the camera to be moving

361
00:16:18,687 --> 00:16:20,563
and show the epic scale.

362
00:16:20,605 --> 00:16:22,941
We designed
very specific shots, really,

363
00:16:22,982 --> 00:16:25,193
for the different armies.

364
00:16:27,654 --> 00:16:29,948
The shot on the bridge,
when we boarded it,

365
00:16:29,948 --> 00:16:32,492
I said to Geeta,
"This is an impossible shot.

366
00:16:32,534 --> 00:16:34,411
I have no idea
how to do this."

367
00:16:34,452 --> 00:16:35,954
Horton:
It was one of those things
that we previs'd

368
00:16:35,954 --> 00:16:37,288
and we were like,

369
00:16:37,288 --> 00:16:39,499
"Oh, I don't think
you can shoot that."

370
00:16:39,540 --> 00:16:40,959
Sometimes you have
to build something,

371
00:16:40,959 --> 00:16:43,128
which is what we did
in that circumstance.

372
00:16:43,503 --> 00:16:45,463
I described how we wanted
the camera to move

373
00:16:45,463 --> 00:16:47,257
and what we wanted it to do.

374
00:16:47,298 --> 00:16:50,802
Working with our team,
we figured it out.

375
00:16:50,844 --> 00:16:53,096
My brilliant key grip,
Alex Fraser,

376
00:16:53,138 --> 00:16:55,640
designed a system
that would run on, on ropes

377
00:16:55,640 --> 00:16:58,476
that were controlled
by guys pushin' dollies.

378
00:16:58,476 --> 00:17:00,478
I had two tracks
parallel to each other,

379
00:17:00,478 --> 00:17:04,816
72 pulleys,
6,000 foot of tech line.

380
00:17:04,816 --> 00:17:07,652
It worked beautifully.
It was exactly what we wanted.

381
00:17:08,819 --> 00:17:12,240
Three, two, one, action!

382
00:17:12,656 --> 00:17:16,161
We'd start at a height
of about 60 or 70 feet
above the bridge.

383
00:17:16,202 --> 00:17:17,871
And as the army
marched towards us,

384
00:17:17,912 --> 00:17:20,040
we approached
on these cables.

385
00:17:20,080 --> 00:17:22,791
We got lower and lower
through moving dollies.

386
00:17:23,084 --> 00:17:25,962
I had one grip to travel
the camera on the wire.

387
00:17:25,962 --> 00:17:27,881
And I had another
to descend it down.

388
00:17:27,922 --> 00:17:31,509
Alex caught the camera,
and then we do an extraordinary
pan around.

389
00:17:31,509 --> 00:17:33,303
Rickwood:
Even with me stood there
watching it on the monitor,

390
00:17:33,345 --> 00:17:34,888
knowing all my background,

391
00:17:34,929 --> 00:17:36,514
and stepping out
of the way of the camera
and stepping back in,

392
00:17:36,556 --> 00:17:37,974
every time it happens,

393
00:17:38,016 --> 00:17:39,142
I was looking
at the monitor going,

394
00:17:39,184 --> 00:17:40,352
"How is that working?"

395
00:17:40,393 --> 00:17:42,020
It was an incredible shot
that is gonna

396
00:17:42,062 --> 00:17:43,980
pickle people's brains
for a little bit, I think.

397
00:17:44,439 --> 00:17:46,691
Savage: We then drop down
between the army

398
00:17:46,691 --> 00:17:48,526
and saw their boots
going past us,

399
00:17:48,526 --> 00:17:50,862
about 40 or 50 soldiers.

400
00:17:50,904 --> 00:17:53,239
They really gave us
a very hard challenge,

401
00:17:53,281 --> 00:17:55,867
which I was very proud of
my grip team and camera team

402
00:17:55,909 --> 00:17:57,160
because I think we met it

403
00:17:57,202 --> 00:17:59,079
and it's a very
spectacular shot

404
00:17:59,120 --> 00:18:01,122
right at the end
of this season.

405
00:18:03,875 --> 00:18:06,711
Rickwood: I think it's gonna be
a powerful moment in the end
of episode eight,

406
00:18:06,753 --> 00:18:08,880
jumping through
all these characters
and all their story arcs.

407
00:18:08,922 --> 00:18:10,757
Goldschmidt:
When you cut it all together,

408
00:18:10,799 --> 00:18:12,717
you really want it
to send chills

409
00:18:12,759 --> 00:18:15,220
down everybody's spines
and to be this memorable thing

410
00:18:15,220 --> 00:18:16,888
that everybody thinks about
while they wait

411
00:18:16,888 --> 00:18:18,390
for the next season
to come out.

412
00:18:18,390 --> 00:18:22,060
It's definitely
our show saying,

413
00:18:22,060 --> 00:18:24,729
"You gotta come back
and see what happens next."

414
00:18:26,189 --> 00:18:29,734
Bew: The end of the episode
is like a boiling pot.

415
00:18:29,776 --> 00:18:31,695
It's incredibly exciting
knowing that, now,

416
00:18:31,736 --> 00:18:33,738
there are so many
more dragonriders.

417
00:18:35,740 --> 00:18:38,743
It certainly doesn't
look too good for Team Green.

418
00:18:38,785 --> 00:18:41,413
You shouldn't be puttin'
your eggs in one basket
at this point.

419
00:18:41,413 --> 00:18:43,581
The pendulum could swing
the other way very quickly.

420
00:18:43,581 --> 00:18:46,418
♪♪

421
00:18:46,459 --> 00:18:49,754
It's about to kick off big time.
That's what I have to say.

422
00:18:50,922 --> 00:18:52,674
(roars)

423
00:18:54,259 --> 00:18:56,970
Sara Hess:
It's been an incredible
experience to see the things

424
00:18:57,012 --> 00:18:59,431
that we wrote
on the page come to life

425
00:18:59,431 --> 00:19:01,558
and to see the hundreds
and hundreds of people

426
00:19:01,599 --> 00:19:03,268
that have poured
their talent into it

427
00:19:03,268 --> 00:19:05,937
is humbling and exciting

428
00:19:05,979 --> 00:19:08,982
and it's a once-in-a-lifetime
experience definitely.

429
00:19:09,524 --> 00:19:11,401
I'm just intensely grateful
for all of you,

430
00:19:11,443 --> 00:19:14,988
and I'm in awe of the incredible
talent and effort, dedication,

431
00:19:15,030 --> 00:19:16,990
and the fact that you
all still are smiling,

432
00:19:17,032 --> 00:19:18,199
which touches my heart.

433
00:19:18,950 --> 00:19:21,745
I feel kind of like Ulf
at the very end of his story,

434
00:19:21,786 --> 00:19:23,288
right before
Silverwing finds him.

435
00:19:23,288 --> 00:19:24,664
I've been running
through a cave

436
00:19:24,706 --> 00:19:26,166
in the dark with a torch.

437
00:19:26,207 --> 00:19:28,752
I'm quite tired,
but I think I claimed
the dragon,

438
00:19:28,793 --> 00:19:30,628
and I'm very proud
of all the work

439
00:19:30,670 --> 00:19:33,298
that the writers, directors,
cast, and crew have done
on this show

440
00:19:33,298 --> 00:19:34,716
and I'm very, very
grateful for it.

441
00:19:35,633 --> 00:19:36,885
(dragon roars)