All language subtitles for Game.of.Thrones.S05E00 docu

Although this is TV,

it's TV in a scale that
is beyond anything else.

It's the most
successful TV show in the world right now.

It is special.
Very, very special.

Today we're
shooting in Croatia,

they're shooting in Belfast,

and they're preparing for shooting
in Seville down in Spain.

Whatever hand you're dealt,
you have to go with it

because the show can't stop.

I think we're
the only ones in the world

that shoot with two units

at the same time
all season long.

If one of those spokes
in the wheel are missing,

it's gonna collapse.

And, action!

Sync & corrections by honeybunny
www.addic7ed.com

Morning.

How are you all?

My name is Duncan Muggoch
and I'm the UK line producer

for Croatia and Spain,
or what we also call

the southern locations for
"Game of Thrones" season five.

This is my second season.
I did Croatia last year.

And this year we've obviously got
Spain thrown into it as well.

So I'm line producing
both of them this year.

And even though last year was
big, this one's even bigger.

My name is Chris Newman.
I'm one of the producers on "Game of Thrones."

I fulfill a function here of
planning how the two units work

and drift in between the sets, the
locations, and the different countries.

So how was yesterday?
All right?

- Yes. Yeah, it was good.
It was really good, yeah. - Yes? Good.

We start shooting
at the end of July.

99% of the crew
have been here before.

So when you start day one,

it feels like day 301

in a good way.

As this is going on here,
over in Spain

we have Peter
who runs Fresco Films.

He's new to this year, so he doesn't
know quite how manic it can get.

My name is Peter Welter Soler.

I'm the Spanish line producer
on this show.

The production booklets,
are we getting them tonight?

We have two weeks
left before everybody arrives.

And then two days later,
we start shooting.

I'd be lying if I said the
stress level is not increasing,

because obviously this is
very important for all of us.

Doing it for the first time,
we want to please everybody.

We want to do a great job.

This is actually maybe not
the calm before the storm.

It is the rehearsal before the show.

We're heading from our unit base
into Dubrovnik, into the old town.

Filming here is quite different
from filming in Belfast

'cause the logistics over here
are very different.

One of the logistical
problems of Dubrovnik

is it's such a tight,
small, old city

that we can't get our big
vehicles actually into the town

just 'cause the streets
are so narrow.

It's just one of the
challenges that we face

filming in a city like this.

You can't take vehicles
within the old walls,

so everything has
to get taken by Sherpas

up to a location today
which is probably

one of the furthest and trickiest
you could get to in the whole city.

A little rule that I have
for myself on location,

and this is never go up empty-handed
or come down empty-handed.

Now it's just a load of stairs
all the way up to the top.

Hello, gorgeous.

Good. Good, good.

The principal actors
are just arriving on set

to rehearse.

They will do a rehearsal
with the director first,

and then they'll do
a full crew rehearsal,

which is when they'll place where the cameras
are gonna go and everything like that.

Okay, guys, give
us the set, please.

Hey, Joseph. How are you?
Nice to see you.

Episode one and
two have been in Croatia.

They've done most of their filming
and they're back here finishing up

now that Emilia
has finished in Croatia.

Do that. Just growl at one point.

So this morning, episode one and
two with Mike Slovis directing

are setting up to do their first scene
this season in Dany's penthouse.

Morning, everybody.
Hello.

So it's right at the
beginning of the... season five

and it's the first time
Dany gets an inkling

of what's going on in Meereen
under her new rule.

And then do you want it
to be a boom,

I've decided
I will not have them?

Or do you want it
to be kind of like...

- No, I think it's more gentle.
- It's gentle?

It is gentle?
Okay, lovely. Yeah.

I have shot mostly in Belfast.

I have shot several days
in Croatia

and I am going to shoot
in Seville.

Teach them a better way.

It sounds like something
Jorah would have said.

Moving to a foreign
country on this show

is not as disruptive
as you might think

because one of the two crews

that you've already
worked with here goes there.

So the first thing that happens
when you walk on the set

is that you see familiar faces.

My priority today
is looking after Emilia

because she's come from Croatia,

so we're matching continuity
to that country.

They send their photos to us

so that we can do the same
as they've been doing.

There's two
departments filming at the same time,

so it's imperative
that things like wigs,

continuity photos
all travel together

and that every member of the team
is aware of what the look is,

because if we do have to
take over someone's artist,

we know exactly what we're
doing and there's no mess-ups

when we're watching
the show, hopefully.

Let's do one
for camera, please.

Okay.

Let's have it quiet
for rehearsal, please.

And that means everybody
in here, thank you.

Action.

So the only thing
that gave him pride

was knowing there was
someone lower than he was.

- Morning.
- Morning.

- How are you?
- Good.

