1 00:00:05,714 --> 00:00:08,758 The scale is unlike anything I've ever seen before. 2 00:00:08,758 --> 00:00:10,635 ♪ 3 00:00:10,635 --> 00:00:12,178 But that set's a beautiful set. 4 00:00:12,178 --> 00:00:13,304 Come on. 5 00:00:13,304 --> 00:00:16,474 We set fire to a lot of people. 6 00:00:16,474 --> 00:00:18,810 Everybody loves to fire a scorpion. 'Cause why? 7 00:00:18,810 --> 00:00:20,145 You can kill dragons! 8 00:00:20,145 --> 00:00:23,606 Emma never complained. I was freezing. 9 00:00:24,190 --> 00:00:27,318 Spoiler alert... I ride a dragon. 10 00:00:28,695 --> 00:00:31,698 (epic music playing) 11 00:00:46,004 --> 00:00:48,006 (music fades out) 12 00:00:48,006 --> 00:00:51,051 (tense music playing) 13 00:00:53,345 --> 00:00:55,180 (dragons roaring) 14 00:00:55,180 --> 00:00:58,892 Episode 207 begins on a beach, a desolate beach, 15 00:00:58,892 --> 00:01:01,478 and Rhaenyra meets Addam of Hull 16 00:01:01,478 --> 00:01:04,981 who, somehow, has claimed the dragon Seasmoke 17 00:01:04,981 --> 00:01:09,194 that belonged to Rhaenyra's husband, Laenor. 18 00:01:09,194 --> 00:01:12,655 How did this happen? Who is Addam of Hull? 19 00:01:12,655 --> 00:01:14,699 ♪ 20 00:01:16,868 --> 00:01:18,870 (dragons screeching) 21 00:01:18,870 --> 00:01:20,163 The opening of 207, 22 00:01:20,163 --> 00:01:22,665 we had always set on the beach. 23 00:01:22,665 --> 00:01:25,001 We really wanted that kind of vast landscape 24 00:01:25,001 --> 00:01:26,544 that you have at Driftmark. 25 00:01:26,544 --> 00:01:28,505 I swore after season one that we were never 26 00:01:28,505 --> 00:01:31,049 going back to a coastline again. 27 00:01:33,468 --> 00:01:35,845 And we found ourselves there for that scene, 28 00:01:35,845 --> 00:01:38,223 thankfully, for just a brief day. 29 00:01:42,560 --> 00:01:45,522 Toby Ford: Beautiful beach when the sun's out, 30 00:01:45,522 --> 00:01:48,692 and we were filming right on the tideline. 31 00:01:48,692 --> 00:01:51,361 The problem there, of course, is the continuity of the tide. 32 00:01:51,361 --> 00:01:53,238 It doesn't sit and wait for you, 33 00:01:53,238 --> 00:01:55,573 so you're chasing down the beach 34 00:01:55,573 --> 00:01:57,367 and back up the beach. 35 00:01:57,367 --> 00:02:00,078 Loni Peristere: So when you're scheduling a scene like that, 36 00:02:00,078 --> 00:02:03,581 you have to work out exactly what direction works for what time. 37 00:02:03,581 --> 00:02:05,083 So, you schedule based on 38 00:02:05,083 --> 00:02:07,627 how the tide comes in and tide goes out. 39 00:02:08,586 --> 00:02:10,255 Now what we didn't anticipate 40 00:02:10,255 --> 00:02:13,299 is that we were gonna be in the worst of Welsh weather. 41 00:02:13,299 --> 00:02:15,802 (wind gusting) 42 00:02:15,802 --> 00:02:18,763 The rain was falling, the wind was howling, 43 00:02:18,763 --> 00:02:22,100 the sand was blowing, the waves were crashing. 44 00:02:22,934 --> 00:02:26,980 And the tide was comin' in quicker and harder than we could've ever thought. 45 00:02:26,980 --> 00:02:28,481 crewmember: Let's go again! 46 00:02:28,481 --> 00:02:30,442 The tide's coming closer! 47 00:02:30,984 --> 00:02:33,445 - (thundering) - (waves crashing) 48 00:02:33,445 --> 00:02:37,615 (shouting) You stand before the Queen of the Seven Kingdoms 49 00:02:37,615 --> 00:02:40,869 with a dragon of House Targaryen! 50 00:02:42,162 --> 00:02:44,998 I'd actually hoped for a storm 51 00:02:44,998 --> 00:02:46,916 because you can just sort of see it, can't you? 52 00:02:46,916 --> 00:02:48,626 This sort of face-off. 53 00:02:48,626 --> 00:02:50,587 I honestly loved it. 54 00:02:50,587 --> 00:02:53,673 And it was the first time me and Clinton got to shoot together. 55 00:02:53,673 --> 00:02:56,301 Emma never complained. I was freezing. 