1
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The scale is unlike anything
I've ever seen before.
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But that set's a beautiful set.
3
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Come on.
4
00:00:13,263 --> 00:00:15,306
We set fire to a lot of people.
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00:00:16,516 --> 00:00:18,768
Everybody loves to fire a scorpion.
'Cause why?
6
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You can kill dragons!
7
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Emma never complained.
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I was freezing.
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00:00:24,190 --> 00:00:25,650
Spoiler alert...
10
00:00:25,650 --> 00:00:27,193
I ride a dragon.
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00:00:55,221 --> 00:00:58,808
Episode 207 begins on a beach,
a desolate beach,
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00:00:58,808 --> 00:01:01,353
and Rhaenyra meets Addam of Hull
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who, somehow,
has claimed the dragon Seasmoke
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that belonged
to Rhaenyra's husband, Laenor.
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How did this happen?
Who is Addam of Hull?
16
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The opening of 207,
we had always set on the beach.
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We really wanted that
kind of vast landscape
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that you have at Driftmark.
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I swore after season one
that we were never
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going back to a coastline again.
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And we found ourselves
there for that scene,
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thankfully, for just a brief day.
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Beautiful beach when the sun's out
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and we were filming right on the tideline.
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The problem there, of course,
is the continuity of the tide.
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It doesn't sit and wait for you
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so you're chasing down the beach
and back up the beach.
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So when you're scheduling
a scene like that,
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you have to work out exactly
what direction works for what time.
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So you schedule based on
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how the tide comes in and tide goes out.
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Now what we didn't anticipate
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is that we were gonna be
in the worst of Welsh weather.
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The rain was falling,
the wind was howling,
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the sand was blowing,
the waves were crashing.
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And the tide was comin' in quicker
and harder than we could've ever thought.
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Let's go again! The tide's coming closer!
38
00:02:33,445 --> 00:02:37,532
You stand before the Queen
of the Seven Kingdoms
39
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with a dragon of House Targaryen!
40
00:02:42,162 --> 00:02:44,956
I'd actually hoped for a storm
41
00:02:44,956 --> 00:02:46,833
because you can just
sort of see it, can't you?
42
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This sort of face-off.
43
00:02:48,585 --> 00:02:50,503
I honestly loved it.
44
00:02:50,503 --> 00:02:53,590
And it was the first time
me and Clinton got to shoot together.
45
00:02:53,590 --> 00:02:56,217
Emma never complained.
I was freezing.
46
00:02:57,886 --> 00:03:01,056
I filmed with Seasmoke the day before
I filmed with Emma
47
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so it was really sunny, beautiful.
48
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I was running all day with Seasmoke
and it was beautiful.
49
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And then,
50
00:03:10,607 --> 00:03:13,568
the tide and the storm came in
for the scene with Emma
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which really influenced the scene.
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You kneel quickly
53
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for a man so suddenly elevated.
54
00:03:22,911 --> 00:03:25,205
This dragon came to me.
55
00:03:26,664 --> 00:03:29,751
It's a beautiful dragon line
to open that episode,
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you know, in terms of wonderful,
57
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you know, opportunities
for our dragons to kinda step forward
58
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and kinda be part of that drama.
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00:03:38,301 --> 00:03:39,886
It's pretty big and it's pretty vast.
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You know, Loni put a lot of kinda passion
and prep into just establishing
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an epic scale and look.
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And then we had our dragon performers.
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00:03:49,562 --> 00:03:52,273
We had our guys in blue suits
with a dragon head.
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For all of the weather issues that we had,
it really did look epic.
65
00:04:00,031 --> 00:04:03,868
And, I think, when you've got two big
dragons in there as well,
66
00:04:03,868 --> 00:04:06,871
I think it's gonna be a fantastic opening
to the episode.
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00:04:06,871 --> 00:04:08,748
Do you think you can
get him to Dragonstone?
