All language subtitles for The.House.That.Dragons.Built.S01E04.720p.HMAX.WEBRip.x264-GalaxyTV

♪ (DRAMATIC MUSIC PLAYS) ♪

It was incredible.
It was really otherworldly.

We just shot the hell out of it.
So we were, uh, really happy.

I've got to say, actually,
probably that was one of
my favorite scenes to shoot.

We're honoring
the original show, obviously.

It's one of my favorite
little secrets.

They were night shoots,
so they were quite difficult,

but it was very fun.

It's more of their Blackwater
pleasure yacht sailing vessel.

It's not something that
they would probably take out
in the open sea.

But they spend a lot of time
sailing the Blackwater

because they go to Driftmark
and Dragonstone,

the two popular houses,

so they need this fast ship
that can kinda go back and forth between.

But it was exciting,
you know, to build that.

I think there is a lot of
naval presence in this series.

But it was a unique set
to build.

And it's one of those things
where you hear they're building
a ship on the back lot,

and then you actually go
and see,

"Oh, they actually built a ship
on the back lot."

The flagship was a lot of fun.

I think Clare had a lot of fun
shooting that.

It's the weirdest thing
to be involved in,

designing all these
different sets.

This was a lovely opportunity
because on Game of Thrones,

we're always using kind of,
like, the same ship

for various different things
through a lot of the seasons.

So this was a chance
to sort of come up with
a different ship design.

It needed to look
quite grand and royal,

but it's not, like,
a massive ship.

It's just something they use
for touring.

So, only the bit that
people had to actually stand on
was built.

Everything else is gonna be us,
so it's--

it's, uh, probably only
a third of the actual size
of the real ship.

The set was beautiful.

VFX was really prepared
for the extensions,

or, you know, what kind of shots
do we wanna do,

and how-- what was the best way
to achieve them?

Ready. And action.

We shot on
the Targaryen flagship.

We storyboarded it
to quite a high degree.

We sort of worked out
every single shot,

what that would be.

And then we pretty much built
a 360-degree blue screen
around it.

We worked out that we wanted
to give a slight movement
with the camera.

We found just the right
sort of degrees

to get the sense of
the boat moving and wind.

We had this incredible
special effect of this water
just being thrown over the side.

So, you know,
it's just a feat of coordination
more than anything.

So, one of the dragons

sweeps the boat
and tilts it over.

So everyone on the ship
had to do a bit of, uh,

Star Trek back and forth.

Take cover!

RYAN J. CONDAL: I think you need
to search for moments of levity

in making a show that is as grim
and heavy, at times, as this is.

But the trick with that is that
they have to be in tone
with the show.

So it's finding--
it's finding a moment of levity
in the darkness.

The castle is surrounded
by a peat, dry moat.

The view across the marshes
is inspiring.

We see her,
and there's this, like,
70-year-old guy

talking about how
the view's so great.

And she's like,
"I'm not gonna--

I'm not gonna marry you.
Like, stop."

Next!

And this kid comes up,
so it kind of just feels like
a big joke at this point.

It just feels like a big parade.

The Volume is brand new to me.
Um, it's really interesting.

The first thing that hits you
is how much better it is
than blue screen.

Because the actors walk in,

and they feel that they are in
this incredible environment.

And they're very excited by that

because it inspires them
physically, emotionally.

It sort of gets to them,

and it helps them draw
and bring out

their most playful work,
in a way.

There are pros and cons
about it, so I think you, um...

You know,
I felt that it was good

to bring the elements in
a little bit.

So we had---
we built in some wind,

had a lot of leaves blowing
across the stage.

Because I felt it helps
to sort of make it feel
a more alive environment.

You know,
you've got this 360 degrees
that you can shoot against,

but it's important
where you place the real pieces
of the set.

'Cause you can't place them
too close to the screens,
for example.

And you can't really have
people walking out
through an exit.

So you have to, like,
work that out.

Well, I wanted it
a little bit more open

because she is there
to get her husband.

I like the contrast
between her personality
and what she's wearing.

She's wearing things
which are too old for her.

And it's very strange
because with Milly,

there were some dresses
where she felt very comfortable,

and some dresses where she felt
a little bit more dressed
for the part.

And that was excellent
because that was meant to be.

That was a fun,
sort of happy-go-lucky look.

It was, "I'm here, I'm not sure
whether I want to be here,

I don't know whether
I like these guys or not."

And it was just
that sort of element

of slightly more blusher,
slightly flushed.

All of those elements
just to help her dealing with
that scene.

The Blackwoods
are an ancient house

with a formidable army.

Let us have the next.

- Craven.

Those two actors
did an amazing job, actually,
and we didn't double them.

And the fight changed
a few times.