56 00:02:57,886 --> 00:03:01,139 I filmed with Seasmoke the day before I filmed with Emma, 57 00:03:01,139 --> 00:03:03,600 so it was really sunny, beautiful. 58 00:03:03,600 --> 00:03:06,853 I was running all day with Seasmoke and it was beautiful. 59 00:03:08,438 --> 00:03:10,607 And then... 60 00:03:10,607 --> 00:03:13,610 the tide and the storm came in for the scene with Emma, 61 00:03:13,610 --> 00:03:17,280 which really influenced the scene. 62 00:03:17,280 --> 00:03:19,074 (shouting) You kneel quickly... 63 00:03:19,991 --> 00:03:22,869 for a man so suddenly elevated. 64 00:03:22,869 --> 00:03:26,289 This dragon came to me. 65 00:03:26,289 --> 00:03:28,166 Thomas Horton: It's a beautiful dragon line 66 00:03:28,166 --> 00:03:29,834 to open that episode, 67 00:03:29,834 --> 00:03:32,462 you know, in terms of wonderful, 68 00:03:32,462 --> 00:03:35,006 you know, opportunities for our dragons to kinda step forward 69 00:03:35,006 --> 00:03:37,509 and kinda be part of that drama. 70 00:03:38,343 --> 00:03:39,969 Dadi Einarsson: It's pretty big and it's pretty vast. 71 00:03:39,969 --> 00:03:41,971 You know, Loni put a lot of kinda passion 72 00:03:41,971 --> 00:03:44,849 and prep into just, uh, establishing 73 00:03:44,849 --> 00:03:47,352 an epic scale and look. 74 00:03:47,852 --> 00:03:49,646 And then we had our dragon performers. 75 00:03:49,646 --> 00:03:52,357 We had our guys in blue suits with a dragon head. 76 00:03:54,859 --> 00:03:58,029 Ford: For all of the weather issues that we had, 77 00:03:58,029 --> 00:04:00,073 it really did look epic. 78 00:04:00,073 --> 00:04:03,910 And, I think, when you've got two big dragons in there as well, 79 00:04:03,910 --> 00:04:06,913 I think it's gonna be a fantastic opening to the episode. 80 00:04:06,913 --> 00:04:08,873 Do you think you can get him to Dragonstone? 81 00:04:10,542 --> 00:04:12,168 I can try. 82 00:04:12,168 --> 00:04:14,212 ♪ 83 00:04:16,381 --> 00:04:18,174 Peristere: One of the things I loved in 207 84 00:04:18,174 --> 00:04:19,843 is that we had a lot of different vignettes 85 00:04:19,843 --> 00:04:21,720 that took place in a lot of cool places 86 00:04:21,720 --> 00:04:23,847 and one of those cool places is the godswood, 87 00:04:23,847 --> 00:04:26,391 which is at the foot of Harrenhal. 88 00:04:28,893 --> 00:04:31,730 That particular godswood is unique 89 00:04:31,730 --> 00:04:34,232 because just across the God's Eye, 90 00:04:34,232 --> 00:04:36,568 there's the Isle of Faces. 91 00:04:36,568 --> 00:04:38,069 Like so if you know mythology, 92 00:04:38,069 --> 00:04:40,572 you know that this island is important. 93 00:04:40,572 --> 00:04:43,199 This is the godswood that's fallen into disuse. 94 00:04:43,199 --> 00:04:44,909 Um, you know, we know that Harrenhal was built 95 00:04:44,909 --> 00:04:47,620 on a felled orchard of weirwood trees, 96 00:04:47,620 --> 00:04:48,913 and then the weirwoods were chopped up 97 00:04:48,913 --> 00:04:50,915 and used as lumber to build the castle, 98 00:04:50,915 --> 00:04:54,419 which possibly led to, uh, some of the experiences that people have there. 99 00:04:54,419 --> 00:04:56,588 ♪ 100 00:05:00,008 --> 00:05:03,053 The Harrenhal godswood went through various processes 101 00:05:03,053 --> 00:05:05,722 of what it should be, what scale it should be. 102 00:05:05,722 --> 00:05:08,475 And so, ultimately, it came back to the backlot, 103 00:05:08,475 --> 00:05:10,894 and it became part of the ruined garden 104 00:05:10,894 --> 00:05:13,772 with the weirwood tree standing on a, a rockscape 105 00:05:13,772 --> 00:05:15,482 at the end of the garden. 106 00:05:17,442 --> 00:05:20,945 This is a much darker, sort of more mysterious, 107 00:05:20,945 --> 00:05:23,656 kind of almost, almost nightmarish 108 00:05:23,656 --> 00:05:25,950 sort of version of the godswoods. 