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00:00:05,255 --> 00:00:07,131
[? pensive music playing]

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00:00:07,132 --> 00:00:08,299
[Vanja Cernjul]
It was some time,

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00:00:08,300 --> 00:00:10,218
I think in November,
Andrij called me,

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00:00:10,219 --> 00:00:11,802
and, uh, asked me,

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00:00:11,803 --> 00:00:14,096
"Do you want to come back
and do something spectacular?"

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00:00:14,097 --> 00:00:15,806
And I was like,
"Yes, of course!"

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I spent Season Two with Vanja,

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00:00:18,560 --> 00:00:22,313
and what he does as
a cinematographer is amazing.

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00:00:22,314 --> 00:00:24,357
It was really special
to have Vanja back.

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[Ryan Condal]
This is our finale.

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00:00:25,817 --> 00:00:27,653
We wanted to go
out with a bang.

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00:00:28,111 --> 00:00:30,321
In many ways,
Tumbleton is an indicator

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of the things to come
in the Dance of the Dragons.

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[Rowley Irlam]
Okay, here we go! Everyone ready?

15
00:00:35,160 --> 00:00:38,621
And, three, two, one.
Action!

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[fire whooshing]

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[? thrilling music playing]

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We can make- We can make
the start line here.

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[crew member] Oh, hello, sir.
You jump on the, uh,

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on the, uh, stake marked
there, please.

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Tommy will walk to there
with the guys.

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Then they'll all-
They all take, like four steps.

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Yeah.

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- [? dramatic music playing]
- [soldiers shouting]

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[Ryan] I mean, this is
the ultimate culmination of Ormund's gambit.

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And I think he's-
he's played it to the very end.

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Ulf hasn't reported.

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And he's not with his dragon.

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[Ryan] Now the Rivermen
have shown up at their gates

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and they're gonna go in.

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This is a good, proper,
old medieval siege.

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[Andrij Parekh]
The art department

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kindly sent me a 1/100 scale
model of Tumbleton.

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[Vanja]
First thing we did,

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we bought little, uh,
figurines.

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And we were like playing
like two kids

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with this model of Tumbleton.

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And we're planning how
we want to approach,

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uh, each particular scene.

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[Ryan]
It was months of crafting

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storyboards and previs
and showing it to me,

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and we very much assembled
the battle in prep,

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and were able to plan
and shift things

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based on how we were
seeing it come together.

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00:02:07,252 --> 00:02:08,544
Jim Clay and his team

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built this incredible set
on our backlot.

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We had an incredible location,

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Hankley Common in Surrey,
to marry it to.

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[Dominic Masters]
Jim's great idea of putting

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these farmhouses there

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really locked everything
into a landscape,

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and you had a definitive focus

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for playing the scenes
around that.

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Lord, knights,

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savages and cutthroats!

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[soldiers laughing]

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Whether you live or die today

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you will be remembered
in the histories

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as those who began
the Hightowers' end!

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[Andrij]
For Daemon's speech, we really wanted to have

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a sort of Braveheart moment

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where he rallies and inspires
not only the troops,

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but the audience.

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[slate claps]

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I don't want the best of you!
I want the worst!

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[soldiers cheering]

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[Andrij] It's about
the sort of magnitude,

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but also about the intimacy.

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So, getting those wide shots,

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but also being in close enough
with the camera

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to feel Daemon's emotion.

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Go now.

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And kill them.

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[soldiers shouting]

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Was that fun, Matt?

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It was, mate, yeah.

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[camera operator] Paul, what
are we doing today, Paul?

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We're doing- We're running
up the hill with Hugh,

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with Chris on focus.

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The action's that way, guys.

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[? plucky music playing]

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[Paul Slavin]
Okay, speeding and set. Here we go.

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And, three, two, one.

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Action!

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Go!

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[Kieran Bew]
The Surrey "Tumbleton" part

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was very open and expansive.

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And probably one of my
favorite days shooting is,

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you know, joining a battle
on an open field.

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[Paul] Action!

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Action!

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[? plucky music continues]

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[Kieran]
The costume is stunning.

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I have discovered
over the years filming,

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it is incredibly heavy.

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We've done six takes so far.

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So... [chuckles]

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I expect to do-

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We're gonna probably do-

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How many?

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At least 25 more.

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Yeah, it was a few goes at that.

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And I seem to remember
it was just before lunch.

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[laughing]
And everyone was getting really hungry

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and it's like, come on,
hurry up, so...

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[Rowley]
...away from the ladder as possible.

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And then, literally,
Bradley can watch that camera,

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and as Tommy's halfway,

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start the climbing,

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he'll be at the top
of the ladder

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when Tommy comes up.

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- Start there.
- Yeah, just give us a-

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- Shield back.
- Just rile the troops.

