All language subtitles for The.House.That.Dragons.Built.S01E06.720p.HMAX.WEBRip.x264-GalaxyTV

This is a nightmare.

It was kind of a fun night,
in a weird way.

We were rehearsing that
for months and months

leading up to it.

Ultimately, it's like a dance.
It's like choreography.

It was really cool.

You're like,
"Okay, let's do this."

RYAN J. CONDAL: Episode six
was one of the big leaps for us,

because you're not only jumping
forward ten years in time,

but you're recasting...

you're recasting the show
midway through.

We always spoke of it
as our second pilot.

You come in on Rhaenyra
giving birth,

and then the slow reveal
being that this is her third,

and that much time has passed.

There's a ten-year time jump.
You see her now husband Laenor.

Harwin Strong, he's the actual
father of all of these children.

Viserys is slowly deteriorating,
and Alicent, meanwhile,

is strong and in her prime,
and sort of running things.

There's a lot
of ground to cover.

Making a determined time jump
and then changing the main cast,

it's just a brilliant way
to do it.

We talked a lot about who should
shift into being older versions
of themselves,

and we felt that Rhaenyra,
Alicent, Laena and Laenor,

they were important,
they were all interacting
with each other heavily,

and they had experienced
that passage of time together,

and it was a good way
of grounding the time jump.

The queen has requested

that the child be brought
to her.

Immediately.

Why?

I remember the phrase
that Ryan said about Rhaenyra,

which is "she needs to be
punk rock, non-conventional."

You're looking at the Targaeryan line,

you're looking
at the Emilia Clarke association

further down the line.

You know, you're looking at
the woman that set everything

in motion, and that has to be
a force of nature.

Somebody with intelligence
and feels other-worldly.

And that's Emma.

Emma does not fit into a slot
that is easy.

Emma is such a striking,
unique presence.

When I first saw them
in the audition,

it was like I couldn't imagine
the role being played
by anybody else.

With Alicent and Rhaenyra,
we were focusing

on the adult versions first.

I had to keep reminding everybody

the people that were going to be
leading the charge

were going to be
their younger versions.

Milly Alcock, she read
and it was just a gift

from the gods.
We were very lucky.

She is a remarkable version
for younger Emma.

I see them in the costume
and I'm like...

"Is that what I'm gonna...

I look great!"

Rhaenyra. You should be resting
after your labors.

Olivia is probably the most
seasoned actress of them.

We wanted her in the show.
She did such a strong audtition.

We got Olivia
to read for Rhaenyra as well

and she did astonishing reads
for both of them.

It became clearer that she would
be better suited to Alicent,

and certainly,
once we'd met Emily,

the pair of them were wonderful.

Olivia, I've been in awe
of her work for years,

and so to play
the younger version of her

is a blessing.

Miguel and Ryan had said Alicent
is probably the character

that changes the most
in that time jump.

There are multiple things
that we both portrayed

through Alicent that connects
the two characters together.

But where my Alicent leaves
and where hers begins,

they are almost
completely different people.

If Rhaenyra comes into power,

your very life could be forfeit.

I do feel like we lucked out
with our Alicents

and our Rhaenyras.

I think for me,
it's always about the energy.

Milly and Emily reflected
the energy of Emma and Olivia.

The show is very demanding
just in terms

of the sheer number of actors

but also the quality
of the performer

because they're deeply
nuanced roles.

Kate brought forward
an amazing pool.

It took a lot of doing
but we were able to put together
a hell of a cast.

A boy. I've just heard.

- Yes.
- Well done.

In order to play Laenor
as we find him in episode six,

I really had to know exactly
who he was before the time jump.

But I was cast first
and started filming

and looked up
and I saw this person walk in.

And I looked at him,
and then he looked at me...

We'd seen each other
across the room,
and I was like...

I said, "Are you me?"
And he went, "Yes."

I had some talks with Miguel
and he gave me a few treats

about the character
that he would say

to the other girls as well,
I think.

