All language subtitles for Game.of.Thrones.S00E41.The.Last.Watch.1080p.AMZN.WEB-DL.DDP5.1.H.264-NTG_track3_eng

PHOTOGRAPHER:
Jon Snow!

FAN:
Oh, my goodness,
you're beautiful!

One more.
One more time, look away.

FAN:
We love your style.

FAN 1:
Sophie! Sophie!

FAN 2:
He's my screensaver
on my phone!

PHOTOGRAPHER:
And Gwendoline, now smile here.

ANNA:
Production.

Production, Anna speaking.
STAFFER: Bear with me.

ANNA:
Well, we do have 24-hour
security at the Paint Hall.

Good morning. Um, the Godswood
working on Friday.

We need to know exactly who
is going to attend, and who...

FINLAY:
I'd like to get shots
of you doing work.

Oh, God. Doing my work.

Sure.

That's my working,

is putting on one pair of
glasses to the other pair.

Oh, God.
STAFFER: Hi.

CAULFIELD:
Steve didn't respond to us

about the direwolves
because they can go pretty fast.

He says 30 miles per hour.

Right, right, right,
right, right. Okay.

So it's our
biggest season ever,

there's a lot of decisions
that need to be made.

It's something simple
like a wolf

running with a guy,
for us it means

a 150-foot green screen

with a tracking vehicle
in Calgary.

You know, it's fun.
It's a fun puzzle to figure out,

you know, and when you do
figure it out it's--

I think that's why
I used to love algebra,

is that you'd figure out
the equation,

when you got that answer
it was like, "Wow."

And so it's the same with this.
We keep messing with the puzzle,

and then
when that last piece fits,

you're like, "Yeah, it worked."

STAFFER:
For you.

My schedule ends up being--
It's, you know, very...

and that's a simple one.

Like the Art Department,
they go horizontally,

but I decided I want to go--
I go vertically.

FINLAY:
Do you thrive
on all of this, Chris?

Not particularly. What?

It's all I've done
since I left school,

I don't know anything else.

NEWMAN:
The way Game of Thrones
is developed

is every episode
has as much in it

as any one feature film,

but we have to do it quicker
and for less money.

All you can do
with any large operation is

get the best people around you
and let them go.

As we said, we're trying
to figure out how...

BLAIR:
This is our first day
of fittings,

and we're just doing 25,
I think it is, today.

We have the same people,
like, every year.

It's really nice,
they're like a little family.

They always kind of
show up every year.

-Keep you nice and warm.
-Mm.

BLAIR:

And he's obsessed
with the whole show.

It would be really cool
if youse got to meet him,

he'd be so excited.

McCLAY:
Hey, what?

Thanks, Brad.

Yeah, man.

FINLAY: Are you Andrew?
-I am.

FINLAY:
You're the person
I'm here to see. I'm Jeanie.

I'm making the documentary
about Game of Thrones.

-Okay.
FINLAY: For a year.

-Okay.
FINLAY: I was wondering

if I could
follow your fitting.

McCLAY:
Excellent.

-Hello, Rettie.
-If you could fill in that.

-Thank you.
RETTIE: And then I'll get--

-Hello. How are you?
-Good to see you.

-Are you all right?
-Nice to see you. We're excited.

McCLAY: Hello.
BLAIR: Are you all buzzed?

McCLAY: I'm buzzed.
BLAIR: You're all excited.

McCLAY:
Back in for the last season,
so I'm loving life.

-Lovely.
BLAIR: Yeah?

Yeah. Snug...

-Too snug?
BLAIR: Do you want another pair?

Could I try just a size bigger,
Rach?

Just so I can get
my thermal socks on. Cheers, eh.

If I recall, the best way
into that's on your knees, yes?

MAN:
It's the easiest.

BLAIR : That's funny.
MAN: We've got to work out

-an easier way.
McCLAY: I absolutely love it,

it is the best thing
I have ever seen.

The stories, the characters.

I read the books
since I was about 13,

absolutely brilliant.

Like, honored to be able
to work on it.

Night King better recognize.

WOMAN: How you doing?
-Ah, what about you?

-What about you?
-Come here. What's happening?

-How's it going?
-Aye, sweet. Look at me.

WOMAN: Back in armor.
-Big time.

You want me to do
my meanest look possible?

BLAIR: That might be extreme.

-Really? You go.

Okay, we'll get you
out of that, then.

Can I just--?

All right,
now you can take me out.

So we get our cool jackets
done every year.

This is for Season 7.
Adrian has one as well.

A direwolf on the back,
"The North Remembers."

Stark there on the arm.

And the unit
you worked with.

So Dragon, Wolf,
and White Walker units,

so Dragon out of Belfast.

Whenever you see the season
starting back up again,

you just see beards
and these black jackets

walking around Belfast.

McCLAY:

MAN:
What's that?

McCLAY:

I remember reading the script.
I remember being in Dubrovnik.

And I remember saying to him,

we're never gonna be allowed
to shoot here.

Just knowing
what we had to do.

Nobody was going
to let them destroy their town,

no matter where we were,
particularly not Dubrovnik.

Then when we looked outside
of the production office,

there's this great big,
flat piece of concreted land,

you know, the Titanic studios
need a backlot,

and there was one really
obvious one sitting here.

Phil and I
are both scratching out

different ideas
for our King's Landing street.

We've been so many places
and photographed so many things

that, uh...

it's actually
trying to work out

what makes these things
fantastic.

But it's gonna be
a big build,

so we need to make sure

it's worth the money and time

that'll be invested.
Also they're not sacrificing

going to a location to,

instead, be shooting
in a really bad set.

March 2013,
when I first landed

it was so daunting,
but at the same time,

we just couldn't
let ourselves fail.

I don't have it
so much anymore,

but I do, in the first year,
remember having

this constant tape in my head

of you are being employed
to cope.

Just cope,
you just have to cope.

But now I realize
all we were ever doing

in Seasons 4, 5, 6, and 7
were training for Season 8.

ROCKS:
We did have a fence
the whole way along here,

but unfortunately, the winds
knocked the fence down,

so we'll have to get
a whole new fence in.

You don't want to spoil it
for people, you know?

Because they'll see it.

It will spoil it
for me as well.

FINLAY: Do you watch the show?
-Oh, God, I love it.

MOTORCYCLIST:

Oh, I wouldn't know.

I know nothing.

I'm really just looking
for a part in Game of Thrones.

Put a word in there for me,
that would be great.

One of the walking dead,
that'll do me.

I've got the baldy head for it.

FINLAY:
When did the cast get scripts?

McLAUGHLIN:
They've had them three days.

I don't know
who has just read their parts

and who's read the full things,

but they've had
a little time with them.

FINLAY:
For some of them it might be
the first time they realize

that they die.
I know Kit hasn't read his.

Yeah, if they've
not read their more--

You know, because
we've given them to them,

it's up to them if they want
to read them before coming in.

Soup. Soup.

WEISS:
This is strange.

We remember
hoping against all hope

that we would get
our first table read

for the first season,
here we are at the last one,

and it really is...

It's like looking around
a table

and seeing your family,
you know?

-Except that we all get along.
-Way better looking.

COGMAN:
"Exterior, Winterfell Wall.

"The battle
for Winterfell begins,

heavily adapted, believe it or
not, for read through purposes."

"The Night King turns
and sees Jon coming for him.

"Is this going to be
an epic fight? No.

"The Night King
raises his arm slowly.

"Jon knows what that means.

"The dead begin to rise.

"Jorah the Andal battles on.

"He has been slashed and
stabbed, pummeled and pierced,

"but somehow he keeps fighting.

"Wights plunge their knives
into him.

"He takes more punishment
than Hodor took at the door,

"than Beric took
in the Great Hall,

"and still somehow Jorah stands
and defends his queen.

"Dany tries to rouse Jorah,
but he is gone.

"Exterior, Godswood.

"The Night King walks with
methodical, terrifying calm.

"He stops before Bran
and raises his sword to strike,

but something is hurtling toward
him out of the darkness. Arya."

COGMAN:
"She vaults off a pile
of dead wights,

"leaps at the Night King.
She plunges the dagger

through the Night King's armor,
and the Night King shatters."

MAN:
Maisie!

COGMAN:
"Wildlings and Northerners
have gathered around Jon."

HIVJU:
"I saw him riding that thing."

CUNNINGHAM: "We all did."
HIVJU: "No, no.

I saw him riding that thing."

"That's right. You saw it."

-"I did."
CUNNINGHAM: "You did."

"That's why we all agreed
to follow him."

COGMAN:
"Dragonstone Beach, night.

Grey Worm leads Varys,
hands bound, down the beach."

"I told you what would happen
if you betrayed me."

"You did."

"Lord Varys,

"I, Daenerys
of House Targaryen,

"First of My Name,
Breaker of Chains

"and Mother of Dragons,
sentence you to die.