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Again. Yeah?

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[Rowley] Everybody ready?

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And, three, two, one.

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- Action!
- [actors shouting]

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[? slow, dramatic music playing]

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[Andrij]
So, this episode required

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a tremendous amount
of stunt work.

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I think at one point,
we had

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probably all of London's
stunts guys

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all working on the same show
at the same time.

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- Action!
- [actors shouting]

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So, we got
the siege of Tumbleton.

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Um, we have done sieges before.

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Not on this scale, though.

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This is big scale.

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A lot of the A-side of that
was done at Hankley Common.

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And then we came back
to the studio

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where Jim Clay
and his team have built

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this huge set on the backlot.

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So, we travel with
the Winter Wolves...

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[soldiers shouting]

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...people are getting
hit by rocks.

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- [rock thudding]
- And getting hit by arrows.

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Then we're going up a ladder
with Roddy the Ruin.

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Someone comes past him.

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[soldier screaming]

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We go up the top, he ends up
on the battlements,

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and then he looks around
to see the, uh, hidden moat

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that's been set on fire,

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which basically captures
all of the Winter Wolves

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into a kill zone.

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[soldiers screaming]

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- [grunting]
- Nice.

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Aaah! Whew!

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[Andrij] Rowley really worked
to make it feel

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quite authentic
and quite brutal.

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[Rowley] You'll obviously be

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- a little bit slow with that.
- [Tommy Flanagan] Slow, yeah.

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Yeah, so, imagine it weighs 15kg
and not three.

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And just feel...
[grunting in effort]

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You know?
But push it in.

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Thanks, guys.
This is gonna be great.

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Bastard.

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I'm not gonna smile.

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Don't worry about me teeth.

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[mock gasping]

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"That's Tommy Flanagan! Aah!"

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I'll keep me teeth away,
I promise.

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[all grunting, shouting]

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Aaaah!

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- Alright, then!
- Beautiful!

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[laughter]

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- See you later.
- Oh!

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- He's dead.
- [laughter]

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- That was right, yeah?
- Moving on.

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- Right. Lovely.
- Well done.

170
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[Caraxes whistling]

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Dracarys!

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[Caraxes screeching]

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[flames whooshing]

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When you see Caraxes
blasting the gates

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of Tumbleton with dragonfire,

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that was actually practical.

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[Thomas Horton]
There's this great moment where we burn the door.

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And interestingly enough,
I just thought

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the door's so huge that
it's gonna have to be CG.

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Like, you know, we have
to burst the door open.

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And I thought, oh,
we're just not gonna get

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all that in camera.

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Of course, Mike, our amazing
special effects guy

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is going, like,
"Leave it with me."

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[Rowley] Three, two, one!

186
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- Flame!
- [flames whooshing]

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[Thomas] And so we had
a massive flamethrower

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on the other side of the door.

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[flames whooshing]

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You know, bursting through.

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So, we got all that real flames
coming through.

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And what was great was that
we shot that with stunt people.

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So, we were able
to get the stunts

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really close to the flames.

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[Ryan] It's a deeply
satisfying moment

196
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in House of the Dragon lore.

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And I think it is a triumph

198
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of all of the different
departments on our show.

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You know, we wanted
to see Daemon

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00:07:25,111 --> 00:07:26,612
as the great legendary warrior

201
00:07:26,613 --> 00:07:29,323
once again leading at the head
of this battle.

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And that begins when he
storms the gates.

203
00:07:31,117 --> 00:07:33,369
Ormund Hightower!

204
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[weapons clanging]

205
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[crew member]
Here we go, folks. Everyone set?

206
00:07:38,083 --> 00:07:39,417
We're rolling, standby.

207
00:07:39,751 --> 00:07:41,835
[Paul]
Okay, here we go. Ready?

208
00:07:41,836 --> 00:07:44,380
And, three, two, one.
Action!

209
00:07:44,381 --> 00:07:46,091
[both grunting]

210
00:07:46,092 --> 00:07:48,425
[Ti Mikkel] Ryan and I got
together early on

211
00:07:48,426 --> 00:07:49,510
and we're like, "Okay,

212
00:07:49,511 --> 00:07:51,470
"Daemon is gonna be
at this fight.

213
00:07:51,471 --> 00:07:53,389
"That means the sword
Dark Sister

214
00:07:53,390 --> 00:07:54,640
is gonna be at this fight."

215
00:07:54,641 --> 00:07:56,851
[stabbing, flesh squelching]

216
00:07:57,102 --> 00:07:58,602
Jon Roxton is also here.

217
00:07:58,603 --> 00:08:00,104
[Roxton] Kinslayer!