109 00:05:25,950 --> 00:05:27,786 To evoke the Harrenhal sort of vibe of, 110 00:05:27,786 --> 00:05:30,080 "This, this is a ruined castle." 111 00:05:30,789 --> 00:05:32,332 Ryan Condal: Unlike the Red Keep godswood, 112 00:05:32,332 --> 00:05:34,626 which was, generally, well-tended and kept, 113 00:05:34,626 --> 00:05:37,629 this one has fallen into total, you know, disarray. 114 00:05:37,629 --> 00:05:39,089 I mean, the first time Daemon walks in there, 115 00:05:39,089 --> 00:05:40,965 there's a bunch of broken carts all scattered around. 116 00:05:40,965 --> 00:05:43,635 I mean, it seems like a, a back garden storage 117 00:05:43,635 --> 00:05:45,970 for the people at Harrenhal. 118 00:05:45,970 --> 00:05:48,515 ♪ 119 00:05:51,643 --> 00:05:54,437 It was a great dramatic concept. 120 00:05:54,437 --> 00:05:58,191 Lake behind, rocks with the walls coming up to it, 121 00:05:58,191 --> 00:06:01,152 and then these enormous great roots from this giant tree 122 00:06:01,152 --> 00:06:04,197 just breaking it all to pieces. 123 00:06:06,199 --> 00:06:09,327 That was weeks and weeks and weeks working with Conrad. 124 00:06:09,327 --> 00:06:11,871 From a maquette to the real thing, 125 00:06:11,871 --> 00:06:14,165 as it was polysculpted. 126 00:06:14,165 --> 00:06:17,002 There's a, a metal armature in there. 127 00:06:17,002 --> 00:06:19,045 Conrad Lindley-Thompson: A lot of metalwork inside it 128 00:06:19,045 --> 00:06:22,465 to keep those branches from falling. 129 00:06:22,465 --> 00:06:24,592 We had quite a lot of real branches in amongst there. 130 00:06:25,343 --> 00:06:26,720 Roger Holden: And then it's all taken apart 131 00:06:26,720 --> 00:06:28,388 and it was transported down here 132 00:06:28,388 --> 00:06:30,181 and then put back together again. 133 00:06:30,181 --> 00:06:31,975 There's also all the, the leaves. 134 00:06:31,975 --> 00:06:34,686 They have to be painted first into that color, 135 00:06:34,686 --> 00:06:36,730 then attached to those branches, 136 00:06:36,730 --> 00:06:38,356 so lots and lots of work. 137 00:06:40,191 --> 00:06:41,693 Horton: But that set's a beautiful set. 138 00:06:41,693 --> 00:06:45,321 Uh, our big visual effects challenge is the godswood tree. 139 00:06:45,321 --> 00:06:47,198 So, they've built the base of the tree 140 00:06:47,198 --> 00:06:48,700 and then we're extending it. 141 00:06:48,700 --> 00:06:51,036 And again, what's lovely about the show 142 00:06:51,036 --> 00:06:52,537 is everything's so character-based 143 00:06:52,537 --> 00:06:55,832 that even the tree is a character. 144 00:06:55,832 --> 00:06:57,751 Condal: And, uh, yes, I think there is a face 145 00:06:57,751 --> 00:06:59,502 that people may or may not recognize, 146 00:06:59,502 --> 00:07:02,005 uh, but I'm going to require you to go to the videotape 147 00:07:02,005 --> 00:07:04,049 and figure it out for yourself. 148 00:07:04,049 --> 00:07:06,384 There's a new face in there. 149 00:07:06,384 --> 00:07:09,596 I don't know if I'm allowed to-to talk about who the face is. 150 00:07:09,596 --> 00:07:12,182 Yeah, we've got quite a famous face in there 151 00:07:12,182 --> 00:07:14,726 that might be recognizable. 152 00:07:14,726 --> 00:07:17,479 - The face on the weirwood tree is... - George R. R. Martin. 153 00:07:18,396 --> 00:07:19,397 Yes, George. 154 00:07:19,397 --> 00:07:21,066 Is it? I didn't know that. 155 00:07:21,066 --> 00:07:23,193 Oh, that's good. I like that. 156 00:07:23,193 --> 00:07:25,403 Uh, which Ryan wanted to do as a bit of a tribute, 157 00:07:25,403 --> 00:07:28,865 and the idea was that it gradually started to disappear 158 00:07:28,865 --> 00:07:31,076 back into the bark of the tree. 159 00:07:31,076 --> 00:07:33,745 The brief was to make it feel enough like him, 160 00:07:33,745 --> 00:07:35,288 but you're never really sure. 161 00:07:35,288 --> 00:07:37,374 The idea is that you don't look at it 162 00:07:37,374 --> 00:07:39,584 straight away and say, "That's George R. R. Martin." 