- Morning, Duncan. Morning, Mr. Muggoch.
- Morning.

Oh, I want to talk to Peter
today or maybe you can.

Peter Welter?
Yeah, no, I'm talking with him.

About C�rdoba bridge
and the drone.

As far as I'm concerned,
Bernie is "Game of Thrones."

I've never met a producer that cares
for a crew as much as she does.

She's an incredible woman
to work for, actually,

and everybody loves her.

And she keeps
everything together.

And do they want to
clear a place in that?

So the bridge has to be closed.

That's...
I'm checking on.

Along with David and Dan,
she's the executive producer.

David and Dan are obviously... you
know, they're the creators of it.

It's their baby.

Bernie is the one that keeps
this show running.

Sometimes David and Dan
will be with us.

Sometimes they are separate so
that they can both be on the set,

depending
what the scene might be,

will watch rehearsal,
give their notes on the scene,

and then a lot of times we're
discussing what is in advance.

As you can imagine,
with 10 episodes,

that we're constantly prepping.

Much like our characters, we
will go from the amazing Daznak

right into the amazing Hardhome.

I usually have a
nice list for them every day.

They almost cringe when they see
me starting to come towards them

and open my book to start
asking my questions.

But they're fantastically
collaborative with all of us.

Today, they're having a big
Hardhome meeting up in Belfast.

- They got the notes?
- Yes. Yeah.

When we're shooting
in different countries,

it's about a constant
communication

between the producers
in each country.

I'm gonna follow Nutter
over to Spain early.

You're staying here
through Illyrio's, right?

Are we doing a charter
to Sevilla?

We are, yes, but I'm going
to leave ahead of time.

Yeah, which goes on the 8th.

I'll go on the charter
this time.

- Hope there's a seat for me.
- There'll be a seat for you.

You can have Bernie's seat.

In a week, we will all
take off in a charter

to go to Spain and that is now
starting to come very close.

After they have
their big scout today,

then we'll have more information
to go off of for that.

We're in the
royal palaces of Seville

called the Real Alc�zar,
which are palaces built

by Peter the Horrible
in the 13th century.

It's one of the most visited
monuments in Spain.

The Alc�zar will be, like,
the water gardens of Dorne.

Since Dorne is a new world
that's just come into the show...

it was introduced
in the fourth season,

but we didn't
really see it...

now in the fifth season,
they will finally get to see

the Kingdom of Dorne.

Good morning once again.

It is difficult
to shoot in a place like that

because it was obviously
not built as a set,

but built for a purpose,
a different purpose than ours.

Some of the places, as you see
in the balcony, for instance,

I mean, you can't possibly
get some of the gear up there

because the staircase
is too narrow.

So we have to get
a crane in...

Genie Booms, cranes,
platforms...

in order to haul
that material up there.

- It's tricky, you know?
- Okay.

It's not like
a back lot studio shoot.

First and second
shooting day is up here.

And then we move down
to the garden.

We'll get control of the
garden, I'm assuming?

As far as you told me, we have the
entire garden area for us, correct?

- Yes, I have this note here.
- It's pretty amazing.

They have, like, an average
of 8,000 tourists in here every day.

To see it, like, empty and have it
just for us is just a privilege.

Wherever you go, there's always
gonna be a challenge

because you're in a new place
both culturally and logistically.

We'll have to find a compromise

where we can work
together with the palace.

We're the foreigners
coming into their country,

trying to put
this project together.

I have to say they're being
extremely nice,

which is... so we need
to make sure that our...

which they always are...
but our crew are very careful

in this delicate location.

*** And what they're
doing for us is unique as well.

It's never been locked off
like this for anybody.

All right, so will you go
and check the others?

- Sure. - Because I think
we're running a bit late now.

We're now driving up to a little
village called Magheramorne

in which there is a quarry that's
been there for a number of years now.

And in season one

we built the set
of Castle Black there.

Because there's a lake
in the quarry,

in season two we built the
battlements of King's Landing

for the Battle of Blackwater

with Stannis's boats attacking.

It's still standing, although it's
looking a bit worn these days.

Now we're driving up to have a
look at a set mid-construction

of a fishing village
set north of the Wall.

We'll begin to see how that's
taking shape this morning.

The set that we see down here,

it's a fishing village that is
a protected fishing village.

It's not a military
establishment.

It was designed to be
somewhere where people

had a living off the sea.

So we needed the water,
which is why we put it

on the edge
of the reservoir here.

The fantastic thing
about the Hardhome set

is we're building something
that is so far north this time

that what we get to do
is create a fishing village

that is exactly
as the name describes.

It's Hardhome.
What we've been doing

both in concepts and in models

is looking at the location
out in Magheramorne

and created what we need
for the action,

which is a longhouse in which
a lot of action takes place.