218
00:08:00,105 --> 00:08:02,272
[Ti] And he has a Valyrian
steel sword of his own

219
00:08:02,273 --> 00:08:03,357
called Orphan Maker.

220
00:08:03,358 --> 00:08:04,441
Ahh!

221
00:08:04,442 --> 00:08:06,485
[weapons clanging]

222
00:08:06,486 --> 00:08:09,655
As fans, we wanted
to see that fight.

223
00:08:09,656 --> 00:08:11,699
Two seasoned warriors,

224
00:08:11,700 --> 00:08:13,575
two Valyrian steel swords,

225
00:08:13,576 --> 00:08:15,452
two of our favorites
having a go.

226
00:08:15,453 --> 00:08:17,956
[both grunting, yelling]

227
00:08:19,214 --> 00:08:24,503
Well, I was very keen that
that wasn't just a sword fight.

228
00:08:24,504 --> 00:08:27,589
I wanted it to be a punch-up,

229
00:08:27,590 --> 00:08:28,924
a violent punch-up,

230
00:08:28,925 --> 00:08:30,009
like a bar brawl.

231
00:08:30,010 --> 00:08:31,468
Quick, unexpected.

232
00:08:31,469 --> 00:08:32,928
There's a real adrenaline to it,

233
00:08:32,929 --> 00:08:35,681
and I'd take that over being
sat in a council chamber.

234
00:08:35,682 --> 00:08:37,641
But I know you need
the council chamber stuff

235
00:08:37,642 --> 00:08:38,642
for the context.

236
00:08:38,643 --> 00:08:41,312
[? dramatic music playing]

237
00:08:41,813 --> 00:08:44,816
- [soldiers shouting]
- [weapons clanging]

238
00:08:44,817 --> 00:08:47,609
[James Norton]
There were many, many very memorable

239
00:08:47,610 --> 00:08:49,028
moments for me on this job.

240
00:08:49,029 --> 00:08:50,821
I think Ormund's death
will go down

241
00:08:50,822 --> 00:08:53,074
as one of my all-time
greatest deaths.

242
00:08:53,533 --> 00:08:55,451
Rowley, our stunt coordinator,

243
00:08:55,452 --> 00:08:57,786
had a genius idea
of how to spice it up,

244
00:08:57,787 --> 00:09:00,540
and, um, I don't think this
death disappoints.

245
00:09:00,541 --> 00:09:02,833
[Andrij]
It really needs to come inside.

246
00:09:02,834 --> 00:09:04,251
[Rowley]
So, they have this fight.

247
00:09:04,252 --> 00:09:05,169
[slicing]

248
00:09:05,170 --> 00:09:06,170
[screaming]

249
00:09:06,171 --> 00:09:07,547
And then, at the end...

250
00:09:07,548 --> 00:09:09,882
- ...there's this line.
- [screaming]

251
00:09:09,883 --> 00:09:13,802
That's a proper fucking
by the North!

252
00:09:13,803 --> 00:09:15,137
[Rowley]
And I was like, "Okay,

253
00:09:15,138 --> 00:09:16,847
so he's bent over
the battlements."

254
00:09:16,848 --> 00:09:19,058
I went to Ryan and I said,
"What if we

255
00:09:19,059 --> 00:09:21,560
stabbed him up the ass?"
[chuckles]

256
00:09:21,561 --> 00:09:23,353
[? tense music playing]

257
00:09:23,354 --> 00:09:24,646
[yelling]

258
00:09:24,647 --> 00:09:27,192
[Ormund screaming]

259
00:09:27,567 --> 00:09:29,109
- [Andrij] Cut!
- Cut!

260
00:09:29,110 --> 00:09:30,695
[indistinct chatter]

261
00:09:34,074 --> 00:09:35,283
[mimics stabbing]

262
00:09:39,579 --> 00:09:42,832
[both yelling, screaming]

263
00:09:44,000 --> 00:09:46,669
- [James gasping loudly]
- [Andrij] Cut there.

264
00:09:47,733 --> 00:09:50,756
[Paul]
So, Tom, just a reminder,

265
00:09:50,757 --> 00:09:52,716
there's two cues.
First one's for the eyeline.

266
00:09:52,717 --> 00:09:55,219
The second- And I'm gonna
say, "eyeline."

267
00:09:55,220 --> 00:09:58,138
Second one is for your cue
to say the "Dracarys" line,

268
00:09:58,139 --> 00:09:59,556
I'll say, "fire."

269
00:09:59,557 --> 00:10:01,100
I say "fire,"

270
00:10:01,101 --> 00:10:02,017
you say...

271
00:10:02,018 --> 00:10:03,560
- [Paul] Dracarys!
- Yeah!