There are similar things
that I'm guessing they'll say

to all of us
about our characters.

I haven't met them.

It's going to be exciting to see
who they are

and how they interpret
the character.

I've never done that part
where I've shared
with an actor before.

I asked to meet them
and Miguel was like,
"Yeah, yeah, yeah,"

and never set it up.
So I was like,

"I think this is a strategic
move on their part."

It's a complicated thing
because even when you're not
watching that work,

you are building something together.

When I'm Queen,
I will create a new order.

It was really important
that Miguel direct episode six

to set the tone
for the time jump

because the visual tone
of the show changes

and becomes less original
Game of Thrones

and more specific
to House of The Dragon.

We made the decision
that instead of jumping

between characters
as you normally would,

to stay with each character
for a much longer time

so you could settle
into their world

and into their head.

I think it just routes you
into each of their worlds

and where they are right away.

It was new actors
playing new roles.

We were going to spend more time
with the characters

actually moving with them.

We're saying to you this person
that you got used to, Milly,

is no longer Rhaenyra,
she's Emma.

We wanted our audience
to have an opportunity

to really examine
that particular actor

and feel comfortable with them,

and this seemed like
a really good way to do it.

EMMA D'ARCY:
For five episodes, an audience
have sat with this person,

have fallen in love
with this person,

have developed affection
for them,

and then suddenly,
I'm going to walk in

and change their face and body
and tell them to like me.

D'ARCY: You come in
on the back foot in a way.

The moment Rhaenyra gives birth,
until she meets Alicent

was not in the original script.

- She wants to see him.
- Now?

I thought,
"Well, if we're going to have
this set,

I would like us to inhabit it
properly,"

which is why the opening
actually follows our characters

in a single continuous take
all the way through.

We are turning back, all right?

We needed to come in on this relationship

that you completely bought
and I don't think

there's any other way
of buying it

than spending time with them.

What happy news this morning.

Indeed, Your Grace.

We needed everybody to kind of
jump in,

and the feeling is
if you're gonna hang in

for the first 20 minutes
and realize what's going on

and follow it, then you'll be in
for the ride.

Action!

Well, we know that we've got
the two characters,

so we have to take elements
of one across to the other

and vice versa, and you do it
to make it look

practically the best
that you can.

We used elements of some
of the very early episodes
of the plaiting.

The wig is obviously
the same color palette.

It's lots of little things
that we do,

things like eyebrows
and lip shape.

I normally find a mole
or a freckle or something

and continue that across.

We go through
a more youthful look

to get the changeover
between cast.

Working with Olivia,
it was really interesting

to see the development
of the character

having jumped on the years,
and when we see her,

she's a really confident queen.

We used fantastic fabrics
on her.

Really luxurious
and extravagant,

and it just carried on
the evolvement of the character.

Six-Bravo take two, common board
on Echo and Golf.

Action!

The change of age,
the change of social situation,

I dressed up Milly
and I dressed up Emma.

They are two different personalities,

two different actresses,
because there's a difference

between a teenager and a woman.

D'ARCY: The thing that
I really like about it is that,

actually, when I think about
myself as a younger person,

I don't always recognize them
or I perceive them to be

a different person to the one
I am now.

I think the poetry and the form
is that there's obviously

lots that carries through,
but we allow that younger self

to be a different person
to an extent.

Emma D'Arcy
and Olivia Cooke's portrayal

of Rhaenyra and Alicent
are so compelling,

that I think you have no choice

but to buckling up
and going along for the ride.

We're in Pinto
because I really wanted

to shoot something in Spain,
and gradually

I was talking myself
out of doing

any of the fun stuff
on this show,

and generally getting stuck
in, like, a quarry in Belfast,

which is where I usually spend
most of my time shooting.

So we had seen these photos
of this beautiful

Moorish castle in Spain.

I loved that castle
from the first time

Jim showed us pictures of it
because it looks like

something from Game of Thrones,
because the exterior is Moorish

and the interior is sort of
Italian revival,

and it's a fantasy place
that's real.