68
00:04:10,500 --> 00:04:12,085
I can try.
69
00:04:16,381 --> 00:04:18,091
One of the things I loved in 207
70
00:04:18,091 --> 00:04:19,759
is that we had a lot of
different vignettes
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00:04:19,759 --> 00:04:21,636
that took place in a lot of cool places
72
00:04:21,636 --> 00:04:23,763
and one of those cool places
is the godswood,
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00:04:23,763 --> 00:04:26,266
which is at the foot of Harrenhal.
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00:04:28,893 --> 00:04:34,149
That particular godswood is unique
because just across the God's Eye,
75
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there's the Isle of Faces.
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00:04:36,609 --> 00:04:40,447
Like so if you know mythology,
you know that this island is important.
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00:04:40,572 --> 00:04:43,158
This is the godswood
that's fallen into disuse.
78
00:04:43,158 --> 00:04:44,784
You know, we know that Harrenhal was built
79
00:04:44,784 --> 00:04:47,579
on a felled orchard of weirwood trees
80
00:04:47,579 --> 00:04:50,874
and then the weirwoods were chopped up
and used as lumber to build the castle,
81
00:04:50,874 --> 00:04:54,294
which possibly led to some of
the experiences that people have there.
82
00:05:00,008 --> 00:05:02,969
The Harrenhal godswood
went through various processes
83
00:05:02,969 --> 00:05:05,638
of what it should be,
what scale it should be.
84
00:05:05,638 --> 00:05:08,433
And so, ultimately,
it came back to the backlot
85
00:05:08,433 --> 00:05:10,810
and it became part of the ruined garden
86
00:05:10,810 --> 00:05:13,688
with the weirwood tree
standing on a rockscape
87
00:05:13,688 --> 00:05:15,482
at the end of the garden.
88
00:05:17,400 --> 00:05:20,862
This is a much darker,
sort of more mysterious,
89
00:05:20,862 --> 00:05:25,867
kind of almost, almost nightmarish
sort of version of the godswoods.
90
00:05:25,867 --> 00:05:27,702
To evoke the Harrenhal sort of vibe of,
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00:05:27,702 --> 00:05:29,954
"This is a ruined castle."
92
00:05:31,122 --> 00:05:34,584
Unlike the Red Keep godswood which was,
generally, well-tended and kept
93
00:05:34,584 --> 00:05:37,545
this one has fallen into total,
you know, disarray.
94
00:05:37,545 --> 00:05:39,005
I mean, the first time
Daemon walks in there,
95
00:05:39,005 --> 00:05:40,882
there's a bunch of broken carts
all scattered around.
96
00:05:40,882 --> 00:05:43,551
I mean, it seems like
a back garden storage
97
00:05:43,551 --> 00:05:45,887
for the people at Harrenhal.
98
00:05:51,643 --> 00:05:54,354
It was a great dramatic concept.
99
00:05:54,354 --> 00:05:58,149
Lake behind, rocks with the walls
coming up to it
100
00:05:58,149 --> 00:06:01,111
and then these enormous great roots
from this giant tree
101
00:06:01,111 --> 00:06:04,197
just breaking it all to pieces.
102
00:06:06,199 --> 00:06:09,244
That was weeks and weeks and weeks
working with Conrad.
103
00:06:09,244 --> 00:06:13,373
From a maquette to the real thing,
as it was polysculpted.
104
00:06:14,207 --> 00:06:16,960
There's a metal armature in there.
105
00:06:16,960 --> 00:06:22,382
A lot of metalwork inside it
to keep those branches from falling.
106
00:06:22,382 --> 00:06:24,467
We had quite a lot of real branches
in amongst there.
107
00:06:25,301 --> 00:06:28,346
And then it's all taken apart
and it was transported down here
108
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and then put back together again.
109
00:06:30,140 --> 00:06:31,891
There's also all the leaves.