272
00:10:03,561 --> 00:10:05,355
[Paul] Hey! [laughing]

273
00:10:05,356 --> 00:10:07,397
[Tom Bennett]
When I read the script,

274
00:10:07,398 --> 00:10:08,774
there were two moments

275
00:10:08,775 --> 00:10:10,400
where I had to put
the script down

276
00:10:10,401 --> 00:10:12,194
and just take a second and go,

277
00:10:12,195 --> 00:10:14,029
"Is that- Is this really
happening?

278
00:10:14,030 --> 00:10:17,534
Do I really get to say
the word, 'Dracarys'?"

279
00:10:17,951 --> 00:10:19,451
Yes, I do.
[chuckling]

280
00:10:19,452 --> 00:10:21,329
I do get to say, "Dracarys."

281
00:10:21,579 --> 00:10:22,788
[Paul] Fire!

282
00:10:22,789 --> 00:10:24,791
[Tom] Dracarys!

283
00:10:26,084 --> 00:10:27,459
[flames whooshing]

284
00:10:27,460 --> 00:10:28,919
[all shouting]

285
00:10:28,920 --> 00:10:32,172
And then the other moment
I had to put the script down,

286
00:10:32,173 --> 00:10:35,050
was when I turn the dragon
to Ormund and say...

287
00:10:35,051 --> 00:10:37,177
Fuck you, too.

288
00:10:37,178 --> 00:10:38,345
[Silverwing growling]

289
00:10:38,346 --> 00:10:41,099
[both yelling, screaming]

290
00:10:41,474 --> 00:10:44,101
They both get torched
by Ulf's dragon.

291
00:10:44,102 --> 00:10:45,152
Action!

292
00:10:45,478 --> 00:10:47,771
- [explosion booming]
- One, two!

293
00:10:47,772 --> 00:10:49,064
And we shot that
on second unit

294
00:10:49,065 --> 00:10:50,607
and we had
those guys engulfed.

295
00:10:50,608 --> 00:10:52,568
And we had people falling
off the battlements on fire,

296
00:10:52,569 --> 00:10:53,610
which was really cool, too.

297
00:10:53,611 --> 00:10:54,862
Out! Out! Out!

298
00:10:54,863 --> 00:10:56,905
[fire extinguishers hissing]

299
00:10:56,906 --> 00:10:58,657
On the backlot,
I think we ended up doing

300
00:10:58,658 --> 00:11:01,285
something like nine
explosions in,

301
00:11:01,286 --> 00:11:02,411
in a fortnight.

302
00:11:02,412 --> 00:11:04,539
[explosion booming]

303
00:11:04,540 --> 00:11:07,541
People would just come
down from the office and just be like,

304
00:11:07,542 --> 00:11:09,418
"Yeah, where are you gonna
stand for today's explosion?"

305
00:11:09,419 --> 00:11:11,628
Like, "Okay, guys, you've gotta
be safe. Be over there.

306
00:11:11,629 --> 00:11:13,249
Everybody behind the railings."

307
00:11:13,250 --> 00:11:15,257
[Mike Dawson]
We're doing really long strafes

308
00:11:15,258 --> 00:11:17,092
and we're putting a curvature
in it as well.

309
00:11:17,093 --> 00:11:19,511
So he can come along
and go around

310
00:11:19,512 --> 00:11:20,888
corners with his strafing.

311
00:11:20,889 --> 00:11:22,806
And I think that'll look
really dynamic.

312
00:11:22,807 --> 00:11:26,060
[flames whooshing]

313
00:11:27,064 --> 00:11:30,147
It feels like we've
upped our game.

314
00:11:30,148 --> 00:11:32,816
This is the season where
it all comes together.

315
00:11:32,817 --> 00:11:35,695
[flames whooshing]

316
00:11:36,821 --> 00:11:39,240
[fire extinguisher hissing]

317
00:11:40,950 --> 00:11:43,535
[? tense, suspenseful
music playing]

318
00:11:43,536 --> 00:11:46,163
[Andrij] Action.

319
00:11:46,164 --> 00:11:49,167
When Rhaenyra is revealed,
it's quite a sight to behold.

320
00:11:49,168 --> 00:11:52,127
[Ryan] I think it's going to be
very striking in that look

321
00:11:52,128 --> 00:11:54,880
about how much she has
committed to this change

322
00:11:54,881 --> 00:11:57,591
that we've seen her first
going through subtly

323
00:11:57,592 --> 00:11:59,259
and now all at once.

324
00:11:59,260 --> 00:12:01,850
It's a transformation.
It's a different character.

325
00:12:02,013 --> 00:12:04,182
[Andrij]
It's a total Darth Vader moment

326
00:12:04,766 --> 00:12:07,809
where she has this
incredible armor,

327
00:12:07,810 --> 00:12:09,478
a huge cape,

328
00:12:09,479 --> 00:12:11,104
a crown,

329
00:12:11,105 --> 00:12:12,941
and she looks quite fearsome.