When I saw the castle,
I was like, "Where is it?"

And then you see it up on a hill
and it was just beautiful.

It's something when you're on
location that's just special.

I think it's important,
I think a show like this,

a lot of it is studio based
and I think the more big, grand

location stuff you can do,
the better, really,

because it needs to feel
outdoors and it needs
to have scale.

To Aegon The Conqueror,
our exalted Forbear.

Aegon The Conqueror.

To Aegon.

It is a stunning location,

and when you come here

because it's such
a solid-looking castle,

you've got no idea how ornate
the interior is.

So we wanted to preserve that
surprise, if you like.

In some ways,
as a concept artist,
you can relax a bit

because the architecture
is already there,

it's already sort of been
designed for you.

So it's just a case
of recreating it.

Somewhere as old as that,
the first time that was seen,

birds had been living in it
for years and years and years,

so it needed a real thorough
kind of hazmat clean.

We had to paint the whole thing,

painted all the walls
the darker tones.

We built library shelves
in there, and turned the whole,

kind of top floor
of the courtyard
into Daemon's library.

We created
about 2000 books in the end,

but we cheated it,

because you only see
the front 50 mill of the spine,

and we would cast them out
in biscuit foam,

which is a lightweight material,

and the finish is what
makes it really,

you couldn't tell they weren't
full books in the end.

The library was quite challenging,

but the beauty of it
is when the light comes through

down the center
of the courtyard.

The light that hits
all the different furniture,

and color and leather
and texture and fabric,

is beautiful,
absolutely beautiful.

They are using us.

Refreshing isn't it?

The art department
did an amazing job

that it looked so natural,

and it looks that
it's always been there,

that at the end,
they ask if they can keep it.

You have to work around
the health and safety elements
there that, you know,

people will fall
through the floor

if you have too many people
in that corner.

But we made it work,
and we have to believe it
as we found it,

short of putting
the bird ship back in.

Six was written by Sara Hess,

and Sara and I have worked
together before on House.

She actually wrote
the first episode of television
that I directed.

It was about getting away
from where we had been.

And Pentos is, effectively,
you know, it's kind of--
It's Morocco, it's Ibiza.

It's like-- it's somewhere
far away that's kind of nice,

and you don't really
need to come back from.

It was a little--
just an island, where we
were doing all these scenes.

And it really felt,
in that moment, like we were
far away from everything,

and making this
little domestic drama.

And yeah, it has a really
interesting feeling to it

that I think is different
from everything
that's come before it.

We
are not minstrels or mummers

who play at the pleasure
of an alien prince.

The Pentos story in episode six
is a bit of a short film.

So much was going on in
the Westeros side of the story

that we only had so much
time to devote to it.

So we were like, "Okay,
what are the three or four
key beats that we have to hit?

And how do we dramatize them
in a super efficient way

that feels like you're moving
through a story quickly,

but not that-- just that you're
ticking boxes as you go along?"

This point, that felt natural.

So I think you do it until,
you know...

- Let's do the same thing.
- Yeah.

Honestly, I mean,
I can say this 'cause I
didn't write it, Sara wrote it,

but it's one of my favorite
sequences in the whole show.

But you are more
than this, Daemon.

The man I married
is more than this.

Everyone knows that
Harwin is, in fact, the father
of Rhaenyra's children.

No one will admit it,
because the King
has decreed that it isn't so.

And this is an opportunity
to push Harwin's buttons.

Harwin Strong
is from the Riverlands.

That's where the Trident
all intersects.

He's known to be
an incredible knight.

Strangely enough,
they call him Breakbones

because I think he has
a reputation for breaking
a few bones.

Rowley choreographed quite
an elaborate fight between them.

And I came and had
a look, and said, "No..."

Most fights are over
pretty quickly.

And if someone like Harwin,

who we've established as being
a one punch kinda guy,

if he lays into you and you
are un-protected, it's over.

Your interest
in the princeling's training
is quite unusual, Commander.