A few times,
there were different ideas
and what have you.

Um, and that's actually
one of those scenes

when I read it, it didn't seem
to make that much sense.

But actually,
when you actually did it,
it was actually quite funny.

Basically, this bully gets done.
It's-- It's quite cool.

But the actors did so well.

They're hitting the ground
without mats,

and they did it all day.

They did an amazing job.

It's just like, "Whoa,
guys, calm down! Calm down.

No one needs to die.
No one needs to die."

The godswood
is an interesting set

'cause it's got
that beautiful tree
at the center of it.

And you can't help but want
to shoot the actors by the tree.

But at the same time,
you've gotta bring the changes.

So when we were there,
we talked about, you know,

how we were gonna
block the scene.

And eventually,
we moved the scene to the table.

And Matt's, like, sat there
with his feet up on the table
and offering her wine.

And I think that blocking
really helped it become
a little bit more about--

You could see the subtext
of that relationship

and the flirting
that was going on.

It's such a lonely prospect.

It's quite liberating
acting in a different language.

And I've enjoyed
the learning of it

and working with
the voice coach, who's fabulous.

If you speak any language,

your personality is sort of
transposed into the language

in a different way, somehow.

And I find that with Daemon,
it's quite interesting.

It was the language of Valyria,

and it has seeped, kind of like
Latin did into Europe.

It seeped into certain parts
of Westerosi societies.

But it's also the language
of the Targaryen family.

You know,
they all grew up learning it.

And they can switch into it
when they're discussing

either things of
sort of great importance

or when they just
don't want other people to know
what they're talking about.

Oh, no, there's, like,
grammatical things
going on here,

so it got a bit complicated.

But we got through it
and we did it.

That set had to have
a very fairy-tale quality.

It had to have a sort of, uh,
Renaissance quality to it,
a beauty to it.

We introduced frescos
on some of the walls.

In my head,
it was a Byzantine prayer space.

It was a Byzantine influence
I tried to bring to that.

In the old stonework,
the brickwork, and the tree
as the centerpiece.

We've done trees before,
so we know how to do 'em.

It's making sure you've got
the right people to make it,

and we had
some great sculptors.

We looked at
what had been done previously
for weirwood trees.

And then, um,
gave them a lot of reference,
and away they went.

It was a lovely project.

A massive tree.
Great, big, gnarly roots.

And originally,
we were gonna cast the tree
from a Winterfell tree

because there's
a godswood tree there,

which is very old.

So we did get
some bits from that,

but not enough
to really clad it.

So we've copied
all the textures.

And it looks lovely
with the grass growing in
amongst the roots.

It brings it to life.

The tree, again,
was one of those things

that was just one of
my favorite builds to see

because it's that thing
that you recognize.

Even though it's technically
a different weirwood,

it's a weirwood tree,

which is very unique
and recognizable
to George's world.

And this particular one has
a somewhat recognizable face.

We needed a face
for the godswood tree,

and I just decided that, um,
that it should be my mom.

She wasn't impressed either.

She was like,
"What's that weird face?"

And I was like,
"Well, it's you, actually."

It's almost
like having a Christmas party,

and the disruptive brother's
gonna turn up

and ruin the whole celebration.

He's that sort of, uh, unruly.

He's more Targaryen
in that sense.

I think he's just
winding his brother up again.

Just because
he's the only person

that can wind the King up
in that way.

You wear a crown.

Do you also
call yourself "king"?

Once we smashed the Triarchy,

they named me
"King of the Narrow Sea."

But I know that there is only
one true king, Your Grace.

My crown and the Stepstones
are yours.

Matt Smith
is an incredible actor,

and he always finds
the flip side of a scene
or how to play with a scene.

Yeah, it's been interesting.

I think he's
an instinctive actor,
like myself.

And we just want to
sort of explore

and go as deep
as we possibly can, you know,
into that relationship.

Uh, so it's been really fun
sparring with him

and pushing each other.

It takes
such a long time to paint bone.

We only had one,

so I think it was
a very nervous day
for the standbys.

Actually,
Matt Smith is very respectful
of these kinds of things.

He was so careful
taking off the crown.

I think at one point,
they asked him,

"Oh, could you just bow
and put your head
all the way down?"

And he was like, "No. No,
I can't. It'll fall."

And I was at the side
just going, "Oh, thank God."

The throne room
is an incredible set.

Alejandro lights it beautifully.

You can really use the throne
to sort of, kind of ground
Viserys' power.

You know,
we have 250 background

who were swarming into that room
expecting to see the King.

And then Rhaenyra,
she walks in on her own,

and she has these feelings
for Daemon.

You're not quite sure
what they are,

but they're there.