330
00:12:13,358 --> 00:12:15,317
[both laughing]

331
00:12:15,318 --> 00:12:17,152
Hello!

332
00:12:17,153 --> 00:12:18,654
- Welcome back.
- Thank you.

333
00:12:18,655 --> 00:12:19,947
[Simon Brindle]
Emma was really fantastic

334
00:12:19,948 --> 00:12:21,073
throughout the process.

335
00:12:21,074 --> 00:12:22,532
They were really responsive

336
00:12:22,533 --> 00:12:25,744
and very interested in what
we were going to do.

337
00:12:25,745 --> 00:12:28,706
These are bits and pieces
that Simon mocks up.

338
00:12:29,207 --> 00:12:32,542
So we get an idea of what
things might look like.

339
00:12:32,543 --> 00:12:33,627
[Simon] Came down,

340
00:12:33,628 --> 00:12:35,212
did a small tour
of the workshop,

341
00:12:35,213 --> 00:12:36,171
spoke to the crew.

342
00:12:36,172 --> 00:12:38,882
Really encouraging
and very excited to see

343
00:12:38,883 --> 00:12:40,092
what we'd end up with.

344
00:12:40,093 --> 00:12:42,010
I think I just really
love chainmail

345
00:12:42,011 --> 00:12:43,720
and I would actually wear it
on my days off.

346
00:12:43,721 --> 00:12:45,138
I've got really
into chainmail, too.

347
00:12:45,139 --> 00:12:47,432
Yeah. Like, this is so vibey.

348
00:12:47,433 --> 00:12:48,558
[Caroline chuckles]

349
00:12:48,559 --> 00:12:50,603
Like, that's so vibey, isn't it?

350
00:12:50,604 --> 00:12:53,105
[Caroline McCall]
We're getting more armored.

351
00:12:53,106 --> 00:12:55,816
We're getting more
battle-ready.

352
00:12:55,817 --> 00:12:57,901
Emma really loved the idea

353
00:12:57,902 --> 00:13:00,737
of, you know,
becoming this warrior.

354
00:13:00,738 --> 00:13:03,657
I think it's one of the biggest
visual changes

355
00:13:03,658 --> 00:13:04,908
we'll have seen on Rhaenyra,
and maybe

356
00:13:04,909 --> 00:13:07,203
since the beginning
of Series One.

357
00:13:10,331 --> 00:13:14,001
The chainmail, I was worried
that it was gonna swamp Emma,

358
00:13:14,002 --> 00:13:16,671
that we would lose
the beauty of Rhaenyra.

359
00:13:16,672 --> 00:13:18,255
[Emma D'Arcy]
So, we had talked about

360
00:13:18,256 --> 00:13:20,924
the idea of some sort of
war paint,

361
00:13:20,925 --> 00:13:22,384
but something that felt
really simple

362
00:13:22,385 --> 00:13:24,386
and something that she
could have done herself.

363
00:13:24,387 --> 00:13:26,763
[Amanda Knight]
And we thought, what can we do?

364
00:13:26,764 --> 00:13:29,349
And it was like that sort of
dragon-blood-red.

365
00:13:29,350 --> 00:13:31,643
[chuckles] I had a go,
she had a go.

366
00:13:31,644 --> 00:13:33,020
And where we landed was

367
00:13:33,021 --> 00:13:36,606
this sort of gesture
in a red pigment

368
00:13:36,607 --> 00:13:38,177
that just runs
through the eye.

369
00:13:38,178 --> 00:13:40,193
[Amanda] In the end,
it was very simple.

370
00:13:40,194 --> 00:13:42,112
And I always think
some of the simple things

371
00:13:42,113 --> 00:13:43,405
look the strongest.

372
00:13:43,406 --> 00:13:44,448
And then Emma and I said,

373
00:13:44,449 --> 00:13:46,450
"Well, they're never
gonna let us do this."

374
00:13:46,451 --> 00:13:47,868
And Ryan loved it.

375
00:13:47,869 --> 00:13:49,745
And was like,
"Yeah, this is perfect.

376
00:13:49,746 --> 00:13:51,621
This is great.
Let's go for it."

377
00:13:51,622 --> 00:13:53,457
Well, I remember
the palpable relief

378
00:13:53,458 --> 00:13:54,833
when we put everything together

379
00:13:54,834 --> 00:13:56,126
and it worked.

380
00:13:56,127 --> 00:13:58,837
Um, there's something
kind of Joan of Arc,

381
00:13:58,838 --> 00:14:01,089
I think, about this
like imagery.

