All language subtitles for Game.of.Thrones.S00E51.The.Game.Revealed.The.Last.of.the.Starks.AMZN.WEB-DL.AAC2.0.H.264-NTG

And... action.

We faced those icy fucks,

looked right
into their blue eyes...

The feast was
a wonderful sequence.

It was seventeen pages long,

in one room,

and many different things
going on.

That was really fun,

the feast scene being
one of the first scenes we shot.

And... Act...

We had a room full
of cast,

and it was like coming back
to school on the first few days,

when everyone's just so hyper
to be back.

We were, like, having fun,
cracking jokes,

like, having a really good time.

Yeah, it was good fun.

You didn't know
Denmark was a country

till you met Nikolaj?

How f...

For characters
like me, it's great, you know?

You get to relax
for a little bit,

you know, have a drink,

hang out will my pals.

And obviously after what
happened in Season 3,

rumors obviously got around
that he's, uh, talented, so...

Yeah, there's...
there's that, that's...

It's holiday time for Pod.

Of course, it's horrible that
so many people has died,

but still, the show must go on.

Life must go on, you have to
celebrate it somehow.

So, the only way is to get
very drunk

and to have a lot of fun.

To Arya Stark,
the hero of Winterfell.

That feast scene in episode 4
is... that was a bitch.

That was a bitch to plot out,
it was a real bitch to shoot,

and it's because so much
of the scene,

like a lot of, I think, the best
scenes on Game of Thrones,

are about what's not being said.

If you turn off
the sound on that scene,

the hope would be that you're
really following

all of the emotional arcs

through the looks that all the
characters are giving to each other

and that's very difficult
to pull off,

and it takes a director of
precision like David Nutter,

it takes actors
of extraordinary intelligence

and empathy and patience.

And it takes writers like David and
Dan who can really structure it.

Yeah.

That was a fun sequence.

We had to catch all these,

"You looking at him looking at you, but you're
not seeing me looking at him looking at you."

A lot of glances,
and that happens at parties.

I had to do this in a way
that everything's connected,

but also,
everything's not connected.

So, it's all about a question
of where you put people

and how you set it up.

So, the plan which
David came up with was:

you put them into groups
and isolate them to a degree,

which we can do
with camera angles,

so that once a certain group
has shot out its piece,

we have them travelling up the hall
which connects to the next group.

So, just clever choreography.

As far as
the lighting, it's always tough

because you want...
you have all those people eating,

you want it shot multiple-camera

because there's
multiple people talking,

and so you wanna create
something that is flexible.

So, my trick was candles.

What we did, we built
some boxes under the candles,

like some little riser,
and inside I had little lights,

so the light was coming from
the glow inside the table

and not just
a general top light.

Most of our
drama scenes were action scenes

simply in terms of the number of
bodies that we had on the ground.

When you have that many moving
parts, it's always going on

and you're always painting
a picture behind the actors

who are giving the dialogue
or walking through the frame.

If I was to try and find
you and Dan somewhere in the episodes,

would I be able to?

Uh, I think, maybe.

A mad man! Or a king.

Cut.

Please take the juice
out of this cup.

Leave it in there,
leave it in, it's good.

We're there.
Well hidden.

- Well hidden?
- Yeah... Giant beard.

Uh, I was concerned we were going
to ruin that, but I don't think we did.

Yeah, let's give some notes
to the director.

What a day
at Wildling University.

Sean...

I'd smile but my beard...
my beard will pop off.

The funeral pyres were a big
undertaking for us.

They were wood construction
over a metal frame,

that being because Sam Conway,
special effects,

had to have burn rigs
inside all of these pyres

to be able to burn them
at different... at varying rates.

The heroes lying down,

we did a process
of toughened glass

and bulletproof plastic
underneath.

And then the hero would go in
and put the torch

underneath the actor,

uh, and then you'd see...
beneath them, you'd see the flames spread.

There would be flame
reacting around the sides of them,

but not actually touching them.

But because you're seeing the
flame through glass,

for all intents and purposes
you're seeing flame,

which is really extraordinary.

Once we'd finished with the
real people in the funeral pyres,

they were switched out
by the props department

for burning bodies,

chicken wire bodies
that were costumed

'cause we were actually setting
fire to the funeral pyres for real.

It was a huge burn,
in terms of fire.