It was just kind of like,
"Oh... Daemon's back."

And she sees him,

and then he kind of takes her on
this big adventure.

And she feels that
she's seen as an adult by him.

She's starting her angsty phase.

She's starting her,
like, rebellious phase

and sneaking out at night.

She's kind of becoming--
slowly creeping into adulthood.

So, Rhaenyra has
this sort of cool little concept

with the secret door
when she sneaks out.

That was a nice element
behind the paintings.

It sort of leads out somewhere.

And you never quite know
where that-- where that is.

We did think it would have been
a set for a longer passageway,

but it was decided
it wasn't really needed,

that we didn't need to have
the long stretch of passage
for the shots.

We had room left on the stage
to make that work,

and so we put it in.

That was
a lovely moment in the script,

which I latched onto immediately.

This secret passage.

There are these panels
behind the bed,

and a secret passage leading
through the tunnels,

where she eventually emerges
into King's Landing
when she's...

Her secret night out.

And that was
a lovely thing to do.

So that formed an integral part
of Rhaenyra's apartment.

And there's also a hint
of Cersei's apartment
in the original,

which Miguel had wanted to keep,

the balcony
and the window formation,

so we introduced that too.

Yeah, it's one of
my favorite little secrets
in our Red Keep set.

It felt important
for Daemon and Rhaenyra to have
this kind of shared secret,

and for him to come back
from victory

and then take her out
for a night on the town

that becomes
something entirely different.

Where are we going?

Since the sets were not ready,

one of the first things we did
was scout Spain.

So we scouted for this--
this marquee

and Flea Bottom streets where
those scenes were gonna happen.

And it was kind of like
the biggest part
of episode four.

We found this town Cáceres,

which actually had been used
as King's Landing

in season seven, I think,
on Game of Thrones.

More and more,
as the seasons wore on,

we actually,
in the original show,

we were going to Dubrovnik,
to Croatia a lot more.

And Spain was becoming
more for these unique,
individual locations,

but not so much
for King's Landing.

Part of
the devolution of Thrones

was trying to look
at King's Landing and say,

"Two hundred years ago,
what would this place
look like?"

And I think, architecturally,
the smaller villages in Spain,

there's a similar colonial feel.

There's something going on there
that you can identify.

The two things cross over.

Cáceres is
a very small, old town.

So the challenge is just getting
everything in place

on the right time, and with
the right amount of people,

without disturbing the unit
that will be shooting
around the corner.

It's very much
a logistical problem,

rather than a creative problem,
to be honest.

There's a lot of cogs
and a lot of moving parts.

Normally, on a film
or a television show,

you will have a main unit
and a second unit.

This show does
what is called--

it's tandem shooting,
or double banking.

So, it's not a main
and a second.

It is two main units
shooting at the same time,

in different places.

In Cáceres,
it's a city full of people,
full of locals, tourism.

The locals like to be involved,

and they like, sometimes,
even play as extras.

So, they are used to having us,
and they love it.

So that was very beneficial
for our side

because they are
very collaborative with us.

The biggest challenge
in Cáceres, for sure,

was the number of night shoots
that we're shooting.

So we were doing
a really big sequence

where Daemon and Rhaenyra
are going through, essentially,

a festival that's happening
at night.

In order to make that work,
we had to pick certain streets

that would be cohesive
with each other,

but we'd have to shoot that
over consecutive nights.

We just had to get
the permissions

from everyone
that was living there

that this is gonna be noisy,

you're gonna be hearing it
until six in the morning.

But fortunately,
if you look out your window,

you're gonna see
House of the Dragon shooting
at the same time.

Suddenly, everyone was watching.

It was kinda like... .
They know who we are.

We did have areas that
the public didn't come into.

So we're kind of, like,
quite sectioned off.

But I think when you get
gritty sets like that,

it's often good fun,

because you can throw
so many different fabrics
and textures around,

and really old, dirty, rusty
kind of pieces.

Quite a lot in Spain, actually,
I found some really good sources

of furniture
and smalls out there.

And... Yeah, it was great.

It was very difficult
to get areas locked off for us.

And we were bringing in
an awful lot of dressing.

And again, the set decorators
have thought about

the furniture elements,
and the exterior dressing,
and the awnings.

All of that stuff
takes a lot of work
to get it down to that level.

The prop team
are working real hard

to break all of that stuff down
and make it look aged and worn,

and not very valuable.

Fuck off, boy.

He called me "boy."

Oh, it was great.
I got to wear pants.

Yeah, there was a lot of, uh,
discussion about the beanie

'cause all my hair
had to, obviously,
hide under the beanie.

And then my hair,
you know, the silver hair.