382
00:14:01,090 --> 00:14:02,674
And I find it
really exciting

383
00:14:02,675 --> 00:14:04,468
because for the first time,

384
00:14:04,469 --> 00:14:07,512
Rhaenyra is cognizant
of the image-making.

385
00:14:07,513 --> 00:14:09,139
This is about fascist imagery.

386
00:14:09,140 --> 00:14:11,059
This is about iconography.

387
00:14:12,685 --> 00:14:15,938
[? dramatic music playing]

388
00:14:17,023 --> 00:14:19,316
Before his death,

389
00:14:19,317 --> 00:14:23,237
my father,
Viserys the Peaceful,

390
00:14:24,322 --> 00:14:26,656
named me his heir.

391
00:14:26,657 --> 00:14:28,742
[Paul]
Okay. Let's roll sound.

392
00:14:28,743 --> 00:14:30,577
[crew members] Rolling!

393
00:14:30,578 --> 00:14:32,829
[Paul] All crowds looking up
to the queen, guys!

394
00:14:32,830 --> 00:14:34,289
Looking up to the queen!

395
00:14:34,290 --> 00:14:36,333
I think the balancing act
really is to make sure

396
00:14:36,334 --> 00:14:38,877
that the crowd are engaged
and understand what it is.

397
00:14:38,878 --> 00:14:40,508
It's a big moment
in the episode.

398
00:14:40,509 --> 00:14:42,923
The challenge is
when you've got crowd,

399
00:14:42,924 --> 00:14:44,341
you want enough people there

400
00:14:44,342 --> 00:14:47,511
to give the artist energy
to react to.

401
00:14:47,512 --> 00:14:50,097
But at the same time,
too many people in the eyeline

402
00:14:50,098 --> 00:14:51,724
can become distracting.

403
00:14:51,725 --> 00:14:54,184
All the supporting artists
are fantastic here.

404
00:14:54,185 --> 00:14:55,602
A lot of them are returning.

405
00:14:55,603 --> 00:14:57,062
People of King's Landing!

406
00:14:57,063 --> 00:15:00,023
I mean, I'm really grateful
to all of the supporting artists

407
00:15:00,024 --> 00:15:01,483
who were there that day
for their patience

408
00:15:01,484 --> 00:15:04,694
and for being willing
to be so participatory,

409
00:15:04,695 --> 00:15:05,821
actually, in the scene.

410
00:15:05,822 --> 00:15:08,031
I just like- I just think
I love it, yeah.

411
00:15:08,032 --> 00:15:09,699
And the more energy
they gave me,

412
00:15:09,700 --> 00:15:10,826
in a way, the better.

413
00:15:10,827 --> 00:15:12,494
Or the more
that they fought her

414
00:15:12,495 --> 00:15:13,954
actually, the better.

415
00:15:13,955 --> 00:15:15,539
[crowd booing and jeering]

416
00:15:15,540 --> 00:15:17,207
[Ryan] Emma was very open
to giving us

417
00:15:17,208 --> 00:15:19,501
different levels and versions
so that we can, you know,

418
00:15:19,502 --> 00:15:21,378
snip it together in
the magic of the edit.

419
00:15:21,379 --> 00:15:22,879
Then to my father!

420
00:15:22,880 --> 00:15:23,922
Then to me!

421
00:15:23,923 --> 00:15:25,966
Then to my father,

422
00:15:25,967 --> 00:15:27,050
then to me.

423
00:15:27,051 --> 00:15:31,097
[crew applauding]

424
00:15:31,472 --> 00:15:33,224
We cut there. Thank you.

425
00:15:33,516 --> 00:15:35,559
Thanks for being such
a nice audience.

426
00:15:35,560 --> 00:15:38,062
[applause]

427
00:15:40,690 --> 00:15:45,403
I think it's one of the most
impressive things.

428
00:15:48,698 --> 00:15:51,408
You need it in a good light
'cause it's worth it.

429
00:15:51,409 --> 00:15:53,743
It's so amazing.

430
00:15:53,744 --> 00:15:55,245
[? upbeat music playing]

431
00:15:55,246 --> 00:15:57,497
[Ryan] We were looking
for a way to dramatize

432
00:15:57,498 --> 00:16:00,375
what Helaena was seeing
or purporting to be seeing.

433
00:16:00,376 --> 00:16:03,128
And we loved this idea of her
being this, you know,

434
00:16:03,129 --> 00:16:05,256
incredibly accomplished artist.

435
00:16:06,299 --> 00:16:08,216
So, this is Helaena's tapestry,

436
00:16:08,217 --> 00:16:11,887
which, um, is probably one of
our most significant graphics

437
00:16:11,888 --> 00:16:13,763
for Season Three.