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They have to be painted
first into that color
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00:06:34,978 --> 00:06:38,231
then attached to those branches,
so lots and lots of work.
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00:06:40,191 --> 00:06:41,651
But that set's a beautiful set.
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00:06:41,651 --> 00:06:45,238
Our big visual effects
challenge is the godswood tree.
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So they've built the base of the tree
and then we're extending it.
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And again, what's lovely about the show
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00:06:50,994 --> 00:06:55,206
is everything's so character-based
that even the tree is a character.
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And, yes, I think there is a face
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that people may or may not recognize
119
00:06:59,461 --> 00:07:01,921
but I'm going to require
you to go to the videotape
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00:07:01,921 --> 00:07:04,007
and figure it out for yourself.
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00:07:04,007 --> 00:07:06,343
There's a new face in there.
122
00:07:06,343 --> 00:07:09,554
I don't know if I'm allowed to talk
about who the face is.
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00:07:09,554 --> 00:07:12,098
Yeah, we've got quite
a famous face in there
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that might be recognizable.
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00:07:14,642 --> 00:07:17,479
- The face on the weirwood tree is...
- George R. R. Martin.
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00:07:18,396 --> 00:07:19,356
Yes, George.
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00:07:19,356 --> 00:07:23,109
Is it? I didn't know that.
Oh, that's good. I like that.
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00:07:23,109 --> 00:07:25,320
Which Ryan wanted
to do as a bit of a tribute
129
00:07:25,320 --> 00:07:28,782
and the idea was that it gradually
started to disappear
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00:07:28,782 --> 00:07:31,034
back into the bark of the tree.
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The brief was to make it
feel enough like him
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but you're never really sure.
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The idea is that you don't look at it
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straight away and say,
"That's George R. R. Martin."
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00:07:39,459 --> 00:07:42,629
You do a second take and say,
"Ooh, is that?"
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00:07:43,672 --> 00:07:47,133
This is really cool, guys. Thank you.
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00:07:52,180 --> 00:07:56,935
The dragonseeds come into the Dragonmont,
which is this huge cavern
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with, I guess, what could be described
as a mounting block, 10 meters high.
139
00:08:03,650 --> 00:08:06,903
The scale is unlike anything
I've ever seen before.
140
00:08:06,903 --> 00:08:11,408
You go into these huge sound stages
and they've built a gantry,
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00:08:11,408 --> 00:08:13,535
a perfect, huge gantry.
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00:08:13,535 --> 00:08:15,870
And at the end of that, there's a dragon.
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00:08:17,497 --> 00:08:21,251
It's not actually a dragon there.
They do that post-production.
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In 207, we're working with dragons,
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00:08:25,171 --> 00:08:28,008
so a lot of the preparation
that we did was looking into
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how do we burn people,
and how do we eat people?
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00:08:31,720 --> 00:08:35,473
And that was a collaboration
that began in visual effects.
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It was the "Why did I ever take this job"
moment.
149
00:08:40,895 --> 00:08:42,480
"What was I thinking?"
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00:08:42,480 --> 00:08:46,776
Massive cavern, dragon the size
of a jumbo jet so no hiding here.
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00:08:46,776 --> 00:08:50,613
And then, 45 dragonseeds on a platform
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that was off the ground by
at least a story and a half.
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Well, we wanted it to start
in a similar way to 206
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so you know that you're coming to a place
you've been to before.
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Then, when all hell breaks loose,
156
00:09:08,006 --> 00:09:11,468
and the dragon starts burning everybody
and eating everybody,
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then we wanted to feel
completely different
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00:09:13,678 --> 00:09:15,513
and switch to something very dynamic.
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00:09:15,513 --> 00:09:17,849
Most of that scene was shot handheld.
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00:09:17,849 --> 00:09:20,935
It's a massive scene,
and it was just hugely enjoyable
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00:09:20,935 --> 00:09:22,937
to plan that with Loni.