And then we have
the landing area,

which we're able to use the lake
that exists in Magheramorne.

And so through having those
sort of necessary requirements,

we can then build
this sort of tent city

that will be created out there.

So I had this good idea,

which I need to pitch, I guess,

which is to hold onto that shot.

The director can
now see the bones of the whole set,

so he's gonna walk through
the set and start mapping out

where all the things that
he's imagined will take place.

If the plan to do that shot...
it's the boater's point of view,

so it's looking
through the fence.

So anything at this point

that the director
would like to change,

this is the time that he has
to turn around and say,

"Well, could I put the door
in the hut over here?"

and, "Could I have this
a bit higher?" or so on.

Good, so, yeah,
we good with this?

- Yeah.
- Rock and roll, so...

- shall we have a look... - Look at this edge
here and see if that works.

"Game of
Thrones" is a big event,

and what you mustn't do

is get put off
by the bigness of it.

The thing to do
is to come in and say,

"All I've got to worry about
is the 16x9.

What's in that frame."
It must be like parachuting.

Don't worry about
the height you're jumping,

just make sure
the parachute works.

It doesn't have to be a sparrow.

Today we've got
about 128 extras out

and then everything
that goes with that,

which is the extra hair people,
makeup people,

costume people that have
to deal with all of that.

Crowds start dressing
about 5:00 this morning.

And then just in conjunction
with hair and makeup,

we're just sort of working
around each other.

And then everybody
travelled to set about 7:30

to be all set for 8:00.

Just need to take
your blankets off, guys,

so we can look
at your costumes, please.

Mark Mylod is the director,

and he's now going
to select the extras

that he wants to feature
in the scene.

Yep, this gentleman.
And one other lady.

It changed a bit this morning
because people had to look

a bit poorer than
we'd originally intended.

I'd just like to maybe darken a
couple of teeth or something.

A bit of the teeth black, you
know, just one or two of those.

And maybe... okay,
the skin's pretty good.

Just a little less healthy.

And so it was a bit of a
scramble trying to get everybody

broken down enough to look a
bit poorer than they had done.

And it's still happening.

People are still getting
dirtied up as we speak.

- Thank you, guys. Well done.
- Brilliant.

- Thank you. See you soon.
- Thank you.

We had more than
86,000 applications

to be a background extra
in the show.

People from
not only all over Spain,

but all over Europe,
even from California,

from Argentina,
from South Africa,

wanting to come to the casting,

wanting to be part
of "Game of Thrones."

- Hello.
- How are you?

- Good.
- Peter. Buenos d�as.

- Buenos d�as.
- Buenas tardes.

- Oh, buenas tardes.
- Buenas tardes is the afternoon.

Maybe you just got up.

I just had a siesta.

- Okay, then it's good morning again.
- Thank you.

There's gonna be about 1,000
costumes to do 600 extras.

Because it's
such a major operation,

we're doing something like 50, 60
fittings a day, which normally we do 30.

We fit everybody here,
males, females, in and out.

We do guards, slaves.
There's a rogue slave.

There's a slave over there.
Hello, slave.

They process down here

and these guys put on the hair.

Jenny puts on makeup
and they do their magic.

We're moving around
very quickly.

We're shooting in three
or four different places

all straight after each other.

But we, like, have to go in
advance and prep 600, 700 people

all ready for a camera
that moves behind us.

We're basically set here.

I like when things
are just smooth.

We've got Lena Headey
and Jonathan Pryce today.

We're shooting a scene here
from episode three

which is a kind of
rundown area,

behind the Sept of Baelor.

And it's a scene
where Cersei is looking

to have a conversation
with the High Sparrow

who is a whole new character.

We've got a beautiful courtyard

which is actually
a former convent.

And we are disguising it
with a lot of awnings

and a lot of ground cover
on the floor.

And it's supposed to be
a really shocking place

where Cersei encounters
the poverty

that she has managed to ignore
for most of her time

living in King's Landing.

I'm standing there
looking butch and macho.

- I do a lot of that.
- Can you show us?

- That's it. That's it.
- There's no...

- No jiggling?
- No, that's it.

If I jiggle, I sound
like "Jingle Bells."

So I can't actually move.
I'm not allowed to move.

I have to stand still.

From walking about,
we're in every street there is.

It's only started
a few days ago,

so we haven't been here
long enough yet

to really cause chaos,
but it'll come.

Dubrovnik is understandably
a big tourist attraction,

so you're normally fighting
through the crowds.

That's been a difficulty
on the sets.

Rolling!
Nice and quiet.

- Roll camera.
- Rolling!

- Rolling!
- Sound speed.

17, take one, C marker only.

And, action!

I don't think this is
a good idea, Your Grace.

Nonsense, Ser Meryn. These
are deeply religious people.