163 00:07:39,584 --> 00:07:43,630 You do a second take and say, "Ooh, is-is that?" 164 00:07:43,630 --> 00:07:47,258 This is really cool, guys. Thank you. 165 00:07:48,968 --> 00:07:52,138 ♪ 166 00:07:52,138 --> 00:07:54,891 Kieran Bew: The dragonseeds come into the Dragonmont, 167 00:07:54,891 --> 00:07:56,976 which is this huge cavern 168 00:07:56,976 --> 00:07:58,895 with, I guess, what could be described 169 00:07:58,895 --> 00:08:02,273 as a mounting block, 10 meters high. 170 00:08:03,650 --> 00:08:06,986 The scale is unlike anything I've ever seen before. 171 00:08:06,986 --> 00:08:09,489 You go into these huge sound stages 172 00:08:09,489 --> 00:08:11,449 and they've built a gantry, 173 00:08:11,449 --> 00:08:13,618 a perfect, huge gantry. 174 00:08:13,618 --> 00:08:16,287 And at the end of that, there's a dragon. 175 00:08:17,497 --> 00:08:18,957 It's not actually a dragon there. 176 00:08:18,957 --> 00:08:21,334 That-- They do that post-production. 177 00:08:21,334 --> 00:08:23,128 ♪ 178 00:08:23,128 --> 00:08:25,255 Peristere: In 207, we're working with dragons, 179 00:08:25,255 --> 00:08:28,091 so a lot of the preparation that we did was looking into 180 00:08:28,091 --> 00:08:31,803 how do we burn people, and how do we eat people? 181 00:08:31,803 --> 00:08:36,433 And that was a collaboration that began in visual effects. 182 00:08:36,433 --> 00:08:39,019 It was the, uh, "Why did I ever take this job" 183 00:08:39,019 --> 00:08:40,854 (laughs) moment. 184 00:08:40,854 --> 00:08:42,605 "What was I thinking?" 185 00:08:42,605 --> 00:08:45,483 Massive cavern, dragon the size of a jumbo jet 186 00:08:45,483 --> 00:08:46,818 so no hiding here. 187 00:08:46,818 --> 00:08:50,655 And then, 45 dragonseeds on a platform 188 00:08:50,655 --> 00:08:54,159 that was off the ground by at least a story and a half. 189 00:08:57,829 --> 00:09:02,125 Well, we wanted it to start in a similar way to 206, 190 00:09:02,125 --> 00:09:05,628 so you know that you're coming to a place you've been to before. 191 00:09:05,628 --> 00:09:08,048 Then, when, uh, all hell breaks loose, 192 00:09:08,048 --> 00:09:11,509 and the dragon starts burning everybody and eating everybody, 193 00:09:11,509 --> 00:09:13,803 then we wanted to feel completely different 194 00:09:13,803 --> 00:09:15,555 and switch to something very dynamic. 195 00:09:15,555 --> 00:09:17,891 Most of that scene was shot handheld. 196 00:09:17,891 --> 00:09:19,017 Einarsson: It's a massive scene, 197 00:09:19,017 --> 00:09:21,019 and it was just hugely enjoyable 198 00:09:21,019 --> 00:09:23,021 to plan that with Loni. 199 00:09:23,021 --> 00:09:25,523 Vanja Cernjul: We had a very detailed storyboard 200 00:09:25,523 --> 00:09:27,484 and very detailed previs 201 00:09:27,484 --> 00:09:30,528 to know where the dragon is and what the dragon is doing. 202 00:09:30,528 --> 00:09:33,365 Ide O'Rourke: You can previsualize with your lenses, 203 00:09:33,365 --> 00:09:35,158 your camera, your blocking, 204 00:09:35,158 --> 00:09:36,993 and then, when you arrive on set, 205 00:09:36,993 --> 00:09:39,037 everyone knows what they're doing. 206 00:09:43,041 --> 00:09:46,211 Adam Lawrence: We had a big, blue proxy, uh, nose made 207 00:09:46,211 --> 00:09:47,879 for Rhaenyra to interact with. 208 00:09:47,879 --> 00:09:49,839 Not only we just build this head, 209 00:09:49,839 --> 00:09:53,718 we also had puppeteer animating it, 210 00:09:53,718 --> 00:09:55,595 looking exactly what's motion dragon, 211 00:09:55,595 --> 00:09:56,888 what's the motions gonna be, 212 00:09:56,888 --> 00:10:00,433 so the actor can actually interact with it. 213 00:10:00,433 --> 00:10:02,227 They're a character themselves. 