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00:09:22,937 --> 00:09:27,400
We had a very detailed storyboard
and very detailed previs
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to know where the dragon is
and what the dragon is doing.
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You can previsualize with your lenses,
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00:09:33,323 --> 00:09:36,910
your camera, your blocking,
and then, when you arrive on set,
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everyone knows what they're doing.
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00:09:43,041 --> 00:09:46,169
We had a big, blue proxy nose made
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00:09:46,169 --> 00:09:47,796
for Rhaenyra to interact with.
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00:09:47,921 --> 00:09:53,677
Not only we just build this head,
we also had puppeteer animating it,
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00:09:53,677 --> 00:09:56,805
looking exactly what's motion dragon,
what's the motions gonna be,
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so the actor can
actually interact with it.
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00:10:00,475 --> 00:10:02,185
They're a character themselves.
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00:10:02,185 --> 00:10:06,439
And Loni got them performing,
bending down, subjugating.
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00:10:08,650 --> 00:10:11,820
It was extraordinary to see
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00:10:11,820 --> 00:10:15,865
Emma D'Arcy put their hand
on the blue screen buck,
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00:10:15,865 --> 00:10:19,619
knowing that when you see it
in all of fandom,
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00:10:19,619 --> 00:10:21,246
you will be like,
"That is one of the scariest,
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00:10:21,371 --> 00:10:22,831
coolest moments I've ever seen."
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00:10:22,831 --> 00:10:25,458
Because you know what Emma D'Arcy felt?
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00:10:25,458 --> 00:10:27,377
You know what Rhaenyra felt?
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00:10:28,044 --> 00:10:30,547
They felt power.
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00:10:32,924 --> 00:10:36,136
What this is gonna be is when Rhaenyra
turns around and looks at the seeds,
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00:10:36,261 --> 00:10:39,723
it will evoke that exact
poster frame of Rhaenyra
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00:10:39,723 --> 00:10:41,808
in front of the dragon.
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Who among you would be first?
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00:10:52,652 --> 00:10:54,362
Someone's gonna die today.
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00:10:54,362 --> 00:10:57,866
Someone's gettin' set on fire,
and I'm so excited.
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00:10:57,866 --> 00:11:00,368
- It might be you.
- It's not me.
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00:11:00,368 --> 00:11:01,536
Spoiler alert...
190
00:11:03,204 --> 00:11:04,873
I ride a dragon.
191
00:11:09,252 --> 00:11:11,087
Historically, in "Game of Thrones,"
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00:11:11,087 --> 00:11:15,550
what makes the dragons real
is that our fire is real.
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00:11:24,768 --> 00:11:28,188
We continue that legacy,
so when you see this episode,
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00:11:28,313 --> 00:11:30,690
it is not CGI fire that you are seeing.
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00:11:30,690 --> 00:11:34,402
It is real fire with our real actors
in front of the real fire.
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00:11:34,402 --> 00:11:37,822
And that was done through
very meticulous planning
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00:11:37,822 --> 00:11:40,992
with the stunt team,
with the special effects team,
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00:11:40,992 --> 00:11:45,413
hair and makeup, and wardrobe
to figure out how are we going
199
00:11:45,538 --> 00:11:47,832
to burn this many people?
200
00:11:48,583 --> 00:11:51,044
Basically, all of the smartest
people in the room
201
00:11:51,044 --> 00:11:54,964
are deciding how to shoot people on fire.
202
00:11:55,882 --> 00:11:57,425
And we're just muckin' about.
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00:11:58,176 --> 00:12:01,554
Three, two, one, action!
204
00:12:07,310 --> 00:12:10,105
It's a big, big fire event,
and there's a lot happening.
205
00:12:10,897 --> 00:12:12,691
There's the full burn mask,
which is a pretty
206
00:12:12,816 --> 00:12:14,651
spooky-looking thing when you see it.