Where can I find
the High Sparrow?

- Cut. Cut.
- Cut!

- Why did you do that?
- I don't believe you did that!

Are you all right?

- Wanker.
- That's it, we're on strike.

No, we're on strike.
Fuck you. Go on.

You get into the fucking pelican.
See how you like it.

No?

- Cut.
- You know what?

I can't even lift...
I can't lift my arm

- 'cause it's like a T-rex.
- Hit me, come on.

You think you're fucking tough?
Come on.

Come on, harder.
Come on, harder.

Belfast remains the
heart of the whole thing.

It's a major city,
so we have all the things

that a big film crew need.

But, you know, you drive
20 minutes out of the city

and you're in the heart
of the countryside.

It helps with the ancient
feel of the show

that the landscape has
a feeling of being old.

It's been worn down and eroded.

And everything has that ancient
feel to it no matter where you go.

You know, the woods feel old,
the cliff tops feel old,

and the moorlands certainly
look old, you know.

I always like to go
to the set every day

because that's been my heart.

This is my 40th year
in the film business

and my heart has always
been in making a film.

I've always loved the set.

You can always kind of tell
how the day is going

by the way Chris is standing and
looking at everyone around set.

I have no idea. Some
of them look at my face

and think if it's looking very
long, we must be in trouble,

but that's not the case.

I might be thinking about
something entirely different.

I always find him
very calm and very relaxed

given that he's producing
this massive, epic show.

We shoot
this year 120 days.

But in those 120 days,
we do shoot two units,

so you double it.

You're effectively shooting
240 days of screen time.

Today on set I'm mostly
concerned with the Valyrian.

We have a scene
with the Valyrian language in,

so I'm looking after the actors

and making sure that they feel
comfortable with their lines.

'Cause some of the sounds are
quite tricky to get through.

All right, guys.
Here we go. Shooting.

Let's have it quiet.

Let's roll cameras, please.

Rolling.

Action.

I didn't conquer them.
Their own people did.

Find the men who did this
and bring them to me.

- Your Grace.
- And cut it.

Let's go one more time.
Hey, Sean, I think...

Right now, we
are in a town called Osuna.

And it has this
beautiful old bull ring

and it's a national
monument as well.

When we walked
into this bull ring,

it was just the place
they were looking for.

The stone is quite similar to the
stone they have shot in Croatia.

- Made some great progress.
- Yes.

This does not
have to be a bull ring.

It needs to be something
completely different,

and that's why we need to
transform it into that place.

Building the balcony where the actors
are going to go to the ground.

We had to cover up
all the pillars.

There will be a lot
of things added to that.

We're shooting just one
single scene in here

and it's 12 days.
It's quite complex.

There's a lot of action happening
and we need that time.

The pressure is so high
to meet the expectancies

of what is involved in there.

It was just incredible.

All right, ladies and gents,
thank you very much.

That's a wrap for today.

Quiet down, people.
Listen, clear the cameras,

clear the lights, the equipment.

Here was a very stable,

interesting day
for the character Daenerys.

And then, of course, we had the big
trip out to see the set of Hardhome

and it did open up
a lot of questions

which will continue to be
looked at in weeks to come.

You do the best you can, get
everything as ready as you can,

and then you cross your fingers.

Today went very well.

We finished our work.
David and Dan were happy,

which is always
my goal of the day

when they come out with a smile.

Chris and I will talk
and compare notes.

Another two days down. That's the
beauty of shooting two units every day.

It's the only job that can
live two days in one.

At the moment, the
main thing I'm thinking about

is getting out of Croatia.

We've got a lot of stuff
to move to Spain,

so that's where all my thought
is going at the moment.

And obviously trying to set up
Spain at the same time.

Yeah.

And getting through
every day of filming.

And knowing that
there's big scenes coming up.

- Yeah.
- So it doesn't stop?

No, it doesn't stop, no.

Every day there are
things that you don't expect.

Not having shot with
any of the crew before

obviously increases
the stress level.

- Hello, Croatia.
- Hello, Spain.

So, how is it all going?

As much as the
shooting date is moving closer

and everybody is aware
more and more of the fact

that we have less time,

yeah, stress level
is increasing.

Definitely.
Definitely.

Production
arriving in the past 10 days

was actually very good.

There was a lot
of people rolling up.

There's probably 450 people
working behind the camera.

All right, let's
roll cameras, please.

- Rolling!
- Let's roll camera!

And background action.

The first day of
shooting is always crucial to us

because it shows us
if everything we did

in order to prepare it
was the right thing.

Okay, here we go.

And, action!

This year, Belfast has got
some big sets like Hardhome

and the art department and construction
have done a really great job

of turning what was a notion
into reality.

Sync & corrections by honeybunny
www.addic7ed.com