Most men would only have
that kind of devotion towards
a cousin, or... a brother...

Or a son.

Harwin gets baited,
and he takes the bait.

It was really stupid.

It's really
an impulsive reaction
to the threat of his family.

Say it again!

Even though he's
very adept at fighting back,
Cole does not fight back.

He takes the blows,
because he wants to expose

Harwin and Rhaenyra
for what they are.

Thought as much.

Ryan and Fabien fight really well.
They're skilled and they listen.

So that's the key to it,
you know?

There's no arrogance there.
They're really easy to work with
and really easy to deal with.

I remember when I first got cast
I was sort of like, you know,

I said to my agent,
I was like, you know,

"The stunt stuff,
I want to do myself.

The sword stuff, let me do it.
Like, I'm happy to do it."

I regretted that two weeks in
after, like, a couple of hours
boxing training with Rowley.

Heaving over in the corner,
trying to catch my breath,

or, like, on take 50
of trying to swing a punch.

It's, um...
It's a lot harder than it looks.

But ultimately, it's like
a dance, it's like choreography.

And then doing that dance
a number of times once
you get there on set.

We are generally
working with actors

that have not had four
or five seasons of experience
on previous seasons.

These guys are all kind
of fresh out of the box,
especially the children.

So you're teaching them
from scratch.

Ryan was helping
me get into that moment.

After seeing it,
it was really cool.

It was
great working with the kids.
They're just happy to be there.

Is there anything greater?

You're getting paid money
to go skip school and learn
to fight with swords.

Say something-- Say
something rememberable.

When children
are involved, it's always--

It's a totally
different situation from
when we're dealing with adults.

Every attempt in every situation
is done to make everything safe,
whether it's adults or children.

There's always that sort
of pang of uncontro

when you're handing
a rubber weapon to a child.

We've done our fight scene.

And we rehearsed that
for months and months
leading up to it.

And it went really well.
It was great.

We've been working with Rowley
and the whole stunt team.

And so, we've been
like training and stuff,
and learning.

And we've also done rehearsals,
so I'm pretty...

I'm pretty set, I think.

Hopefully, I should get it
right on the day.

All these scenes
are like so cool.

As an actor, you know,
you don't get many shows where

you get to be with a dragon
or, like, fight with swords.

So it's gonna be awesome.

Those stunts
are so well choreographed
by the stunt team and Rowley.

And they are amazing.

I mean, they showed us multiple
times that day, and before.

And just seeing them do it,
I was inspired to be as good
as I can, being in that scene.

Yeah, I mean, it's what you
dream about, really, as a kid.

I mean, I remember
being the age of like five
to six and younger,

dreaming about being
that sword fighter
and that hero or villain.

You know, fighting against
my mates, all my boys.

We're doing--
We're doing something--

- You broke--
- You broke our shot!

Fabien, you ruined the shot!

- Sorry, sorry, sorry.
- What are you doing?

Larys found an opportunity
where it would be quite good

to maybe get rid
of some members of his family.

And he can't do it himself,
so he finds desperate people
who have nothing to lose.

So he goes into
the dungeons where he works,
and he finds three prisoners.

And he gives them
the option that,

"You can either
stay here and die,

or you can come work for me
and do some dirty work."

I'm prepared to offer you mercy,

if you're prepared
to pay a little price.

Originally written
as the whole of Harrenhal burns,

reduced to a set which
was not fire retardant.

So we couldn't actually
burn anything in it.

And yet, somehow, it worked.

So we were looking for
some way in which we
could bring this all together.

What if they're just both
on the other side of a door,

and all we make is the door
and the back wall?

And we ended up
with the scene like that.

Harwin!

We're
bringing up the fire effects,

so we see a little bit
of fire and flame.

So we just used
a couple of flame bars,
a bit of smoke machine.

I did some additional lighting
to push some of the warmer light

through the cracks
of the doors, so you--

Suggesting a bit of fire.

So we never actually
see anyone burn.

And we just did
some very simple flame

in the foreground of the camera,
the foreground of the shot.