207
00:12:14,651 --> 00:12:16,486
That's not really camera-ready.
208
00:12:16,486 --> 00:12:19,114
So those ones, we definitely have to do
a face replacement.
209
00:12:19,989 --> 00:12:21,491
A kind of half-burned mask.
210
00:12:21,491 --> 00:12:23,535
They're actually, like,
they look fantastic,
211
00:12:23,535 --> 00:12:26,162
so we're having to do
very little to those.
212
00:12:27,789 --> 00:12:30,542
When we're doin' the partial burns
and people aren't being engulfed,
213
00:12:30,542 --> 00:12:34,295
we'll just apply sort of
silicone bald caps
214
00:12:34,295 --> 00:12:38,299
with pre-painted on and pre-sculpted burns
that cover their ears.
215
00:12:38,299 --> 00:12:40,010
And then we've got a piece
that covers their neck
216
00:12:40,010 --> 00:12:41,761
and we have some pieces
to cover their faces,
217
00:12:41,761 --> 00:12:43,179
so we're keeping all this clear
218
00:12:43,179 --> 00:12:45,473
which should not be in the fire anyway.
219
00:12:45,473 --> 00:12:48,518
So you get to see the fire just lickin' up
around their ears,
220
00:12:48,518 --> 00:12:49,978
around the backs of their heads.
221
00:12:49,978 --> 00:12:51,813
And it looks like,
"How are they tolerating it?"
222
00:12:51,813 --> 00:12:54,149
But it does the job, at least
for the 15 seconds they're on fire,
223
00:12:54,149 --> 00:12:55,608
and then, obviously,
224
00:12:55,608 --> 00:12:57,527
the guys with the fire extinguishers
come in.
225
00:13:01,364 --> 00:13:04,743
In 207, we burned 45 seeds
in various different ways.
226
00:13:04,743 --> 00:13:06,119
The biggest of the burns,
227
00:13:06,119 --> 00:13:09,039
we had a 16-man burn
that happened all at once.
228
00:13:09,039 --> 00:13:14,127
And in that burn, we see Vermithor,
essentially, unleash his biggest blast.
229
00:13:17,797 --> 00:13:20,467
But that particular set
is five meters in the air.
230
00:13:20,467 --> 00:13:23,053
And there was a danger
in having people who were,
231
00:13:23,053 --> 00:13:25,096
first of all, on fire,
and second of all, blinded,
232
00:13:25,096 --> 00:13:27,307
because you have to be
to protect your eyes.
233
00:13:27,307 --> 00:13:31,603
So for all of those very good reasons,
we did it outside on an eight-inch-high
234
00:13:31,603 --> 00:13:33,980
approximation of the platform.
235
00:13:33,980 --> 00:13:39,027
And we've created a safe environment
where we could use Tamar ignition devices
236
00:13:39,027 --> 00:13:40,904
to put these people on fire.
237
00:13:41,654 --> 00:13:46,743
Ready! And three, two, one, action!
238
00:13:50,205 --> 00:13:52,290
Okay, you just witnessed
a major burn on the set.
239
00:13:52,290 --> 00:13:55,794
Open air this time,
which is a lot easier for us.
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00:13:55,794 --> 00:13:59,422
We put charges into the ground
to ignite the stuntmen
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who were drenched in a fire gel.
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On cue, we sequenced it
so it looked like a dragon run,
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and it took them all up nicely, I thought.
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It looked very good, very hot.
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And it worked amazing.
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I got my hand shook by the producer,
so I'm good, I'm happy.
247
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I'm gonna go home and go to bed now.
See you later.
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Ten, 11, 12, out, out, out!
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In 207, we claim two dragons.
Hugh claims Vermithor.
250
00:14:32,831 --> 00:14:34,290
Ulf claims Silverwing.
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These two claiming moments
are very, very different.
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00:14:37,627 --> 00:14:40,547
Hugh takes us on a journey
from the top of the gantry
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down into the bowels of the Dragonmont.