-Dracarys."
COGMAN: "Drogon spews fire,

"but we don't watch
our old friend burn.

"Instead, we see the reactions
of those who knew him.

"Tyrion is heartbroken,
Jon is disturbed,

"Grey Worm sees this

as the just execution
of a traitor."

DINKLAGE:
"Did she sound like someone
who's done fighting?

"She's a conqueror.

"She liberated the people
of Slaver's Bay,

"she liberated the people
of King's Landing.

Our Queen's nature
is fire and blood."

COGMAN:
"Standing before
the Iron Throne,

"Dany steps forward
and kisses the man she loves.

"A perfect kiss.
Their eyes closed,

"his hand behind her head,
her hand on his cheek.

"Dany's eyes open suddenly
as she draws a sharp breath.

"Jon's eyes open as well,
already filling with tears.

"For a moment, neither moves,

"as if moving
will make this real.

"We see Jon with his hand
still on the hilt

of the dagger he just lodged
in Dany's heart."

COGMAN:
"Her strength leaves her,
and she collapses to the marble.

"He keeps her in his arms,
and she falls.

"Kneeling down
to the floor beside her,

"he looks down
at what he's done.

"Terrible and necessary.

End of Game of Thrones."

CAULFIELD:

So.

REID:
Winter's coming, yeah.

I am the snow man okay?
Leave it with me.

When they started on Season 1,
it was just one forest,

and 'cause this
is the final season,

then yeah, everything seems
to be a lot bigger

and heavier and more snow.

It's just, uh, paper.
Paper and water,

and it does the job.

You probably need to go into
that, uh, hay doober, Steve.

It's just trying to work out
where we need to put stuff

and where we don't, you know?

You can go on and reckon
we're just seeing that,

but, you know, you move
the camera just an inch

and it's another 10 meters
that you have to dress.

You can't just throw money
at things, you know?

I'm a stickler for that.

I don't like to give away
too much money.

I don't like to waste anything.
I know it's not mine,

but don't waste it, you know?

FINLAY:
What are you gonna do
if it snows?

If it snows?
Oh, probably have a party.

If it snows, yeah,
cover the whole lot in white.

That would be fantastic. But
it's just not going to happen.

It just rains in Belfast.

MAN :
Must be Naomi there.

LISTON:
If that's horse feed,

it needs to come up to me
at the horse marquee.

MAN:
They're fucking lying
everywhere.

LISTON:
What the fuck
are you talking about?

MAN:
They've been threw off.
They're lying everywhere.

LISTON:
They came on a tipper

so we just have to
fucking tip them

into the fucking grass.

MAN:
Yeah, no worries.

LISTON:
So I'm the location manager.

You can have 350 crew,

and with that comes
the infrastructure,

service vehicles,
extras, marquees.

I sort of end up
doing all the logistics

and the running
of all the locations

when we're out and about,
which is great fun.

We'll have to use
our imagination a little bit.

This 25-by-50 meter
is extras holding.

We have to avoid
this manhole cover,

so when you bring
the crowd up,

the door to the crowd holding
will be here.

The only problem is
these big gas canisters,

that's all propane.
You cannot sit there

having a fag, otherwise
the whole thing's gonna go up.

LISTON:
That's an electric fence,
so they'll not be tempted

to dander up
past the electric fence.

MAN:

Yeah.

MAN :
We've got caltrops in place
where they're gonna be,

so we can, um, hide them
for the switch.

We just then-- They--

I need to go
a little bit higher.

I can see the legs
and the heads.

But actually want to see them--
How they jump.

-Just adjust.
-And then watch it,

-you can see the--
IRLAM: I've said to the guys

the thing that they should
focus on is planning

where they're going
and making sure

they all miss each other.

Let's put caltrops
in front of caltrops.

So you create
much more of a barrier, yeah?

DIRECTOR:
Three, two, one, action!

DIRECTOR:
Cut. Good.

DIRECTOR: Action!

No!

DIRECTOR:
One. Action!

SHAPCOTT:
It's about
choreographing the fights

with Ratsa and Vlad.

It's basically
what we do on film set.

It's what we do on a film set,
we just do it in a tent.

I think they kill him,
and kill him--

SHAPCOTT:
By the time
we come to shoot it,

the producers
know what the fight is,

the director knows,
the actors know.

Everybody knows
what's going on.

SHAPCOTT:
This is one we did yesterday.
This is like the end.

SHAPCOTT:
So each hero moment

we do something like that for.

There's a moment here where you
do the two of them meet.

So why don't you-- Riley?

Take that light back a bit,
and we'll take a photograph

of these fine people.

And hit that, good.

Okay, good. Thank you.

NUTTER:
I've been brought in
this season

to introduce
Episodes 1, 2, and 4

to the throng out there
that have been waiting

to see the final season
of Game of Thrones.

I'm getting into
the consequences

of what happens to people
in their lives,

the war that's coming,

and of course how that
affects people.

NUTTER:

Okay.

STRAPAZON:
Thanks, we'll be in touch.
Thanks.

STRAPAZON:
He breaks down his scripts,
which I help him do.

He gets floor plans printed out
that he cuts up

and then blocks out where
the characters are gonna go,

where they move to,
where the camera's gonna go.

And it's a little road map
for the whole scene.

He draws it all by hand,

and he likes it
on U.S. letter-size paper,

which is like
8 1/2 by 11, I think.

FINLAY: Not A4?
-No, he doesn't--

A4, it doesn't work.

So we shipped over
a big box of goldenrod paper.

FINLAY:
Why does A4 not work?

Don't question the system.

This is my nemesis,
this copy machine.

It's upside down.

STRAPAZON:
He is one of the few people

on the show
that has printed scripts.

They were trying
all digital this year,

have everything on iPads,

but that's just not
how he rolls.

He claims he's a Luddite,
but, you know, he's done

some of the most
iconic episodes.

He did the Red Wedding
and the Walk of Shame.

FINLAY:
What is that a drawing of,
on the top there?

NUTTER:
That's a dead Theon,
and that's Sansa overtop of him.

FINLAY: On your special paper.
NUTTER: On my special paper.

FINLAY:
How long have you
used this process?

NUTTER:
Since the very beginning.

FINLAY: Did someone teach you--?
-I taught myself.

This is my method.

My methodology.

My stuff goes in
that safe there,

nothing gets left out.

If you touch the paper
at the wrong time

it will dissolve
like Mission Impossible

and burn up.

WOMAN:
We're doing it tomorrow.

It needs to be up here.

ALEXANDER:
It is, well,

just 20 past 4, yeah.

So yeah, those 4 or 5:00 starts
are quite regular.

I think half past 3
has been the earliest,

when we were in Morocco.

ALEXANDER:
Cheers, all right.

-Good morning, darling.
CLARKE: Hi.

BANKS: How are you?
CLARKE: All right.

ALEXANDER:
Emilia's generally
got dark hair,

so when you put the wig on,
it looks like it's got roots.

CLARKE:
This is the sexy bit.

So we have to put
a little cap over

that kills any dark.

FINLAY:
I don't think anyone knows
it's this much work.

No. Also this is very lucky,
to see this bit.

This is normally
when someone like a producer

knocks on the door
and you're like, "Not now!"

-Please, don't come in.

ALEXANDER:
Gilly's gone glamorous.

BANKS:
Ooh. She has. Looks very nice.

ALEXANDER: A weekend look.

CLARKE:

BANKS:

No, it is, because that is still
the most beautiful hair

I will ever have on my head,
ever.

It's magical.

When you put that on,
it's just an instant whoa.

BANKS: There she is.
CLARKE: Oh my God, there she is.

My heart is in my throat

when I think about this
not happening much longer.

Putting this on.
It gets--

Genuinely gets me really,
like--

RILEY:
Look at that. Beautiful.
Rhiannon did all of this.

These beautiful
illuminated scripts.

And then the magic's over again.

It was beautiful.

CAULFIELD:
It's a simple enough
scene, no?

Yeah, yeah.
It's a great start.

Everybody's like,
"Oh, I'm so happy

this is how we're starting."
And so it's perfect.

And he's so excited to be here,

which is so sweet too.
That he's, like, thanking me.

No, I'm thanking you.
No, I'm thanking you.

So yeah.

I know, he's just so excited
that he got to do--

And to do three, 50 percent
of the final season.

He does that--
I call it the penguin walk,

it's like,
"Oh, the penguin's released."

ASSISTANT DIRECTOR
Good morning.
If we could give David

a little privacy for this first
rehearsal please? Thank you.

CAULFIELD:
Here we go.

SAMWELL:
If it's not too much trouble,

I could use a pardon.

For what crime?

SAMWELL:
I borrowed a few books
from the Citadel.

STRAPAZON:
I love me some Dragon Queen.

I love Daenerys.
I love dragons.