So it's like, oh, if she takes
the beanie off in this place

and has to walk through
Flea Bottom without her hair.

are people are going to know
it's her?

She's dressed as a boy,

and it's
a very comfortable costume.

We went for,
like, you know,

a very much no makeup
and slightly trying to--

It's not possible with Milly
because she's beautiful,

but make her look slightly ugly
or plainer than she is.

Jany and Clare
worked really closely together

to develop her character
as a page boy.

And it's meant to be something
that's given to her,

that's been pulled together.

So it's supposed
to look like that.

And it's just about seeing her
in a completely different light,

that she can make her way
through the city unseen.

When we arrived in Cáceres,
we talked to the town council

and asked them to switch off
every single electric light

in the town where
we were gonna shoot.

So we would start from the point
of a black, dark canvas,

and then light it from then.

So it was like a really magical
and beautiful place.

To have that control
over the light

was incredibly unusual.

In this show, we have
three sources of light overall,

which is very interesting
just to think about it.

You have the moon,
you have the sun,
and you have fire.

And those three elements
are the way of lighting
the whole show,

no matter what, right?

So, we came up with
this dragon breath effect,

which was a huge rig.

And it just had a pattern
of breathing fire effect.

And I think it went really well.

I mean, I think at the end,
that vision that you have...

And for months,

you talk about it,
you think about it, you test,

and then you see it on the day
and you see that it works.

It's really gratifying.

It was a great sequence to do.

We shot
in pretty much every street
in that town center.

I went back there on a day off,
and I looked and it was like,

"Oh, yeah. We shot there,
we shot there."

We really got the best
out of that location.

It's a beautiful place.

It was a real
party atmosphere there.

The way we shot it,
we used a lot of Steadicams.

And that was ideal
for those streets.

Those streets were--

You know,
there were steps and cobbles.

And we were able
to travel the whole length
of those streets

with, um, Daemon,

and really get
the best out of it.

And who might you
be running from now?

Ser Harwin.

Princess?

It was incredible.
It's basically a huge carnival.

A real, operating,
real-time carnival.

Actual tightrope walkers
and street merchants.

And what's wonderful is,
you know,

all the background artists

and all the other
supporting artists around,

everyone's in their own world.

So, you know--
And Miguel's made a point

of going up to everyone
and giving them things to do.

So everyone feels immersed
in the takes that we're doing,

and everyone's got
their own little stories.

So, yeah, it's like being
in another world.

It's always nice
when you're in a, you know,
a sort of different country.

It breaks up a shoot like this.

So we had fun. It was good.

And... camera. Action!

Now we come to the matter
of the great Iron Chair.

We have this great kind of
series of performers

who did the play
that was written by Ryan

as a complete,
stand-alone thing.

It's political satire.

They're mocking the royals,
but it's a way of expressing

their own, you know,
political beliefs,

and the way the people see
the royals.

I wanted to do it in the vein of
the sort of English pantomime,

you know, and dress the men up
as women.

And we had
a lot of fun with it.

Um, so we rehearsed that,

and we put together this
sort of little story onstage,

which was really all about
mocking Daemon and Rhaenyra.

So which heir
might that chair bear?

Who will it be?
The brother, the daughter,

or the little princeling
of three?

And then we built the throne,

and I decided it would be fun
if it was also a toilet.

So, you know,
as soon as we made that throne
into a toilet,

all the Spanish actors would
sort of riff and improvise on it
and sit on it.

- Rhaenyra!

The realm's delight!

That's got one
of my favorite props.

It's got the Iron Throne
as a toilet.

We just got told
to make a wooden throne

that was almost made
by craftsmen in this village.

So it had to look handmade,
but it was almost like--

Not a piss-take
of the Iron Throne,

but it was sort of
a mock replica
of the Iron Throne.

That was
kind of like a circus marquee,

and that went through
a couple of different stages,

so that we didn't lose
the beauty of the architecture
of the building itself.

And making sure that
we had enough height,

and then enough space
for the actors.

We've got this wonderful, huge,
great, big, draped curtain

that's going over the top
of this tiny stage, really.

And just getting the curtain
up into position

on this old house where, originally,

we were told it's not safe.

And we've had to work out
a very simple way
of hanging this drape.

And it will be beautifully lit,

and will make the site
of the marquee very evident.

I really enjoyed
shooting the scene.

All the Spanish actors
really just gave it their all.

They had-- They weren't shy.

You know, they just, they--

It was wonderful
to see them work.

Shooting in Spain
was amazing.

We were in Cáceres in, like,
this beautiful old town.

They were night shoots,
so they were quite difficult,

but, um... it was-- it was fun.

Clare Kilner is like...

Anything she wants.
Anything. A liver? Take it.

She's been an absolute angel.

Gracias.