254
00:14:43,842 --> 00:14:45,885
And what we wanted to do
is we wanted to sort of
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distinguish Hugh's journey
256
00:14:48,555 --> 00:14:52,434
from the mass amount of chaos
that happened up on the plinth.
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00:14:53,893 --> 00:14:57,522
We decided to do that by taking away cuts.
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00:14:58,857 --> 00:15:03,153
I always love the subjectivity of a great,
well-staged Steadicam shot
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that takes a single character
through an abyss of action.
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00:15:07,323 --> 00:15:10,326
We looked at the best
of the best of the long takes
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00:15:10,326 --> 00:15:13,705
that happened in action scenes,
and what made those scenes great
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00:15:13,705 --> 00:15:17,000
is that there's always
something happening in layers.
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00:15:21,629 --> 00:15:24,341
One of the challenges
was that Hugh is running in the scene
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00:15:24,341 --> 00:15:28,553
so just being able to run with him
and still see what's going on
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00:15:28,678 --> 00:15:30,972
because of the choice
of handheld camera means
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that, also, you're going
to have a very shaky image.
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We still wanted to see what's going on.
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00:15:36,811 --> 00:15:40,398
There were so many moving elements
in terms of the size of the dragon
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and the scale of the dragon
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that we had-- everyone had to hit
their marks precisely.
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00:15:44,486 --> 00:15:47,113
And we couldn't cheat the framing.
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00:15:47,113 --> 00:15:50,158
And also coordinating
that with all the stuntwork.
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00:15:50,283 --> 00:15:52,452
We literally had stuntpeople
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00:15:52,452 --> 00:15:54,162
falling from the ceiling, on fire,
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00:15:54,287 --> 00:15:58,875
which added the, as you can imagine,
another layer of complexity.
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00:16:02,337 --> 00:16:05,757
It's a tremendous amount of work,
and then, lots and lots of layering
277
00:16:05,757 --> 00:16:08,259
and visual effects
to get it to come together.
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00:16:08,259 --> 00:16:13,014
It is very complicated scene
because it's all one shot.
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00:16:13,014 --> 00:16:14,808
So, in order to achieve it,
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00:16:14,808 --> 00:16:19,938
we had to split it to pieces
and do invisible transition.
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00:16:19,938 --> 00:16:22,023
Hugh runs along, he looks up,
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the camera looks up
to see what he's looking at.
283
00:16:23,900 --> 00:16:25,610
Vermithor's blasting someone.
284
00:16:25,610 --> 00:16:28,113
We come back and that's then another take,
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00:16:28,113 --> 00:16:30,699
comes around to the rock,
we look over the rock,
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00:16:30,699 --> 00:16:32,409
as we look at what he's looking at,
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00:16:32,409 --> 00:16:34,869
and then come back down,
that's another take.
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00:16:34,869 --> 00:16:37,997
So we've designed all these
stitch points into the shot.
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00:16:37,997 --> 00:16:43,378
So it is a oner that you'll see no cuts in
that was made out of seven or eight pieces
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00:16:43,378 --> 00:16:47,424
that includes dragons, burns, feedings,
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00:16:47,424 --> 00:16:51,177
and, eventually,
a bonding all in one moment
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00:16:51,177 --> 00:16:54,848
where Vermithor takes a knee
with a small man, Hugh,
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00:16:54,848 --> 00:16:56,891
who puffs his chest and says--
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Come on!
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00:17:05,150 --> 00:17:09,070
Vermithor is called the Bronze Fury
because he's bronze and he's furious.
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00:17:09,070 --> 00:17:12,949
He's nearly the size of Vhagar,
and he is, famously,
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00:17:12,949 --> 00:17:15,869
one of the most vicious
dragons in the kingdom.