I would hope
that I would be a Targaryen,

minus the whole are they crazy,
are they not crazy,

the incest thing
and all that stuff.

But, um, being able to go from,

you know, waiting
and watching it on my couch

to then being on the set
when they're shooting

the final season,
it's been kind of surreal.

FINLAY:
Do we need to let you
go do your job?

STRAPAZON:
It would be good.
I'm going to bring him almonds,

which will be very good.
Protein, fuel him on set,

make sure he's got
everything going.

I'm like his stamina elf.

STRAPAZON: Almonds?
NUTTER: Thank you.

STRAPAZON:
Do you want any yang herbs?

-Oh, yes, yes.
-Okay, yeah, I'll go get it.

ASSISTANT DIRECTOR:
And roll sound, please.

MAN:
Thirty-nine Apple, take one.

ASSISTANT DIRECTOR:
Quiet on the set.

NUTTER:
First shot of the last season.

And...

CAMERA: Set.
SOUND: Set.

NUTTER:
Action.

SAMWELL:
Your Grace.

DAENERYS:
Your brother
stood with your father.

I offered to let him retain
his lands and titles

if he bent the knee.
He refused.

SAMWELL:
Um, thank you, Your Grace,
for telling me.

May I?

DAENERYS:
Of course.

MAN :
Cut there.

McCRUM:
Basically it's called
the heart attack van.

We just follow them
'round everywhere.

We tried to do healthy stuff,

but they like things
that'll keep them going.

The tiger toast thing
started just one day

whenever I was feeling
a bit peckish myself

when I was in Tesco's
doing my shopping.

I thought I'll go buy a tiger
loaf and have a wee toastie,

and I made it fully loaded
like this for myself.

One of the guys
happened to notice it

and went,
"What are you making?"

"Making myself
a wee toastie."

He says, "Can I have one?"

Next thing everybody was coming,
"Can I have one?"

And now it's one of
the most popular things here.

Bacon, chicken, cheese,
ham, tomato, onion,

tobacco onions,
on the big tiger bread.

McCRUM: Hello.
-How are you?

McCRUM: What's the crack?
-Not much.

Good. Wee toastie?
-Yeah.

McCRUM:
What sauce would you like
on yours?

Thanks very much,
see you later.

CUSTOMER:
Thank you.

FINLAY:
What are you doing today?

Jaime Lannister trousers.

A little bit of infection
in your wounds, perhaps.

McCLAY:
Oh, yeah.

See you later, Rory.

See you in a bit.

ASSISTANT DIRECTOR:
Three, two, one, action.

No way.

It's a flaming Dothraki arakh.

ASBAEK:

DUNNE:

BANKS:
Ding dong, look at that.

Is there a camera crew
behind us?

No.

ASSISTANT DIRECTOR:
Three, two,

one, go.

WOMAN:

Right, come on, you,
down here quickly.

DRIVER:
You taught me
how to park the sausages.

Park your sausages,
park your fucking sausages.

She teaches
how to park the sausages.

That's a big fucking gap.

That's a cheap fucking sausage.

MAN :
First of the last?

The first of the last get-ins
of Game of Thrones.

Does that not bring
a wee tear to your eye?

MAN: No.
-All right, fine, okay.

Fucking bastard.

Not like I haven't fucking
stood there wasting my life,

waiting on you fucking getting
to your fucking unit base...

-...for the past seven years.

I'm going to be crying next
year because I'm unemployed.

Thank you very much.

SARAH:
Today we're doing crypt wights.

These wights are mummified.

We're a bit nervous about today

because it's the first time
we've done this style of wight.

FINLAY:
What are you nervous about?

Uh, that everybody likes them.

They're doing a proper lighting
test. I don't know.

FINLAY:
I do believe so.

SARAH:
And David and Dan are coming.

FINLAY:
Dave and Dan are here,

so they will, most likely,
be popping in, I imagine.

FINLAY:
So did you just set up
and pitch to Game of Thrones?

-Did they come and offer you--?
-No.

SARAH:
No, what happened was
Barrie's always worked

for other prosthetic artists.

FINLAY: Okay.
SARAH: I'd done visual effects.

Barrie said, "I think
they're interested

in a few people quoting
on Game of Thrones."

And so Barrie and I were like:

"Let's see what happens."
You know, da-da-da.

We did our little spreadsheet,
and working everything out.

Then Barrie got the phone call

to say that we'd won it,
and we shat ourselves.

We didn't have a workshop.
We didn't have crew.

We didn't even have tables.
We had nothing.

FINLAY:
Okay.

Hey, Leigh.

LEIGH: Hey.
-Hey.

We just had, um,
Leigh Maddern over here

to try the stump, for--

Leigh, the stuntman,
uh, for the severed--

For the severed arm.

And do you remember
David Nutter said

they'd make sure
that the character

would have
their sleeves rolled up.

So the issue is

Leigh says the characters
are wearing long-sleeved,

thick jackets,
which means

that really you can't do
a severed arm gag

'cause it'll look stupid.

You know,
that's the gag, you're like--

Can you scratch my nose?

SARAH:
All we've got to do
is try on the jacket

make sure I can
pull the sleeve up.

If I can pull the sleeve up,
its happy days,

-if I can't, we'll rethink.
-Not happy days.

Then have a rethink.

They'll say it's more important
to go for the crypt.

If you cut through
there and there,

it's never going to go through--
A sword would never.

It would never.

Oh, that might be all right.

MAN:
It seems horribly convenient

he's got his sleeves rolled up

ready to have
his arm chopped off.

SARAH:
I feel like he could have
a few gold chains or something.

If they're all having
their pints...

Hey!

Aah! Ha-ha-ha.

Thank you for doing that.

Do you know how I get to Cell 4?

MAN:
Oh, um...

SARAH:
Down there?

MAN:
Right through there,
take a left.

-Yeah.
-It's right outside.

SARAH:
Okay, thank you.

Don't follow me getting lost.

Shit.

Damn it.

Cell 2.

It's hard when you work
so hard on something

and you want
everyone to like it,

so I'm hoping they'll be like,
"Yeah, you nailed it!

High-five!"

Has anyone said anything?

BARRIE: Nobody's seen anything.
SARAH: Nobody's seen anything.

BARRIE: No.
SARAH: I'm excited for these.

I really hope
everyone's gonna like them.

BARRIE :
I think Dave and Dan
are about to come.

MAN 1:
Yeah, come on ahead,
come on ahead.

SARAH:
I can't really tell
what they think.

I wanted
a big round of applause.

I can't really tell
what they think.

MAN 2:

SARAH:
In terms of the makeup,
I think they're happy.

But, um, they're gonna send
the pictures to Miguel,

Miguel's gonna make notes, go
through them with David and Dan.

We're going to have
a meeting tomorrow

to run through all library
and crypt, so, you know.

But it wasn't a disaster.

Today's final. Ha, ha.

Ta-da!

REID:
Just little squirts
every now and again

for bits that needs to go over.

SAPOCHNIK:
The way this battle
is gonna work

is this show
has been about

that people don't get on.

Now they finally
find a way to get on.

You got the North
with the wildlings.

So they all come together
and then somebody fucks up.

REID:
Fucking gloves have shrunk.

You, Jack and Glen go in
and see sweet cheeks

and do the dressing in there,
ready for the first shot.

REID:
I think it's mainly
that bit back there.

Yeah, that's the bit I can see.

It's definitely tire tracks
and that, car tracks.

I think that'll do it,
then, I don't think

they'll see
much further than that.

SAPOCHNIK :
All you guys

that made it, you're going
to survive to the big battle.

Except the 10 guys
in the back are gonna die.

SAPOCHNIK:
We're going to do
a lot of running tonight.

REID:
Just a bit of blue roll, please.

Just a little bit.
One sheet, one sheet.

Don't waste it.

SAPOCHNIK:
Nine, eight, seven, six,

five, four, three,
two, one, action.

MAN:
Go have a look at the lasagna,
see what it looks like.

If it looks a bit skanky,
I'll have the chicken.

Or maybe just have both

and take some home
for fucking dinner.

SAPOCHNIK:
I think one of the things
to take into this...

Let's do the whole scene
as if you both got stomachache.

TURNER: Okay.
WILLIAMS: Mm-hm.

TURNER:
Okay. Because also,

is this the first time
you've seen a wight, as well?

This is the first time

-I'm seeing them.
-Yeah.

We've been
prepping and prepping

but really we don't know shit.

I think the whole point,
though,

of this is it's not about--
You can't see them.

-It's the suspense of it.
-Yeah. I think so.

That's what I'm saying,
the stomachache,

it's uncomfortable
because you can't see.

You don't have
the information.

-Yeah.
SAPOCHNIK: Let's do it again

up to that point.

Then we'll work through
the next section.

Set, and action.

And the dragons pass over you.

And off they go.

And they bank left,

they get further
and further away.

That light's
slowly disappearing.

And now there are none.