So, we had fire support,
medical support,

and that was the classic,

biggest, widest shot
of Winterfell,

with the hugest effect
in the front of it.

What I remember is that it
was incredibly hard to put out,

which... I did say it would
be very difficult to put out.

Gets very hot.

Everyone has to move back
'cause they feel the flames.

I knew the shot was over
when I saw Bran running past me.

I was like,
"Well, it's gotta be over

if Bran's started
to walk again."

Episode three
is such a massive battle,

and so many people
fall during that episode,

and part of that is about
our heroes, you know,

the characters
that we really know,

and part of it is just seeing
the sheer number

of other folks who fell.

We've got real pyres that were
built by our department,

and then the VFX team
extended them so you can see

there's actually thousands
and thousands of fallen.

So, what was important
with respect to the funeral

on episode four
was the fact that...

I wanted to make sure that...

there's some big-scope stuff
that was important,

but also, there were some
really intimate moments

between the characters
that I didn't want to lose.

There was a moment in which
Dany says goodbye to Jorah,

where Sansa says goodbye
to Theon,

so I wanted to make sure that...

that was really covered
in the proper fashion.

That was really hard.

I remember right before my take,

putting the pin on Alfie,

David Nutter came up,
the director, and he was like,

"You never got to say goodbye."

"And you never told him...

that you saw him as a Stark."

And then I was, like, bawling,

because I'm thinking, like,

I will never properly
get to say goodbye to Alfie

as Theon. Like, that will be
so crazy.

It was something in which...

We all have situations
in our life,

where people die
at the wrong time,

and things happen
before you expect it to happen,

where you say to yourself,

"I wish I had said this,
I wish I had done that."

So, I wanted to make sure

that there was something
gnawing at her.

She took that nugget,
made it into something special.

She's that great of an actress.

She really did a tremendous
job there with that.

The emotion was easy to capture

because the emotion was...
was very real.

These are people who have been
working together,

some of them for 10 years.

Yeah, it was
a very difficult thing

to say goodbye.

Even if the ceremony
was fictional,

the goodbye and the emotions
in the goodbye were very real.

The new Scorpion
this year is phenomenal.

The thing with Dave and Dan,

they just want
to scale everything up.

Everything had to be
better, bolder, for this year.

I was hoping to use
the same one again,

thinking, "Oh, it was great
last year."

I mean, what could you
possibly...

What more could you want?

We saw in Season 7 that Qyburn
had invented this Scorpion,

this giant, dragon-killing
Scorpion,

and it didn't quite work.

So, Qyburn went back
to the drawing board,

and he made an even larger,
more powerful Scorpion.

What we need
to create with this one

is to make it bigger, stronger,
and a bit more dynamic.

It's 65 percent bigger
than we did previously

on Season 7.

Euron has added a few
little touches for himself.

The seat on the back,

and added four more cross limbs
for more power

and a bit more... madness.

The bolts are a nice design,
a bit more of a barbaric style.

When you see it first,
it'll be in this closed mold,

and when you see it
the second time,

once it fires the projectile,

it leaves the limb,
it opens up, and it rotates

so it'll rip open
anything that it hits.

It's absolutely incredible work.

The whole production this season
is just amazing,

what they've been creating
for us actors.

You really feel that you're part
of the biggest show in the world

when you're sitting
on a Scorpion

and everything is just
going around.

You really feel... wonderful.

We have Euron
sitting on the seat,

he's in the back,
he's like king of the castle,

being swung around
by four brutes.

So these guys are lifting him
up and down,

doing the trajectory
left and right.

But he loved it. He loved it.

He'd have been
still on it if he could.

I'm gonna be brutally honest.

I've talked to my wife about it.

'Cause you have to talk
to someone, right?

And I've mentioned to my wife,

"How awesome is it
that I killed a dragon?

And I killed it
with a Scorpion."

Episode 4 has this little
thing called Rhaegal's death.

And his demise

is some of the gnarliest-looking
animation I've ever seen,

where they did an amazing job
putting that together.

In the end,
we have a couple of shots

of the destruction
of Dany's ships.

So again, we kind of are in
a completely digital scenario

to sort of show how these boats,
up close,

puncture into the ship
and tear it apart.

And the last shot
is a very special one.

It's one of Tyrion
having this long shot,

running across the deck.

That was another oner,
but kind of a cheated oner.