438
00:16:13,764 --> 00:16:17,684
Ryan was very keen for this
not to be very literal

439
00:16:17,685 --> 00:16:18,852
and it not to make sense.

440
00:16:18,853 --> 00:16:21,104
It was all quite symbolic
and abstract.

441
00:16:21,105 --> 00:16:22,814
Everything you see here

442
00:16:22,815 --> 00:16:26,026
I illustrated as a drawing.

443
00:16:26,027 --> 00:16:29,071
I drew out all those pieces
and colored it in.

444
00:16:30,823 --> 00:16:35,160
The messy strings that you see
was something I did by hand,

445
00:16:35,161 --> 00:16:38,664
and it shows that
she's depicting her own death.

446
00:16:38,665 --> 00:16:40,290
And kind of strings
are coming off,

447
00:16:40,291 --> 00:16:42,083
and it's quite a tangible thing

448
00:16:42,084 --> 00:16:44,920
for Phia the actress to be able
to pull on strings

449
00:16:44,921 --> 00:16:47,464
and show her madness going.

450
00:16:47,465 --> 00:16:48,423
And...

451
00:16:48,424 --> 00:16:49,925
it's quite upsetting, really,

452
00:16:49,926 --> 00:16:51,636
how it ends with her death.

453
00:16:51,637 --> 00:16:54,971
[Phia Saban] It really feels
like Helaena's like almost

454
00:16:54,972 --> 00:16:56,640
overworking herself
doing this,

455
00:16:56,641 --> 00:16:58,642
'cause maybe it is her therapy
in that sense.

456
00:16:58,643 --> 00:17:00,894
And there's also quite
a nice poetry to the idea

457
00:17:00,895 --> 00:17:02,979
that it's an externalization of

458
00:17:02,980 --> 00:17:05,524
when she's done,
then that's the end.

459
00:17:05,525 --> 00:17:07,692
So, she's working towards
this sort of like

460
00:17:07,693 --> 00:17:09,403
meta finishing point.

461
00:17:15,117 --> 00:17:17,203
[Andrij] 'Kay, let's...
Yeah, cut there.

462
00:17:18,454 --> 00:17:19,664
[Ryan] Phia...

463
00:17:19,914 --> 00:17:21,331
We adore you. We love you.

464
00:17:21,332 --> 00:17:23,166
Please, uh,
come back and visit.

465
00:17:23,167 --> 00:17:24,459
And, uh, keep in touch.

466
00:17:24,460 --> 00:17:26,169
- Thank you so much.
- So, thank you for everything.

467
00:17:26,170 --> 00:17:28,505
[cheering and applause]

468
00:17:28,506 --> 00:17:30,757
That one hurt.
It very much hurt to, uh,

469
00:17:30,758 --> 00:17:33,844
to say goodbye to Phia
at the end of that episode.

470
00:17:34,345 --> 00:17:36,680
[Phia]
I think what I would say is

471
00:17:36,681 --> 00:17:39,224
I'll miss the relationships

472
00:17:39,225 --> 00:17:42,686
with the whole crew
and the cast.

473
00:17:42,687 --> 00:17:43,979
[both laughing]

474
00:17:43,980 --> 00:17:46,566
Like, the web that actually
makes the show.

475
00:17:48,067 --> 00:17:49,484
[Clare Kilner] Cut.

476
00:17:49,485 --> 00:17:50,986
[all laughing]

477
00:17:50,987 --> 00:17:52,529
I'll miss Liv.
I'll miss, like,

478
00:17:52,530 --> 00:17:54,364
being Helaena
and Liv being Alicent

479
00:17:54,365 --> 00:17:56,032
and us like having a laugh.

480
00:17:56,033 --> 00:17:57,868
That's what I'll really miss.

481
00:17:59,203 --> 00:18:01,663
Oh, my God, I will miss
working with Phia.

482
00:18:01,664 --> 00:18:04,375
I'm gonna really, really,
really, really miss her.

483
00:18:04,376 --> 00:18:06,835
[Ryan]
Phia is such a great one.

484
00:18:06,836 --> 00:18:09,129
I marvel at her uniqueness

485
00:18:09,130 --> 00:18:11,172
that she brought to Helaena
as a character

486
00:18:11,173 --> 00:18:12,340
and made her somebody

487
00:18:12,341 --> 00:18:14,217
that you always
deeply cared about.

488
00:18:14,218 --> 00:18:17,638
I just love the way Phia
dramatized her character.

489
00:18:21,726 --> 00:18:24,562
[? poignant music playing]

490
00:18:26,230 --> 00:18:29,733
[Andrij]
Filming Season Three has been such an honor.

491
00:18:29,734 --> 00:18:32,277
It's the biggest undertaking
I've ever...