214 00:10:02,227 --> 00:10:04,771 And Loni got them performing, 215 00:10:04,771 --> 00:10:07,315 bending down, subjugating. 216 00:10:08,650 --> 00:10:11,903 Peristere: It was extraordinary to see 217 00:10:11,903 --> 00:10:15,907 Emma D'Arcy put their hand on the blue screen buck, 218 00:10:15,907 --> 00:10:19,703 knowing that when you see it in all of fandom, 219 00:10:19,703 --> 00:10:21,371 you will be like, "That is one of the scariest, 220 00:10:21,371 --> 00:10:22,914 coolest moments I've ever seen." 221 00:10:22,914 --> 00:10:25,458 Because you know what Emma D'Arcy felt? 222 00:10:25,458 --> 00:10:27,460 You know what Rhaenyra felt? 223 00:10:28,044 --> 00:10:31,172 They felt power. 224 00:10:32,924 --> 00:10:36,261 What this is gonna be is when Rhaenyra turns around and looks at the seeds, 225 00:10:36,261 --> 00:10:39,764 it will evoke that exact poster frame of Rhaenyra 226 00:10:39,764 --> 00:10:41,808 in front of the dragon. 227 00:10:44,436 --> 00:10:46,521 (dragon growling) 228 00:10:47,105 --> 00:10:49,107 Who among you would be first? 229 00:10:52,652 --> 00:10:54,446 Someone's gonna die today. 230 00:10:54,446 --> 00:10:56,281 Someone's gettin' set on fire, 231 00:10:56,281 --> 00:10:57,949 and I'm so excited. 232 00:10:57,949 --> 00:11:00,452 - crewmember: It might be you. - It's not me. 233 00:11:00,452 --> 00:11:04,873 Spoiler alert... (laughs) I ride a dragon. 234 00:11:05,540 --> 00:11:07,542 ♪ 235 00:11:09,294 --> 00:11:11,129 Peristere: Historically, in "Game of Thrones," 236 00:11:11,129 --> 00:11:15,633 what makes the dragons real is that our fire is real. 237 00:11:21,473 --> 00:11:23,475 (flames whooshing) 238 00:11:24,768 --> 00:11:28,313 We continue that legacy, so when you see this episode, 239 00:11:28,313 --> 00:11:30,774 it is not CGI fire that you are seeing. 240 00:11:30,774 --> 00:11:32,984 It is real fire with our real actors 241 00:11:32,984 --> 00:11:34,486 in front of the real fire. 242 00:11:34,486 --> 00:11:37,864 And that was done through very meticulous planning 243 00:11:37,864 --> 00:11:41,034 with the stunt team, with the special effects team, 244 00:11:41,034 --> 00:11:42,327 hair and makeup, and wardrobe 245 00:11:42,327 --> 00:11:45,497 to figure out how are we going 246 00:11:45,497 --> 00:11:47,832 to burn this many people? 247 00:11:48,583 --> 00:11:51,127 (quietly) Basically, all of the smartest people in the room 248 00:11:51,127 --> 00:11:55,006 are deciding how to shoot people on fire. 249 00:11:55,882 --> 00:11:57,550 And we're just muckin' about. 250 00:11:58,176 --> 00:12:01,638 crewmember (shouts): Three, two, one, action! 251 00:12:01,638 --> 00:12:03,682 (dragonseeds screaming) 252 00:12:07,352 --> 00:12:10,188 It's a big, big fire event, and there's a lot happening. 253 00:12:10,897 --> 00:12:12,816 There's the full burn mask, which is a pretty 254 00:12:12,816 --> 00:12:14,693 spooky-looking thing when you see it. 255 00:12:14,693 --> 00:12:16,528 That's not really camera-ready. 256 00:12:16,528 --> 00:12:19,989 So those ones, we definitely have to do a face replacement. 257 00:12:19,989 --> 00:12:21,533 A kind of half-burned mask. 258 00:12:21,533 --> 00:12:23,660 They're actually, like-- They look fantastic, 259 00:12:23,660 --> 00:12:26,204 so we're having to do very little to those. 260 00:12:27,789 --> 00:12:29,082 Waldo Mason: When we're doin' the partial burns 261 00:12:29,082 --> 00:12:30,583 and people aren't being engulfed, 262 00:12:30,583 --> 00:12:34,379 we'll just apply sort of s-silicone bald caps 263 00:12:34,379 --> 00:12:38,383 with pre-painted on and pre-sculpted burns that cover their ears. 264 00:12:38,383 --> 00:12:40,051 And then we've got a piece that covers their neck, 265 00:12:40,051 --> 00:12:41,845 and we have some pieces to cover their faces, 266 00:12:41,845 --> 00:12:43,263 so we're keeping all this clear, 267 00:12:43,263 --> 00:12:45,557 which should not be in the fire anyway. 