But what you can hear

is a very, very low rumble.

SAPOCHNIK:
Episode 3 is a battle
from start to finish

and has three dialogue scenes
in it, and that's it.

Like, if you took Battle
of the Bastards into Hardhome

to the Loot Train, if you put
all those three together

that's probably the size
of this episode.

I feel tired and cold,

really not particularly
in the mood

to go and do a long 11 weeks
of night shoots.

I don't really
want to spend 55 nights up.

Uh, it's David and Dan's fault,
mainly.

Basically.

'Cause they wanted to do
something bigger.

FINLAY:
Was today a good day?

Yeah, I think so.
Probably.

I mean, we finished it on time
and didn't fuck it up.

Acting, acting, acting,

and with the last one,
you need to be already,

on your position.

One, two, three.

Good.

One hit, hit, drop, pull.

Big smash. Okay, good.

FURDIK:

Now I'm in the front line,

so I'm like,
"Wow, what I'm doing here?"

Why--? Why me?

FURDIK:
I grow up in Czechoslovakia.

After the revolution,
many of my friends

became part of the bad boy.

I was 14, 15,
and I had decision.

Go with them to be gangster,

or be with a live show.

So when I decided
to stay with the show,

it was good because many
of my friends are dead already.

The mask
completely changes you.

You're stepping in
the makeup trailer joking,

you know, and happy,
and step-by-step,

you're becoming the dark side.

He called me and he asked me

if I would like
to be Night King.

And I don't heard Night King,
I heard just king.

And I said,
"I can be any king."

You know. Don't worry.

I think he's angry.

He don't want
to be Night King.

The Children of the Forest,
they changed him,

and now he's, "Okay,
you want me to be Night King?

Okay. Now I kill you."

My name is Aberdale Strongbeard.

Uh, I have fought
for Stannis Baratheon.

I've also fought for,
uh, Jon Snow,

and that's where
I currently find myself,

as part of Jon Snow's
Stark army.

I've been taking out
the undead,

you know, thinning them out

before they actually reach
Winterfell.

MAN:
I don't want to be
on the Watch,

I'm in House Stark,
thank you very much.

I'm not a thief,
I'm not a rapist, okay?

It's just Watch now.

I'm not even a second son
of a lord

who wants honor
up on the Wall.

I'm a man of House Stark,
that's what I am.

I don't want to be a Frey.
No way Frey.

I don't want to be a Lannister.
I don't want to be a Bolton.

House Stark.
Absolutely has to be them.

FINLAY: Why?
-Why?

Um, the direwolfs are just cool,

Eddard Stark,
fighting for Eddard, revenge.

Mad about Jon Snow,
my favorite character.

The armor's cool.
Winterfell's class.

It's just, like,
the main family in the story.

I was standing up
at Magheramorne Quarry Season 6,

and I had just met Gerald.

And then we're just chatting,

and then the next thing
here comes Kit Harington

on a horse and Kit Harington's
like, "Oh, hello, Gerald."

Just like that.

And they just start talking
like they're friends.

And then Kit goes off
on the horse,

and I'm just like--

MAN: Let's move, boys.
-All right. We're out of here.

And on six, five, four,
three, two, one,

at the end
you guys get back up again.

I'm kind of doing the general--

I can get them with no arms.

That's fair.

MAN:
Go, go, go.

ASSISTANT DIRECTOR:
Five, four, three, two, one.

-Fire! One, two, three, four...

...five, six, seven, eight.

MAN:
I want the episode.

McCLAY: 2019, man.
MAN: I fucking want it.

McCLAY:
It'll be the longest we'll
have to wait to watch it too.

You know what I mean?

From being here
to watching it on-screen.

MAN: Are you not loving this?
McCLAY: Yeah. It's kick ass.

MAN:
We're stood in the middle
of Winterfell.

Take it in.
Drink it in.

♪ Magnified, sanctified
Be thy holy name ♪

♪ Vilified, crucified
In the human frame ♪

MAN :
And action.

♪ A million candles burning ♪

♪ For the help
That never came ♪

♪ You want it darker ♪

♪ Hineni, hineni
I'm ready, my Lord ♪

♪ There's a lover
In the story ♪

♪ But the story's
Still the same ♪

♪ There's a lullaby
For suffering ♪

♪ And a paradox to blame ♪

♪ But it's written
In the scriptures ♪

♪ And it's not
Some idle claim ♪

♪ You want it darker ♪

MAN:
Three, two, one.

♪ We kill the flame ♪

MAN:
Action.

SARAH:
The big heavy makeup is quite
hard work, the last couple days

some of us have been doing
like 18-hour days.

WOMAN: Is he heavy?
SARAH: It is a heavy wound,

even if
it doesn't say heavy wounds.

Yeah, so next round,
all heavy wounds.

Did we order you
some gloopy blood?

Was this for you?

Was it turned things
with dark scabs?

Well, they're nice and cold.

See if you can take them all.

See if we can get all of them.

Amazing.

Just talking to somebody,
Lottie.

We've moved
to a different location now,

we're somewhere else.

You had to do the homework
that they gave you?

-Yeah, that was the same one.
SARAH: Oh.

LOTTIE:
Look, this is some of
our Easter stuff.

Oh, she's showing things
she shouldn't be showing.

GRANDMA: They were hidden.

-They were hidden.
GRANDMA: For Easter.

Lottie, you found them.

That wasn't a very good hiding
place, Nana. Was it?

LOTTIE:
Yeah...

Don't do that, Lottie.

All right, then, poppet.

I'll speak to you
again tomorrow.

All right, do some
good swimming, yeah?

GRANDMA:
We'll do some reading now.

You're gonna go do
some reading,

and you'll practice
your spellings.

All right, then, poppet.
I'm gonna go.

I'm gonna go.

LOTTIE: Bye.
-All right, then.

LOTTIE : Uh... Uh...

All right, then, sweet.
Love you.

LOTTIE:
Uh... Bye.

That's it.

Funny little thing.

I think it's unfortunate

that both her parents are here,

so she hasn't even got
one of us at home.

This was never the plan, so...

I'm just gonna go see
where that stunt person is.

BANKS:
Morning.

I have to travel with them
in my hand luggage,

like my little pets.

Wallet, your passport,
and your wig.

Today's scene,
she's a lot tidier.

'Cause she hasn't been
on the dragon yet.

It will be a little bit more--

I'll need to be
a little bit more on it.

When you've got a long wig,
you're busy all day

because it all gets fuzzy,

and I'm constantly like,
"Ah, hair."

WOMAN: Good morning. Hi.
HARINGTON: How are you doing?

I'm just going to do my vocal
warm-up I do every morning.

Jon Snow, Jon Snow, Jon-- J--
Jon Snow.

-Jon Snow.

I left the curtains open

when I was stark bollock
the other day.

Yesterday.

I got out of the shower,

and a fucking drone
just drove by.

I was like, there's no privacy
anymore, is there?

CLARKE:
That's amazing.

HARINGTON:
We came here first
in our second season,

and since then I've felt
very attached

to this place,
and it feels like Thrones.

Woodward, hello darling.

I'm good, yes.
You okay?

CAULFIELD:
When I first came onboard,
Chris sent me a picture

of Iceland.

I saw that picture,
and I said:

"Yeah, that's what we need."

I pitched it to HBO,

so little was known
about how short the days were,

how risky it was,
nobody questioned it.

It's such a magical place.

When that sun rises,

it's like somebody slowly
unwrapping a present.

Morning.

How are the bones?

MAN:
Start walking around.

All right.

JON:
I don't know how
to ride a dragon.

DAENERYS:
Nobody does.

Until they ride a dragon.

NUTTER:
No, really get in.

Really get in for the nose.

I could do with this amount
of snow around me all the time.

-Seriously.

MAN:
Everybody back, please.

Guys, let's clear the eye lines.
Goodbye. Thank you.

I'm the only one that's allowed
to shout around here.

BANKS:
It's not looking quite as tidy
as it once did.

I should split.

Bloody hair's just moved again.

MAN:
Do you have an opinion
on the hand warmers?

Cam left, pan out.

MAN:
Snow.

HARINGTON:
Snow.

Snow. Jon Snow in snow.
Ha-ha-ha.

Ready, and, action.

Move to your right little bit,
Emilia.

And growl.

One more kiss,
a little bit more,

and Emilia go a bit more
to your right,

kissing and moving around,
and still.

Growl.

One more, ready?

Growl.

I think we got it.
Check the plate. Good.

MAN:
Moving on.

CAULFIELD:
In our hearts,
it was important for us

to come here. It wouldn't have
felt the same if we didn't.

It just makes my heart
really smile.

DJ 1:
Nine minutes to 7.

The so-called
beast from the east

is making its presence felt

in both Britain and Ireland.

DJ 2:
Ireland under
the highest weather warning,

with the worst snow seen
for 35 years.