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00:17:24,669 --> 00:17:27,964
My background,
I come from visual effects and animation,
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00:17:27,964 --> 00:17:30,800
so any time I get on a blue screen
with actors with fake things,
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00:17:30,800 --> 00:17:32,969
I'm like, "Oh, this is like home."
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00:17:34,179 --> 00:17:38,475
And I got to basically play dragonriding
with Tom and with Ewan
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00:17:38,475 --> 00:17:40,268
in the kind of penultimate sequence,
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00:17:40,268 --> 00:17:45,231
which features Vhagar chasing
Silverwing to Dragonstone.
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00:17:49,694 --> 00:17:53,740
The main challenge for the buck work
this season was
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00:17:53,740 --> 00:17:58,453
we wanted to really add
element of handheld to the buck work
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00:17:58,453 --> 00:18:00,955
so that you feel like you're sitting
on the dragon with the rider.
307
00:18:01,456 --> 00:18:03,750
So, we had to come up with a way
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00:18:03,750 --> 00:18:06,127
of shooting something that feels handheld
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00:18:06,127 --> 00:18:08,421
but it's actually remotely operated.
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00:18:08,421 --> 00:18:10,215
I'm working with the ball tech's arm
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00:18:10,215 --> 00:18:12,217
that's sort of rigged
on top of a container
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00:18:12,217 --> 00:18:14,135
and then, we're working with the buck,
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00:18:14,135 --> 00:18:17,847
and it almost feels like the camera's
attached to the dragon itself.
314
00:18:17,847 --> 00:18:21,393
The buck is moving
to a set computer program
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00:18:21,393 --> 00:18:23,395
and the camera is doing that as well
316
00:18:23,395 --> 00:18:25,522
as it has already been
designed in the previs.
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00:18:34,739 --> 00:18:37,242
The putting the pieces
together was quite easy.
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00:18:37,367 --> 00:18:40,120
The fun part was actually
working with Tom and Ewan
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00:18:40,120 --> 00:18:42,080
to actually see the dragon.
320
00:18:42,080 --> 00:18:45,291
We tried to create a sense
of a lack of anticipation
321
00:18:45,291 --> 00:18:48,920
so when the dragon turns right,
it's like a trust fall.
322
00:18:48,920 --> 00:18:51,256
They have to not anticipate
anyone being there
323
00:18:51,256 --> 00:18:53,466
and then they have
to kind of counter that fall
324
00:18:53,466 --> 00:18:54,718
with a drastic movement.
325
00:18:54,718 --> 00:18:59,723
So when you see them, what makes it real
is this sense of, like, unpredictability,
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00:18:59,723 --> 00:19:03,810
despite the fact that
we're working in a very predicted manner.
327
00:19:04,436 --> 00:19:08,565
You're effectively suspended in the air
on this mechanical bucking bronco.
328
00:19:08,565 --> 00:19:11,776
You've got wind, you've got atmos.
329
00:19:11,776 --> 00:19:14,529
And you're in a backbend, and you're 43,
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00:19:14,529 --> 00:19:17,949
and there's blokes
shooting leaf blowers at you.
331
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- Fantastic hairdo now.
- Thank you so much.
332
00:19:21,286 --> 00:19:23,621
And your work will only make this better.
333
00:19:23,621 --> 00:19:24,873
It's because you're worth it.
334
00:19:24,873 --> 00:19:26,583
I am.
335
00:19:31,379 --> 00:19:36,051
You get that beautiful tableau of Rhaenyra
and her dragon army
336
00:19:36,051 --> 00:19:39,012
and, literally, the dragon queen
coming out of the Dragonmont
337
00:19:39,012 --> 00:19:40,347
and we see that it worked.
338
00:19:40,347 --> 00:19:43,475
Whatever challenges were put to her
339
00:19:43,475 --> 00:19:45,393
and whatever questions she was faced with,
340
00:19:45,393 --> 00:19:49,439
she was right in the end and was able
to assemble this army of dragons.