268 00:12:45,557 --> 00:12:48,560 So you get to see the fire just lickin' up around their ears, 269 00:12:48,560 --> 00:12:50,061 around the backs of their heads. 270 00:12:50,061 --> 00:12:51,855 And it looks like, "How are they tolerating it?" 271 00:12:51,855 --> 00:12:54,232 But it does the job, at least for the 15 seconds they're on fire, 272 00:12:54,232 --> 00:12:55,692 and then, obviously, 273 00:12:55,692 --> 00:12:57,610 the guys with the fire extinguishers come in. 274 00:13:01,406 --> 00:13:04,784 Peristere: In 207, we burned 45 seeds in various different ways. 275 00:13:04,784 --> 00:13:06,202 The biggest of the burns, 276 00:13:06,202 --> 00:13:09,080 we had a 16-man burn that happened all at once. 277 00:13:09,080 --> 00:13:11,624 And in that burn, we see Vermithor, 278 00:13:11,624 --> 00:13:14,127 essentially, unleash his biggest blast. 279 00:13:14,753 --> 00:13:16,755 (screaming) 280 00:13:17,797 --> 00:13:20,550 Condal: But that particular set is five meters in the air. 281 00:13:20,550 --> 00:13:23,094 Uh, and there was a danger in having people who were, 282 00:13:23,094 --> 00:13:25,138 first of all, on fire, and second of all, blinded, 283 00:13:25,138 --> 00:13:27,390 because you have to be to protect your eyes. 284 00:13:27,390 --> 00:13:29,267 So for all of those very good reasons, 285 00:13:29,267 --> 00:13:31,644 we did it outside on an eight-inch-high 286 00:13:31,644 --> 00:13:34,064 approximation of the platform. 287 00:13:34,064 --> 00:13:35,648 Peristere: And we've created a safe environment 288 00:13:35,648 --> 00:13:39,110 where we could use Tamar ignition devices 289 00:13:39,110 --> 00:13:40,945 to put these people on fire. 290 00:13:41,654 --> 00:13:46,826 crewmember (shouts): Ready! And three, two, one, action! 291 00:13:50,205 --> 00:13:52,332 Okay, you just witnessed a major burn on the set. 292 00:13:52,332 --> 00:13:55,835 Open air this time, which is, which is a lot easier for us. 293 00:13:55,835 --> 00:13:59,464 We put charges into the ground to ignite the stuntmen 294 00:13:59,464 --> 00:14:01,675 who were drenched in a fire gel. 295 00:14:01,675 --> 00:14:03,760 On cue, we sequenced it so it looked like 296 00:14:03,760 --> 00:14:05,637 a, um, a dragon run, 297 00:14:05,637 --> 00:14:08,139 and it took them all up nicely, I thought. 298 00:14:09,516 --> 00:14:11,434 It looked very good, very hot. 299 00:14:11,434 --> 00:14:13,269 And it worked amazing. 300 00:14:13,269 --> 00:14:16,314 I got, uh, got my hand shook by the producer, so I'm good, I'm happy. 301 00:14:16,314 --> 00:14:18,608 I'm gonna go home and go to bed now. See you later. 302 00:14:18,608 --> 00:14:22,529 crewmember (shouting): Ten, 11, 12, out, out, out! 303 00:14:23,988 --> 00:14:25,990 ♪ 304 00:14:27,659 --> 00:14:29,661 Peristere: In 207, we claim two dragons. 305 00:14:29,661 --> 00:14:31,538 Hugh claims Vermithor. 306 00:14:32,831 --> 00:14:34,332 Ulf claims Silverwing. 307 00:14:34,332 --> 00:14:37,669 These two claiming moments are very, very different. 308 00:14:37,669 --> 00:14:40,630 Hugh takes us on a journey from the top of the gantry 309 00:14:40,630 --> 00:14:43,842 down into the bowels of the Dragonmont. 310 00:14:43,842 --> 00:14:45,969 And what we wanted to do is we wanted to sort of 311 00:14:45,969 --> 00:14:48,638 distinguish Hugh's journey 312 00:14:48,638 --> 00:14:52,517 from the mass amount of chaos that happened up on the plinth. 313 00:14:53,893 --> 00:14:57,605 We decided to do that by taking away cuts. 314 00:14:58,857 --> 00:15:01,484 I always love the subjectivity of a great, 315 00:15:01,484 --> 00:15:03,194 well-staged Steadicam shot 316 00:15:03,194 --> 00:15:07,365 that takes a single character through an abyss of action. 