DJ 1:
Four hundred and forty
schools will be closed today.

People have been told
to stay indoors.

MAN:

I need to get back here by 10.

That's all because we can't
open the doors anymore.

FINLAY: What?
-We should--

In usual circumstances,

we would just take that
straight out.

Um...

We're so, so tight now,
in terms of time,

that something like, you know,
this sort of poor weather

makes this a bigger deal
for us than it should.

FINLAY:
Is this a harder season
than others?

MAN: By a long shot.
RILEY: By a long way.

The schedule is impossible.
And...

The season is very big.

It's written very big,
um, but we have--

It's just all this business
of trying to do,

you know, film finishes
on a TV schedule,

and on a TV deadline.
And, um...

And I think this season,

we've certainly found
the limit

of what's able to be achieved.

And, um...

And insofar as I think,
now everybody, um, realizes

that Game of Thrones
has to finish

because it
just cannot get any bigger.

You know, there are a lot
of frayed nerves walking around,

um, myself being one of them.

LISTON:
We're still totally,
100 percent

frozen over at Tomb.

No, I mean, yesterday
we had 250 extras,

and all the crew
and not one toilet.

In the bowls,
the bleach was frozen.

MAN :
That's wild.

Oh, it was the icicles

hanging off the taps
that I couldn't believe.

You try and preempt
as much as you can,

but sometimes
it just gets to a stage where,

you know, you just can't
hold mother nature back anymore.

REID:
I mean, it's starting
to snow again now so,

you know, it's one of them,
"I can't really say

that we're gonna do work

until I know
we can do some work."

Is that a good enough answer
for you?

I can't really
say anything else,

'cause it's snowing.
And if it snows,

well, we can't just dress
on top of real snow.

Cheers. Thanks a lot. Bye.

Bye.

It was not a good idea to have
been doing it in the winter.

You needed to have spread
the snow locations out,

because we can't do
that many at one time.

Look at all this nonsense,

it just keeps coming through
all the time.

It's like, okay,
like I've got time

to keep pulling my phone
out of my pocket.

Zigzag road, they made us put
up a horizon the night before,

came in in the morning
ready to shoot--

"Can you take that down?"

So that's half a day
of mine wasted.

So, what we're doing,
we're getting this snow up,

so we can take it up
to Magheramorne,

the battlefield. You know,
we're just under the cost.

Ah, shit.

The wind's blowing
a good one here.

REID:
You, Dicky,
you up at Magheramorne?

There is no water at all.
Nightmare. All right, mate.

Tara, tara.

It's all frozen up
at Magheramorne.

Now I have to sort out a pump
and pump it out the lake

and, ugh!
Fucking hell.

FINLAY:
How's it going, Del?

REID:
It is all going.
I just feel like crying.

This car's got no bollocks.

This Fiesta,
stupid little thing.

You know, it's difficult
to find people

who know the job,
and it's not rocket science.

I mean, you could do it, Jeanie.
It ain't hard.

Welcome to hell, George.
Welcome to hell.

I'm not one
for listening to people whinge.

I just think, "Oh, come on."

I was brought up
in children's homes.

You know, I didn't have a clue
where me mom and dad was.

I left the homes
when I was 16-and-a-half.

They give you 300 quid,
your bloody birth certificate,

and all right,
get yourself out there.

It's just, "Hm. Okay, then."

So, yeah, that opened my eyes.

As I've progressed, you know,
I've always got more money

and I just think,
"To keep that,

I'll have to keep working
at the pace I'm working."

You just want to do
the best for your kids.

You know, I'd give up
my house for my kids.

REID :
I've never not done a set yet,

but it's been very close twice.

This is the second time
it's been close.

But we'll get there.
I think.

WOMAN 1:
Hi. My horses are dyed pink.

WOMAN 2:

WOMAN 1:
Don't even go there.

They've tried warm water,
Fairy liquid,

-I can't get them back to white.
-Look at the state of him.

One of them might be saying,
"I'm pink. I don't like pink.

McCLAY:
Magheramorne Quarry's
been the site

of the Battle
of the Blackwater,

Hardhome,
it's also Castle Black.

This is the biggest
green screen I have ever seen,

but it's really impressive
what they've built here.

McCLAY:
This battle sequence
I think we have coming up.

They don't tend to tell us
a lot of stuff.

On the day,
one of the ADs get up

and actually tells us what's
actually happening that day.

-The numbers we've just heard

are 120,000 wights...

...against 18,000

um, combined
in Daenerys's army

and Jon Snow's army
as well, like.

So we're extremely outnumbered.

I can't even begin to imagine
how this is gonna look on TV.

McCLAY:
The way I like to think of it

is that the extras department
is like one of the main actors.

Just as important.

I got a close-up
at the Battle of the Bastards,

I had no idea
the camera was on me.

ASSISTANT:
Rolling. Camera set,
and three, two, one--

McCLAY:
There's this collective thing

we know that we're all in,

trying to make this
really exciting.

Because even the background
tells a big story.

ASSISTANT:
Great stuff, thank you.
We have cut.

MAN:
March. Left, right, left.

-Darling.
McCRUM: Cheers, thank you.

McCRUM:
And a wee egg, sure.
Sophie, isn't it?

-Yeah, Sophie, yeah.
-Nice to meet you.

-Huh?
-Nice to meet you.

Nice to meet you too.

McCRUM:
Sophie Ellis-Bextor,

I couldn't believe it.
I'm totally starstruck.

One of my favorites
from years ago.

You never get to see these
people any other time, you know?

But, yeah.
It's like a wee dream sometimes.

FINLAY: They're coming to you.
-I know. I know.

She said I was well-stocked,
and I was like--

McCRUM: Bonus.

Very busy and a bit stressful,

because of the nights.

How many nights
have we done so far?

-Fourteen weeks, 15 weeks?
WOMAN: No, we're on our ninth.

-What?
WOMAN: Yeah. Ninth.

-Yeah, it's only Week 9.
-It's only Week 9.

Is it really?
No, it's more than that.

We started in January.

FINLAY:
Is this the longest run
of nights on Game of Thrones?

Yes. In fact,
we were trying to think

is this the longest time
any film has filmed nights?

I guess I could try
to Google that.

What's the longest nights
of any film crew?

SAPOCHNIK:
A smoke nightmare.

That's like smoke apocalypse.

It's almost like a bad dream.

I got to sleep at 9:30 in the
morning, and I slept till 1:30.

Three hours? Is that four hours?
I don't know.

One of my best-ever
anxiety dreams.

It was a beautiful blue sky,

and there was a rope
strung across my vision

and it just got pulled
taut, taut, taut, taut.

Then it snapped,
and I woke up.

MAN:

SAPOCHNIK:
I don't fucking know.

Sounds like anxiety to me.

Background and stunts,

until the moment we yell cut,

you need to hold your breath,
but also not breathe out.

It's gonna be amazing.
If anybody dies, let me know.

CAULFIELD:
How are you doing?
How are you feeling?

-Good time, yeah.
-Yeah? Were you a little sore?

A little sore.

Just the muscles ached, yeah.

CAULFIELD:
It just gets old, these nights.
Yes, sir.

Um, so, this--
In this, you're dead.

GLEN:
Dead.

CAULFIELD:
He dies?

GLEN :
The ending makes sense.

CAULFIELD: Yes.
-Everything that's gone before.

Certainly the way
they're shooting it.

CAULFIELD:
That he'd die for her.

GLEN:
And I think that's a big part

-of her demise.
CAULFIELD: Yes.

SAPOCHNIK:
Ready, and action.

SAPOCHNIK:
Cut.

ASSISTANT:
Good for 8, marker.

CAULFIELD:
I can feel
the weariness setting in.

Tonight Candy said, "Oh,
only 14 weeks until we wrap."

And that made it sound like,
"What? No."

I mean, it's a mixed thing.

One way,
you're wishing it away,

like, "Oh, please, let's get
through this, this and this."

And then the other one
is like, "No,

I don't want this to end."

HILL:
This is a Godswood tree.

Um, I think it's
a magical sort of tree.

It goes back, way back in time,
and Children of the Forest...

They do the Children
of the Forest,

and they put a wee face
on the front of it there.

Um... Phew. But to be honest
with you I don't really know.

FINLAY:
Have you done
the Godswood before?

HILL:
I do it every year.
It's my seventh year doing it.

FINLAY:
Have you got
a favorite character?

I did like Stannis before
he killed his daughter you know.

And I liked--
At the minute...

I actually like the Night King,
you know.

I'd like to have met him.

FINLAY:
You know what's
going to happen?

Yeah, I do. I do.
Ha-ha-ha.

FINLAY:

HILL:
Yeah.

FURDIK:
When I read this,
if it was up to me,

maybe it would be good
when Bran will kill me.

So Arya, she will appear,
I will grab her or something,

maybe I will kill Arya,
and Bran, he kill me.