492
00:18:32,278 --> 00:18:33,486
I've ever done.

493
00:18:33,487 --> 00:18:35,697
It's incredible to be part
of something...

494
00:18:35,698 --> 00:18:39,659
uh, and to be surrounded
and supported by everyone.

495
00:18:39,660 --> 00:18:42,037
Uh, thank you all
for your amazing work,

496
00:18:42,038 --> 00:18:44,582
your humor, your talent.

497
00:18:45,499 --> 00:18:49,295
I hope I've pushed you
in the right way.

498
00:18:50,004 --> 00:18:51,422
Um...

499
00:18:51,423 --> 00:18:54,132
[voice breaking]
It's deeply meaningful that...

500
00:18:54,133 --> 00:18:55,509
we made this together.

501
00:18:55,510 --> 00:18:57,844
- Thank you, boss.
- [cheering and applause]

502
00:18:57,845 --> 00:19:00,639
[Andrij] All of it has been just
such an honor and a pleasure.

503
00:19:00,640 --> 00:19:02,140
And I have to thank
Ryan Condal for that,

504
00:19:02,141 --> 00:19:03,934
for inviting me back.

505
00:19:03,935 --> 00:19:06,645
[Ryan]
Each season is really a two-year journey.

506
00:19:06,646 --> 00:19:09,189
You know, from the time that
we start the writing process

507
00:19:09,190 --> 00:19:10,398
to the time that you actually

508
00:19:10,399 --> 00:19:12,400
deliver the season
and put it on the air.

509
00:19:12,401 --> 00:19:14,194
And even though it's only
eight episodes,

510
00:19:14,195 --> 00:19:16,237
I mean, it's, you know,
300-plus shoot days

511
00:19:16,238 --> 00:19:18,281
and years and years
of commitment

512
00:19:18,282 --> 00:19:19,616
and very little downtime.

513
00:19:19,617 --> 00:19:21,701
But it's incredibly satisfying,
and I think that

514
00:19:21,702 --> 00:19:24,997
it takes a while to learn
your own show, in a way.

515
00:19:25,539 --> 00:19:27,332
And I think
it was Season Three

516
00:19:27,333 --> 00:19:29,418
that all the cylinders
started firing.

517
00:19:29,710 --> 00:19:31,628
[Clare]
We've become a family now.

518
00:19:31,629 --> 00:19:34,798
The crew, the actors,
everybody, you know,

519
00:19:34,799 --> 00:19:37,258
is like working to kind of
one common goal.

520
00:19:37,259 --> 00:19:38,760
But we have such trust

521
00:19:38,761 --> 00:19:40,970
that we can push the boundaries
creatively.

522
00:19:40,971 --> 00:19:42,764
[explosion booming on monitors]

523
00:19:42,765 --> 00:19:44,642
Holy shit!

524
00:19:45,142 --> 00:19:46,559
Oh, my God!

525
00:19:46,560 --> 00:19:48,812
This is what filmmaking
is all about. It's that-

526
00:19:48,813 --> 00:19:52,816
It's that infectious feeling
of we do this together,

527
00:19:52,817 --> 00:19:53,817
this crazy carnival,

528
00:19:53,818 --> 00:19:56,362
to make the most epic show
on television.

529
00:19:56,753 --> 00:19:59,114
[Nina Lopez-Corrado] And...

530
00:19:59,115 --> 00:20:00,491
Action!

531
00:20:01,158 --> 00:20:03,993
[Nina]
Being able to come over here

532
00:20:03,994 --> 00:20:05,203
and be a part of,

533
00:20:05,204 --> 00:20:08,832
of this studio has been
absolutely incredible.

534
00:20:08,833 --> 00:20:10,834
I feel like that little
piece of history

535
00:20:10,835 --> 00:20:12,168
is a part of me now,

536
00:20:12,169 --> 00:20:13,859
and I'm really grateful
for that.

537
00:20:14,415 --> 00:20:16,339
Cut.

538
00:20:16,340 --> 00:20:18,509
[all laughing]

539
00:20:19,844 --> 00:20:21,302
?

540
00:20:21,303 --> 00:20:23,221
[Ryan] I'm very proud of
this thing that we've made,

541
00:20:23,222 --> 00:20:24,889
and I think the audience
will be rewarded.

542
00:20:24,890 --> 00:20:27,308
And we just love where this
leaves all the characters

543
00:20:27,309 --> 00:20:29,269
to launch us into the end game

544
00:20:29,270 --> 00:20:30,937
for the final season,
Season Four.

545
00:20:30,938 --> 00:20:33,274
[? poignant music playing]

546
00:20:35,276 --> 00:20:37,528
[? theme music playing]

547
00:20:37,578 --> 00:20:42,128
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