317 00:15:07,365 --> 00:15:10,368 We looked at the best of the best of the long takes 318 00:15:10,368 --> 00:15:11,870 that happened in action scenes, 319 00:15:11,870 --> 00:15:13,747 and what made those scenes great 320 00:15:13,747 --> 00:15:17,042 is that there's always something happening in layers. 321 00:15:21,629 --> 00:15:24,382 One of the challenges was that Hugh is running in the scene, 322 00:15:24,382 --> 00:15:27,344 so just being able to run with him 323 00:15:27,344 --> 00:15:28,678 and still see what's going on 324 00:15:28,678 --> 00:15:31,056 because of the choice of handheld camera means 325 00:15:31,056 --> 00:15:34,059 that, also, you're going to have a very shaky image. 326 00:15:34,059 --> 00:15:36,895 We still wanted to see what's going on. 327 00:15:36,895 --> 00:15:38,730 Horton: There were so many moving elements 328 00:15:38,730 --> 00:15:40,440 in terms of the size of the dragon 329 00:15:40,440 --> 00:15:42,025 and the scale of the dragon 330 00:15:42,025 --> 00:15:44,569 that we had-- everyone had to hit their marks precisely. 331 00:15:44,569 --> 00:15:47,197 And we couldn't cheat the framing. 332 00:15:47,197 --> 00:15:50,241 Cernjul: And also coordinating that with all the stuntwork. 333 00:15:50,241 --> 00:15:52,535 We literally had stuntpeople 334 00:15:52,535 --> 00:15:54,245 falling from the, from the ceiling, on fire, 335 00:15:54,245 --> 00:15:56,623 which added the, as you can imagine, 336 00:15:56,623 --> 00:15:58,917 another layer of complexity. 337 00:16:01,836 --> 00:16:03,463 Condal: It's a tremendous amount of work, 338 00:16:03,463 --> 00:16:05,799 and then, lots and lots of layering 339 00:16:05,799 --> 00:16:08,301 and visual effects to get it to come together. 340 00:16:08,301 --> 00:16:13,098 It is very complicated scene because it's all one shot. 341 00:16:13,098 --> 00:16:14,891 So, in order to achieve it, 342 00:16:14,891 --> 00:16:19,979 we had to split it to pieces and do invisible, uh, transition. 343 00:16:19,979 --> 00:16:22,107 Einarsson: Hugh runs along, he looks up, 344 00:16:22,107 --> 00:16:23,942 the camera looks up to see what he's looking at. 345 00:16:23,942 --> 00:16:25,568 Vermithor's blasting someone. 346 00:16:25,568 --> 00:16:28,154 We come back and that's then another take, 347 00:16:28,154 --> 00:16:30,782 comes around to the rock, we look over the rock, 348 00:16:30,782 --> 00:16:32,450 as we look at what he's looking at, 349 00:16:32,450 --> 00:16:34,911 and then come back down, that's another take. 350 00:16:34,911 --> 00:16:38,081 So we've designed all these stitch points into the shot. 351 00:16:38,081 --> 00:16:41,001 Peristere: So it is a oner that you'll see no cuts in 352 00:16:41,001 --> 00:16:43,461 that was made out of seven or eight pieces 353 00:16:43,461 --> 00:16:47,465 that includes dragons, burns, feedings, 354 00:16:47,465 --> 00:16:51,261 and, eventually, a bonding all in one moment 355 00:16:51,261 --> 00:16:54,931 where Vermithor takes a knee with a small man, Hugh, 356 00:16:54,931 --> 00:16:56,975 who puffs his chest and says-- 357 00:16:56,975 --> 00:16:59,310 (yelling) Come on! 358 00:17:05,150 --> 00:17:07,360 David Hancock: Vermithor is called the Bronze Fury 359 00:17:07,360 --> 00:17:09,154 because he's bronze and he's furious. 360 00:17:09,154 --> 00:17:12,991 He's nearly the size of Vhagar, and he is, famously, 361 00:17:12,991 --> 00:17:15,869 one of the most vicious dragons in the kingdom. 