-He will throw the knife to me.
WOMAN: Just throw it.

And then this make
Night King angry, you know?

I am happy, and then, okay,
he looking at me, and then

I see on his eyes and body
like, "Oh, Night King."

And then I--
Mm...okay.

Arya will kill me.

The girl kill Night King,
how is this possible?

FURDIK:
This year I don't feel
so very comfortable

because I don't know
where I belong.

If I'm part of the actors

-or I'm part of the stuntmen.
ASSISTANT: Action.

FURDIK:
Many times the stunts
are joking with me:

"Hey, you're the Night King,
you don't need to do nothing."

Sometimes I thinking,
"You know, is that true?"

When we finish
Night King stuff,

I can do some fire job

and falling from the stairs
or some fight.

I looking forward.

Yeah, I like that.
I like that.

ASSISTANT:
So cast can step off, thank you.

FINLAY:
They called you
a bit early, Vlad.

Classic.

-It's the movie business.
-Yeah.

-Waiting, waiting--
-Hurry up and wait, yep.

Hurry up-- Do something.
And then again wait, wait.

-Yep.
-Kill him, kill him.

Kill him.

SAPOCHNIK :
And camera,
three, two, one, action.

Instead of it being
a death like that,

it's just a-- before you even
get to be surprised.

FURDIK:
Got it.

SAPOCHNIK:
Let's just practice
dropping that knife.

Ready. There.
Okay, that's good.

That really helps.

You should be on him
all the time.

Yeah.

FURDIK:
Miguel, he showed me the way.

Move from A to B.

It looks like easy, but...

it definitely is not so easy.

So sometimes I realize
be actor is not easy to be,

is better to be stuntman. Heh.

SAPOCHNIK:
Three, two, one, action.

Stab him.

Good. Action.

Stab him.

ASSISTANT:
Rolling reset, thank you.

Back to ones.

SAPOCHNIK:
Ready?
And three, two, one, action.

Drop.

And now turn.

Look up. Down. Stab him.

Action.

Action.

Three, two, one, action.

Cut.

SARAH:
We've been doing night shoots.

I can't remember
what week this is.

You wake up, quickly get
showered, drive to location,

shoot all day,
get back on the minibus,

quickly try
and get some sleep, wake up.

It is like Groundhog Day.

If anybody ever says:

"How's it going, Sarah?"
I feel like saying...

I'm broken.

We feel like vampires, don't we?
I mean, seriously.

Everybody's just gray,
aren't they?

MAN:
Just run it through once,
so I can see it.

SARAH:
Unit call was at 8 p.m.,

we're supposed to wrap
at 6 a.m.

We don't ever wrap early.

But there's a rumor going around
that we might wrap at 3.

When people start rumors
like that, it's, uh--

It can only get--

So I'm really disappointed,
if we're still here at 6.

FINLAY:
When does Lottie get here,
to be an extra?

SARAH:
My mother flew her over,
so that we can watch Lottie

being filmed for the day.

I haven't seen her
for three weeks.

And there's been all this snow.

I've really struggled
this shoot, actually.

It's hard.

It's hard being a mum.

You know, I missed
her Mother's Day, um...assembly,

and I missed her
Easter bonnet parade.

In the grand scheme of things,
you say it's not that long,

but when you're living each day,
it is a long time.

ASSISTANT DIRECTOR:
I need checks on Walkers,
thank you.

MAN :
...just asked
we make sure we...

ASSISTANT DIRECTOR:
We're rolling away.

And action.

Cut.
Got it, lovely.

ASSISTANT DIRECTOR:
That's a cut.

MAN :
That is a wrap, good night.

-It's a wrap!

It's a wrap.

I hope. It's a wrap.

MAN:
Guys, thanks very much
for the last few months,

have an excellent Easter,
enjoy yourselves,

get some rest, party hard,
come back fresh.

FINLAY:
Do you know
what you're going to do today?

I think I might go and film
at the Belfast--

The Belfast
Game of Thrones show.

♪ Through love
I've learned three things ♪

SARAH:
I love your beautiful haircut.

♪ ...sorrow it brings ♪

♪ My fair girl... ♪

FINLAY: Who is it?
LOTTIE: The Night King.

And Jon Snow.

♪ Ooh, ooh, ooh
Ooh, ooh, ooh ♪

WOMAN:
Lottie. That's
a very exotic name.

♪ Some people say ♪

♪ Start fasting ♪

♪ Break my heart ♪

GOWER :
She's, like, dragging it.

♪ Still try and date them ♪

-♪ Survive you ♪
-♪ Ooh, ooh, ooh ♪

♪ Ooh, ooh, ooh ♪

♪ Ooh, ooh, ooh ♪

♪ Ooh, ooh, ooh ♪

♪ Ooh, ooh, ooh ♪

Is this Roman, then,
this thing?

Throw him to the lions,
that sort of thing?

FINLAY:
You weren't here
on a previous shoot?

No, no.
This is a first time for me.

Every year before,
"No, you're not going to Spain."

There was never anything to do.

MAN:

It's supposed to be
'round the outside

where the Unsullied are,
you know.

I don't know
what I'm doing here.

You boys could have done it
in your spare time.

There we are, Jeanie,
that's it.

I don't think it's worth
doing the machine,

we may as well just
run it out of the bags.

In Season 7,
Jaime was in King's Landing

and a snowflake
landed on his hand, didn't it?

So that allows you then
to put little bits wherever.

There isn't going to be
much snow apparently,

so it's just me.

Not too much, just to say
that it's blown in...

and stayed.

Yep, that does it for me.

FINLAY:
It's award-winning snow, Del.

-Does that mean anything?
REID: Yeah, it's great.

They brought the Emmys to set
so everybody could have

their photograph
taken with them.

It's the first time
I've ever had

my photograph
taken with the Emmy.

Not that I'd show anything,
"This is my Emmy."

I've got a certificate,
we got the original--

We had to pay for it,
but, you know,

I don't mind paying for it.
You know, so, yeah.

I was part
of the Emmy award-winning--

So, yeah.
But you don't show that, do you?

It's like having
a forklift license.

CAULFIELD:
It's very hard
to keep the cast quiet,

because when in Spain,
you must eat and drink.

They're going to be
out and about,

and so we brought in
a few ringers.

We have The Waif coming in,
because so many people think

that Arya is dead
and The Waif killed her.

We have Jaqen,
who's also another

House of Black and White
character.

And we have
the Night King here.

Not quite sure
what he would be saying.

So they won't know
what's happening.

It'll be a big surprise
no matter what.

Jon Snow is here!

GREY WORM:
You are not here to speak.

I've had nothing to do
but think

these past few weeks...

about our bloody history.

There's nothing in the world
more powerful than a good story.

And who has a better story

than Bran the Broken?

HARINGTON:
It's weird, I've come out
basically as decoy.

It feels weird being here
and not actually filming.

When all the Spanish fans
shout Kit,

they shout, "Keet! Keet!"

So the rest of the cast
have now dubbed me Keet.

FINLAY:
Keet!

HARINGTON:
Keet! Keet!

WOMAN:
Please, please, please, please.

Hi.

HARINGTON:
Hello.

FAN:
Sophie. Sophie!

Okay.

I never saw this
in all of my life.

So it's like, uh--
Like, uh--

Like a real star, how can you
live in this life, you know?

Everybody recognizes them, so.

Okay, we can come there

and just give them
a couple sign, yeah?

Okay, come on.

I would like to see if they
recognize who I am, you know?

Please.

You know who I am?

CROWD:
Yeah! Night King.

-Ah! Yes!
FAN 1: The Night King!

-Where is my--?
FAN 2: Winter is coming!

Where is my army? Yes.

FAN 3:
I hope you win the war.

FAN 4:
You are the best, man.

Hey, my friends, look at this.
Look at this. My Lord.

-Say something!
-What?

-Say hi.
-Hey!

Game of Thr--

-Winter is coming!
-Winter is coming!

Yes! Yes!

MAN :
That was Vlad the Night King's
last-ever shot

on Game of Thrones.

RILEY:
The best moment for us

is actually just before
the cameras arrive.

When we have it
to ourselves for a minute.

When it's quiet,
and you can feel the set

has a personality
of its own,

and it's all dressed
and ready to go.

That's when I love it.

There's some mighty doors.

MAN:
Twenty-nine weeks, four days.

RILEY:
Twenty-nine weeks, four days.

Not that you're counting.
Twenty-nine weeks.

RILEY:
Not bad for seven months' work.

You built a city
in seven months.

I honestly can say
I could not have worked harder.

I really have given this
everything I have.

And I love it
when you see people go up

and they do this, you know?

The minute
that the camera arrives,

and the machines and lights
and hundreds of people,

they use it as they need to.

We're quite shy people,

we just want to be able
to do our work and leave.

I don't think the actors
would even know who I am.