So we had him
running around the deck,

we had some physical
effects there,

- but a lot of it we did later.
- ...2, 1, go!

Love it. Love it.

Um, and when they're done
in one shot,

like this is,
one continuous thing,

it doesn't let the viewer
off the hook.

All the boat work for Game of Thrones

essentially is done
on a set piece

that's out in this location
in Bainbridge.

Everything that you've ever seen
on a boat in Game of Thrones

where people are standing,
walking or talking on a boat

has been done on that ship.

It's surrounded by green screen,
and everything around the boat

will have to be replaced
with CG water

or water photography.

And then at one point,
the railing gets blown away,

which the section that gets
blown away is actually CG, so,

when all the pieces
come together,

you see the special effects,

you see the CG,
a lot of atmospherics,

you see Peter
going up to the water,

it's a pretty spiffy moment.

The King's Landing city wall and gates,

we sort of saw this
as a sort of fortification

around the whole
of King's Landing,

loosely based around
the walls of Dubrovnik,

which have a particular
sort of style to the stonework

which we were trying
to hint at.

By the time
the platforms are on,

we're looking at not far off
from about 57 feet,

56, 57 feet to the top
of the platforms.

The towers are 49 feet high,
the wall is about 200 feet long.

The King's Landing parlay,

the challenge is the size
of the set.

So we quickly decided
and convinced everybody

that most of the close-up work
would be done

on a separate set piece that
would be built on the ground,

right on the ground,
and would put them

probably at about eight feet up.

So you're able to talk
to the actor,

bring the camera in at a proper,

you know, reasonable level
to be able to achieve

- all the shots we had.
- Stand down!

But it's a little bit of,
you know, Hollywood magic.

Another challenge
was that, of course, this set...

is incredibly visible
from the surrounding area.

I mean, and the big concern,

of course for this season
more than ever,

was the secrecy of the plot.

In other words, um,
we wouldn't want to give away

that Missandei
is going to be executed,

so having her stand up there,
you know, 40 feet high,

there was no way to hide that.

So again, later on,
we're adding her in there now,

often times as a digi-double,
but for the closeup work,

we shot her separately on stage
to composite her on that

per location so we could
put it together in the end

as a seamless "Oh, this has all
been shot in the same place."

When I read that, it made sense
to me immediately.

I was like, "When is she ever
going to do something

when someone tells her to do?"
She's not going to go, "Okay."

She's going to think,
"Fuck you."

Also, it's, you know,
Dany's best friend,

so she's like, "Fuck you, too."

She's fun at parties,
that's all I can say.

The parley is a Hail Mary pass
from Tyrion.

He's hoping that maybe,
if he brings up Cersei's child,

he can talk some kind of sense
into Cersei.

Tyrion talks to his
sister in a way that you think

that she may actually listen
to him for a change.

She may listen to her heart
and listen to what he has to say

and understand it.

You've always loved
your children...

more than yourself.

So we wanted to be able to just
hang out there just long enough

to have it so that...

you would think
that she may change,

but she's got this look on her
face where it's just like...

that's just who I am.
I can't help it.

And Lena's a tremendous actor,
and that played out beautifully.

Bravo marker.

There's such a kind
of basic kid in her still,

so I think she sees him
in the moment asking her

to do something for him...

I beg you, if not for yourself,
then for your child.

And she can't do what he's...
She cannot.

It's like a kid in a...

She can't do
what he tells her to do.

Because that would be...
surrendering.

If you have any last words,
now is the time.

To play
that despair, but also that fire

and finding that duality
in that moment,

it was quite challenging.

But David Nutter,
who's, you know, wonderful,

was really great and supportive
and was really good at helping

to support me in that scene.

It's sad, it's a sad moment
for her 'cause she's...

to have liberation and then
have it just taken from you...

It's heartbreaking.

Dracarys.

For Grey Worm, losing her...
is just, like...

there's nothing left.

There's just nothing,
he has nothing left now.

She has taught him
how to be a human being.

Like, her and Dany have nurtured
him into being human.

And then it's just taken away.

And the final shot
of Dany walking away,

we knew it would be
the last shot,

there wasn't any question

of how we were going
to go out of the episode,

so it was really a question
of how Emilia would convey...

a kind of almost unimaginable

sense of anger and rage
and vengeance...

while walking
towards the camera

and past the camera
without saying a word,

but, uh, I would say she did it.