362 00:17:20,498 --> 00:17:24,669 ♪ 363 00:17:24,669 --> 00:17:28,006 Peristere: My background, I come from visual effects and animation, 364 00:17:28,006 --> 00:17:30,842 so any time I get on a blue screen with actors with fake things, 365 00:17:30,842 --> 00:17:33,053 I'm like, "Oh, this is like home." 366 00:17:34,179 --> 00:17:36,890 And I got to basically play dragonriding 367 00:17:36,890 --> 00:17:38,516 with Tom and with Ewan 368 00:17:38,516 --> 00:17:40,352 in the kind of penultimate sequence, 369 00:17:40,352 --> 00:17:45,231 which features Vhagar chasing Silverwing to Dragonstone. 370 00:17:47,609 --> 00:17:49,319 (roars) 371 00:17:49,694 --> 00:17:53,823 The main challenge for the buck work this season was 372 00:17:53,823 --> 00:17:58,495 we wanted to really add element of handheld to the buck work, 373 00:17:58,495 --> 00:18:01,414 so that you feel like you're sitting on the dragon with the rider. 374 00:18:01,414 --> 00:18:03,875 So, we had to come up with a way 375 00:18:03,875 --> 00:18:06,211 of shooting something that feels handheld, 376 00:18:06,211 --> 00:18:08,505 uh, but it's actually remotely operated. 377 00:18:08,505 --> 00:18:10,256 Michael Carstensen: I'm working with the ball tech's arm 378 00:18:10,256 --> 00:18:12,258 that's sort of rigged on top of a container, 379 00:18:12,258 --> 00:18:14,219 and then, we're working with the buck, 380 00:18:14,219 --> 00:18:17,889 and it almost feels like the camera's attached to the dragon itself. 381 00:18:17,889 --> 00:18:21,434 Ford: The buck is moving to a set computer program, 382 00:18:21,434 --> 00:18:23,436 and the camera is doing that as well, 383 00:18:23,436 --> 00:18:25,605 as it has already been designed in the previs. 384 00:18:25,605 --> 00:18:27,649 ♪ 385 00:18:32,737 --> 00:18:34,739 ♪ 386 00:18:34,739 --> 00:18:37,367 The putting the pieces together was quite easy. 387 00:18:37,367 --> 00:18:40,203 The fun part was actually working with Tom and Ewan 388 00:18:40,203 --> 00:18:42,122 to actually see the dragon. 389 00:18:42,122 --> 00:18:45,375 We tried to create a sense of a lack of anticipation, 390 00:18:45,375 --> 00:18:48,962 so when the dragon turns right, it's like a trust fall. 391 00:18:48,962 --> 00:18:51,297 They have to not anticipate anyone being there, 392 00:18:51,297 --> 00:18:53,550 and then they have to kind of counter that fall 393 00:18:53,550 --> 00:18:54,759 with a drastic movement. 394 00:18:54,759 --> 00:18:57,387 So, when you see them, what makes it real 395 00:18:57,387 --> 00:18:59,764 is this sense of, like, unpredictability, 396 00:18:59,764 --> 00:19:03,852 despite the fact that we're working in a very predicted manner. 397 00:19:04,436 --> 00:19:06,938 You're effectively suspended on-- in the air 398 00:19:06,938 --> 00:19:08,606 on this mechanical bucking bronco. 399 00:19:08,606 --> 00:19:11,818 You've got wind, you've got atmos. 400 00:19:11,818 --> 00:19:14,612 And you're in a backbend, and you're 43, 401 00:19:14,612 --> 00:19:17,949 and there's blokes shooting, uh, leaf blowers at you. 402 00:19:19,451 --> 00:19:21,327 - crewmember: Fantastic hairdo now. - Thank you so much. 403 00:19:21,327 --> 00:19:23,663 - (laughter) - And your, your work will only make this better. 404 00:19:23,663 --> 00:19:24,956 crewmember: It's because you're worth it. 405 00:19:24,956 --> 00:19:26,624 - (laughs) I am. - (laughter) 406 00:19:26,624 --> 00:19:28,293 (roaring) 407 00:19:31,379 --> 00:19:34,758 Condal: You get that beautiful tableau of Rhaenyra 408 00:19:34,758 --> 00:19:36,134 and her dragon army, 409 00:19:36,134 --> 00:19:37,594 and, literally, the dragon queen 410 00:19:37,594 --> 00:19:39,095 coming out of the Dragonmont 411 00:19:39,095 --> 00:19:40,430 and we see that it worked. 412 00:19:40,430 --> 00:19:42,265 Uh, whatever challenges were, were, 413 00:19:42,265 --> 00:19:45,477 uh, were put to her and, uh, whatever questions she was faced with, 414 00:19:45,477 --> 00:19:49,481 she was right in the end, and was able to assemble this army of dragons. 415 00:19:49,481 --> 00:19:51,149 (roaring)