That suits me just fine.

MAN:
Well, I'm the carpet man.

Apparently,
there's some looters coming.

My scene is to frantically
bring the carpets in

as quickly as I can
and close the shutters.

I've got the lovely maiden
across the way,

I'm trying to get her attention.

She's otherwise occupied.

I'm just having a little
contemplative moment,

enjoying the sunshine.

And then, yeah,
all panic sets in.

But I'm a bit precious
about my pots,

you might have noticed.

I want to get them
all off the balcony.

ASSISTANT :
Hello, can everyone hear me?

You have to imagine
right here today

that this is like
alarms going off.

There are air raid sirens.

You guys are trying
to get into the Red Keep,

which is over there.

Welcome to King's Landing.
Let's go.

ASSISTANT DIRECTOR:
Action!

ASSISTANT:
Go, go, go.

ASSISTANT:
Good job, reset.

MAN :
Golden Company, forward march.

Left, right, left, right, left.

Halt.

That's mark.

CAULFIELD:
There's one, two, three--

Oh, my God,
Monday is four weeks away

from the end
of principal photography.

Oh, my God.

FINLAY:
How are your days looking?

-Are they easing?
-No.

No, we're actually in...

probably almost-- I wouldn't say
the toughest time,

but not the way we all thought
we would have our--

Spend our golden days
at Game of Thrones.

What the fuck was I thinking?

Which is what I'm gonna put
on my tombstone.

Morning, morning.

MAN:
Ladies and gentlemen,
listen up please.

Listen up.
So as you all know,

Sam and his team
have been rigging an explosion,

and when we have shade,
we will blow this.

CAULFIELD:
So we can stay here, right?

MAN:
Can you look after
Building 1, yeah?

You know Building 1,
outside the front? Yeah?

That's it then, guys.
Let's get to our stations.

MAN :
Here we go.

CAULFIELD:
Holy shit.

McCRUM:
We haven't had a chance
to look at it yet,

so we've only seen
the building site so far.

The only place
you can't wait to get over

to watch all the men get burnt.

There you go, cheers.
Thank you.

Okay, what can I get you?

We've only got
the wee ice lollies,

on the board you'll see.

You can't beat
a Pear Picking Porky.

Completely cleaned out
of the ice pops twice today.

I never thought I was
gonna see this much heat,

-feel this much heat.
-Complain about it so much.

And complain about it
so much, yeah.

We like the cold. We prefer
the cold than the heat.

Thank you so much.

Free wave.

That's brilliant,
you can turn them 'round

and somebody's up there
spinning it manically.

There's going to be
projectile vomit everywhere.

I mean, you couldn't
write it, could you?

Let's put a big,
massive Ferris wheel,

and actually not tell anybody

that we're putting
a Ferris wheel there,

you know,
amongst all the discussions

about the big weekend and
our set over there and filming.

Oh, no, they built
the fucking London Eye.

WOMAN:
Cut there.

MAN: Reset.
WOMAN: Reset, please.

MAN:
Reset.

McCLAY:
Oh, yeah.

Do you know
what club sandwich means?

Do you know
what club sandwich means?

Chicken and lettuce under bacon,
that's what that is.

-I didn't know that.
-It's an acronym?

Yeah, chicken and lettuce
under bacon.

-Learn something new every day.
-Boom. Every day's a school day.

WOMAN:
Rolling!

MAN:
We're rolling.
Quiet, everyone.

MAN:
Have we got a fake head
hanging around?

Yep.
Any severed head will do.

Chow, why in the fuck are you
wearing that Bolton jacket here?

Let me see this?

That's shite.
Get out of here.

How are you, man?
You all right?

CHOW:
I'm shaking your hand.

Fucking Boltons, man.

Aye, you didn't think.

You didn't fucking think about
wearing that jacket, did you?

McCLAY:

ASSISTANT:
We're rolling.

McCLAY:
As soon as they shout rolling,
I'm preparing.

And action, I'm in Westeros.

ASSISTANT:
Action!

McCLAY:
You know, you can only push
a man so far, I think.

You can only push
his House so far.

It doesn't matter
how good he is, you know?

If their blood gets up.
It's war.

This is vengeance
for the Red Wedding,

for the Starks,
for seven seasons

of taking shit
from House Lannister.

So we're landing down in force,

and we're just gonna
kill everybody inside the city.

Unfortunately.
For them.

NUTTER:
For the funeral scene,
it's all about

blocking
where everybody stands.

I work hard
about preparation,

because I don't like
to waste people's time.

And I want to spend
more time directing actors.

FINLEY:
Are you this prepared
in all areas of your life?

No.

No, I'm not.

If you saw my apartment
this morning,

you'd see that, uh,

that didn't get
any preparation at all.

I have to have two cleaning
ladies come twice a week.

It's, ah-- It's so awful.
It's such a mess.

I want the journey to be just
as positive as the end product.

That's important.

Because what you remember
is the journey.

All the pyres and get people
in the foreground for us.

We'll basically do the eulogy,
the speech,

then all coming up
to light the pyres,

they look at each other,

then drop down,
light the pyre, cut.

We're going to match
the last frame of this

to the first frame of that.
Fill the frame

and send it to me and David
before you go.

Yeah, good.
Good morning, brother.

-How are you?
NUTTER: Good, brother.

-So you're just, you're dead.
-I'm dead. I'm dead.

NUTTER:
Everyone wants a pied piper.

Not to say that
I'm the pied piper,

but I definitely can fake it.

You create your own world
behind the camera.

You'll take the pin out,

and you're reaching down here.
As you put it into his chest,

you look at his eyes, like,
"You're a Stark now," right?

-Yeah.
-Then you stand up.

Okay.

-And then you go.
TURNER: Okay, cool.

So just give me like a couple
minutes to get into it.

NUTTER: The way we just did it?
ASSISTANT: Could we get

everybody on their marks
for the reference.

NUTTER:
Let's see here.

Here you go, my brother.
You're here.

A bunch of wildlings behind you.

If you guys
can all meet him there--

NUTTER:
I get pretty tired,
but I get invigorated.

I guess sometimes it's
a bit of performance anxiety,

where I want to do a good job

so that everyone feels that,
"He knows what he's doing."

This is a dream job
for a director.

After directing
Seasons 2, 3, and 5,

I had to step away for a couple
seasons due to back issues.

And I had a couple surgeries.

So I missed it beyond belief.

And coming back now,
I appreciate it so much that...

this show saved my life.

We're now going
to talk about why we're here.

Everyone here, you've all
lost mothers, brothers,

and friends, and sisters,
and wives, and everything.

So background, it's all about
playing that attitude

all the way through.
Okay, ready? Here we go.

My father died
in a car accident

when I was
a year-and-a-half old,

so my mother and I
grew up together.

She would listen to music,
and I'd sing and perform

for her friends that
would come over for dinner.

I wanted to be
the next Barry Manilow.

In college, I realized that
wasn't gonna happen for me,

so I said to myself,
"What else can I do?"

And realized that my desire
to move people emotionally,

I could do it by being involved
in filmmaking.

NUTTER:
Action.

♪ Spirit move me
Every time I'm near you ♪

♪ Whirling like
A cyclone in my mind ♪

♪ Baby, I love you
Come ♪

♪ Come, come into my arms ♪

♪ Let me know the wonder
Of all of you ♪

♪ Could it be magic? ♪

♪ Oh, come on, come on
Come on ♪

♪ Come into my arms ♪

♪ Oh, let me know the wonder
Of all of you, all of you ♪

♪ Baby, I want you now, now ♪

♪ Oh, now
Oh, now and hold on fast ♪

♪ Oh, could this be the magic
At last? ♪

♪ Could it be magic now? ♪

NUTTER:
Now!

McCLAY:
Mr. David Nutter.

McCLAY:
The atmosphere today when
we done the big group photo,

that hit home.

I said goodbye
to the Night's Watch.

I've known them for years.

McCLAY:
We all have extras jackets,

and I managed to give
Kit Harington one today.

He's now trying
to give me money for it,

but I won't take the money,

because I just want to give

Jon Snow his jacket, big time.

So he'll never give me
that money.

I don't want that money.

It's going to be very emotional
for the actors.

I couldn't imagine
what it's like

for them to finally
say goodbye.

We're in no rush this morning.

CLARKE:
No, I know.
You know what?

BANKS:
It's Emilia's last day,
we're in no rush.

Is there any part of you
that's a bit relieved?

-Do you know what I mean?
BANKS: Yeah.

-Uh, yeah.
-Like, not in a:

"Oh, thank fuck that's over,"
but as in...

like a, "Oh, right,
that's one thing

I don't need to panic
about anymore."

BANKS:
I'm tired.

Tired.

BANKS:
I kind of had enough just now.

-Mm.

BANKS: It's that bittersweet--
CLARKE: Yeah, exactly.

BANKS:
Because my life's been on pause,

let's unpause it and get
that garden fence painted.

Exactly.
Yeah, for heaven's sake.

Put that picture on the wall,
damn it.

But yeah, there's definitely
an exhale of breath.

So many people involved in this.

You know,
it's just people's everything.

It's kind of exciting
to sort of think:

"Oh, who am I
without this, then?"

I wonder.

Adjust.

I'm trying to remember
the first time we put this on.

I saw a clip of that
the other day,

when you were riding
on that horse through Belfast,

and it was absolutely freezing.

And you were in, like,
nothing but a slip.

Yeah.

No such thing
as thermals back then.

I'm not sure this wig's got
much more life left in it.

CLARKE:
Neither has the head
underneath it, so--

Oh, it's the last time.

BANKS:
It's the last time.

Oh, that's really weird.

♪ Gimme the ring ♪

♪ Kissed and told ♪

♪ Gimme something
That I missed ♪

♪ Gimme the ring ♪

♪ A hand to hold ♪

♪ Wild and what it seems ♪

♪ Gimme the ring ♪

♪ Kill the king ♪

♪ When love is the law ♪

♪ Gimme the ring ♪

♪ Gimme dream child ♪

♪ And do you hear me call? ♪

♪ Gimme the ring ♪

♪ On the loan
And on the level ♪

♪ Still on the floor ♪

♪ Gimme the ring ♪

♪ Sing the dream child ♪

♪ And do you hear me at all? ♪

ASSISTANT:
That was Emilia's last shot
on Game of Thrones.

BANKS:
This is my idea of hell,
at the moment.

I hate goodbyes anyway,
I'm not good at it.

I'll try to just sneak out
the back door

and miss this bit out.

♪ Hey now, hey now, now
Sing "This Corrosion" to me ♪

♪ Hey now, hey now
Now sing ♪

LISTON:
Here's a bit of wood
I could take home.

That's where we stabbed
Jon Snow.

I'll never forget that one.

Well, old girl, cheerio.

Served us well.

Sleep tight.

♪ Gimme the things
That don't last long ♪

♪ Gimme siren, child ♪

♪ And do you hear me call? ♪

Okay. Now I've got
everything packed.

♪ Like a healing hand ♪

♪ Just gimme the ring ♪

It's just fucking tele,
isn't it?

Oh... So this has been
really quite hard.

And, um, I think,

you know, some days we've really
struggled to get through it.

I think if it wasn't
for you guys and your morale,

that's really
what has got us through.

But this is obviously
a big end.

I know lots of you
are going home

as of the weekend,
and I hope

that we get
other projects like this again.

BARRIE:
I don't.

Because I want to keep
the team together.

So thank you, everybody.
Thank you.

McCLAY:
So it's me, you, Big Johnny.

Shane Cavanaugh's coming in too.

All right.

I heard it's only
12 people doing it.

Yeah, there's only 10 Unsullied.

McCLAY:
You all right, man?

There's very few of us
in for this.

McCLAY:
I was just told
I have a feature

there at the very
last episode.

So Jon's honor guard,
I was like, no way.

-So--
FINLEY: Do you think

you'll get seen on camera?

Eh, because
it's such a tight scene

with less numbers,
possibly, yeah.

Yeah. So, um...

It'll be like, yeah,
just point to me,

"Dad, there I am.
Look again."

And he'll be like,
"Yep. Again."

So it would be a brilliant way

to cap off the season.

2016, 2015.

I'm trying to find
Andy McClay's first day.

Ah, there he is.

This is the first makeup look.

I was like, you'll never get
a part if you look like that.

You'll have to change
your expression.

And then we got Andy McClay.

Cold Andy.

It's as if it's Day 1.

You came in and you told me that
your house had just burnt down.

Oh, yeah,
the fire in the house.

I was like, and you're here
for a makeup test?

Had a fire in the house.

You weren't late either.

No, I wasn't late.
This is the thing, man.

Escape from the reality.

-Right.
-Look there, now.

Argh.

-And shoot.
-Sorted.

SMYTH:
Off you pop, off you pop.

Goodbye, Andy.

McCLAY:
This is sinking in now,
that it's my last day.

Just back to normal life now,
after this.

Good morning, how are you?
Nice to see you.

Kit, all right, man.

HARINGTON:

Ah, nice one, man.
Nice one, man.

Do you want a Season 8 one?

A Targaryen dragon man
with a direwolf head

in the middle of it, that's
what we're getting for Season 8.

Yeah, yeah, yeah.

Yeah? I can get you
one of them if you want one.

Yeah, man. Yeah.
Some detail.

Yeah, yeah.

Sweet, man.

-Nice, man.
-See ya.

Sweet, eh?

-I know, man. I know.
-Last day.

Aw, what?

In the name of the one
true queen, Daenerys Targaryen,

I sentence you to die.

Grey Worm.

McCLAY:
Grey Worm, he's totally gone,

and of course Jon's
trying to save lives,

so him and Grey Worm
have a standoff there.

I think that the Starks
in the background

are in a very precarious
situation,

because we hate Lannisters.

We don't care if they die.

But it's our king's command.
If the Unsullied are

pointing their spears at him
we're not happy with that.

DAVOS:
Easy.

MAN:
Set. Three, two, one, Action.

MAN:
Cut.

ASSISTANT:
Okay, cut there.

So with that, that is
a Game of Thrones wrap

on our good friend
Jacob Anderson,

Liam Cunningham,
and Kit Harington.

CROWD:
Keet! Keet!

WEISS:
Ten years ago you walked in
to Nina Gold's office,

as a 12-year-old...

And here we are now.

Your watch has ended.

And it has been
a hell of a watch.

For us, for these people,

and for so many people
around the world.

Thank you for being Jon Snow,

and thank you more than that
for being you.

HARINGTON:
I feel like
my heart is breaking.

I love this show.

More than, I think, anything.

It has never been a job for me.

It's been my life,
and this will always be

the greatest thing I'll ever do
and be a part of,

and you have been
just my family.

I love you for it,
and thank you so much.

ASSISTANT
Reset, please.

MAN:

McCLAY :
Thanks, man.

I'm choking up here, man.

Honestly. Um...

It's what Kit was saying.
Um...

Even though
I'm just an extra...

in comparison
to him being the main star,

um, it has--

It really has changed my life.

The show--

I didn't think I was going
to get this emotional.

It has, it really has.

The past five years
has been the best five years--

It's been the best
five years of my life.

So, um, I will miss it.

But it's always something that
I'll be able to look back on.

So absolutely brilliant.

It's just--
It's hard to fathom

that I'll never be coming back
to Game of Thrones.

MAN:
All background back to TEC.
Going this way.

McCLAY:
Best thing I've ever done.

♪ There are four white walls
In every damn hotel ♪

♪ A light by the bed
Stains on the floor ♪

♪ And it's here
I will wait out the storm ♪

CAULFIELD:
It's hard saying goodbye
to everybody.

There's too many people
that you just want to talk to

and say how much you love them
and thank them,

and you just can't.

I think that I was able to,

I don't know,
to bring my philosophy of,

you know, love and camaraderie
and family to the show.

You know, that's the way
I just always treat everybody.

CAULFIELD:
If people have Game of Thrones
on their credits,

people know that person
had to work really hard,

that person
knew what they were doing,

that person created,
you know, a magical world.

♪ There are red velvet seats ♪

♪ In the windowless rooms ♪

♪ A curtain to draw ♪

♪ And faces to please ♪

♪ And it's here
I will wait out the storm ♪

♪ Killing time
On the fringes again ♪

♪ Before the leaving ♪

♪ Before the leaving ♪

McCLAY:
Ladies and gentlemen,

welcome to
Game of Thrones tours.

What is dead may never die,

but rises again,
harder and stronger.

So guys, you're very welcome
to Game of Thrones tours.

I'm gonna talk to you
about this.

This is Carrick Castle.

Guys, Carrick Castle
is not in Game of Thrones,

so we're just going to fucking
drive on past Carrick Castle.

I'm going to take you
to Stannis's camp,

what we're going to see

is all the lads laying low
for their gruel,

then who's going to pop on?

It's Ser Davos Seaworth,

Hand of the King
to Stannis Baratheon.

Easing himself onto camera,

that's me right there.

Wasn't even cold
that day on set.

Acting, is what we call this.

Yeah? All right.

Here we come,
we're coming around the corner

and we're gonna see
Irish mists.

And we're coming up here now,

just around this bend.

Castle Black,
ladies and gentlemen.

I guarantee that it's up there.

If you could see it,
well done to you.

This American guy said to me,
he said:

"Hey. Hey, buddy."

And I'm like,
"Yeah, what's up, man?"

He said,
"How did the Troubles start?

Tell me,
how did the Troubles start?"

I was like, "Well, mate,

the Troubles first started
when Jaime Lannister

pushed Bran Stark
out the window."