Gavin was given at least
six proper wrought iron rods
to bang the door with.

And he literally bent
every single one,
which was quite impressive.

They gave me a rubber fire poker,

and I'm hitting this door,
and it just--

It just looked
like a wobbly fire poke.

So they gave me a metal one.

And, you know,
because you're "in the moment,"

I was smashing the absolute
s-h-i-t out of this door.

And I bent this
proper metal poker in half,
screaming at my son.

And I lost my voice.

Harwin!

- Cut!
- Cut.

I've broken the prop.
I can't speak.

This is a nightmare.

So, we did quite
a few takes of that,

which, of course,
Miguel likes to keep
pushing you to the limit.

And he kinda did that day.

- Um, Ryan?
- Yes?

The actor has disabled the door.

Very sad ending for both
of them, but it'll make Larys
a wonderfully-hated villain.

And me and Gav both joke about,
you know, if they need
a Ghost of Harrenhal

or someone else under a mask,
we can always come back
for that later.

Originally, we weren't sure
which episode Harwin and Lyonel
were going to die in.

It was maybe going to be seven.
We weren't sure where to put it.

And we had two deaths by fire,

which felt like it was either
going to be too many deaths,

or you just put them together
and make it a thematic,
side-by-side thing,

which ended up being
the best way to go.

Well, Laena made it
very clear to us, I think,

earlier in the story,
that she doesn't...

she doesn't want to go out
the prescribed way.

She's a dragon rider.
She rides the most
fearsome dragon on Earth.

And she wants to... she wants
to die a dragon rider's death.
I don't think she means tonight.

But, you know,
in Game of Thrones,
you never know when...

when the stranger's
gonna come knocking.

I've reached
the limit of my art.

So, I feel like
the last scene with Laena,

when she decides
to die by a dragon,

is actually the scene
where we see that she

takes control of her life
the first time.

That's kind of the scene, like,
"This is-- I am gonna decide
how I will die.

I'm not gonna die by
some blade of some
contentious surgeon.

I'm gonna die by my dragon,
'cause I'm a dragon rider."

It's like her
going out with a bang.

It's funny, you know,
'cause people always say,

"Oh, that must have been
a really heavy scene to direct."

And I always think to myself,
"Oh, this is gonna be
a really heavy scene to direct."

But generally speaking, one of
the things that lots of actors
are incredibly good at doing,

is when they're
doing emotionally wrought.

Especially kind of distressing
or disturbing scenes,

they find a sense of humor
and levity that gets them
through it.

And that's infectious,
and it creates a very
good atmosphere on set.

And this was no exception.

When Miguel was talking to me
about the scene, he was like,

"So you imagine,
you know, you see Vhagar.

You can imagine that
truck standing there,
that's like Vhagar."

And then he was like,
"No, that's Vhagar's face."

She is huge.

Just to imagine like this
enormous dragon in front of you
was kind of hard.

And then you have this guy
standing with a stick
and a tennis ball.

And, like, that's Vhagar's eye.

And you're like,
"Okay. Let's do this."

I'm happy with the scene,
but it was tough.

It was windy. It was cold.
And I was barefoot
on all the stones.

And there was blood
coming everywhere.

But you just do it.

In those kind of circumstances,
you just go, "Okay, this is so
weird, but I just have to."

Vhagar... Dracarys!

Dracarys!

It's another one
of those scenes where it's a
human and a dragon interacting.

And it's such
an emotional scene.

I'm really hoping they're
just absolutely devastated.

Dracarys...

We had a special effects rig
up on top of...

a bit of scaffolding
that would blast flames.

But obviously,
we couldn't do that
with Nanna in there.

So, she would do
her performance,

then we did all of her coverage.

And then we would
get her out of the way.

And then there was
a representation
of her body shape

out of what looked
like a knight.

It was all steel.

It had a wig
and it had its own costume.

It was doused in fuel, and then
the special effects boys

took great pleasure in blasting
it with a flamethrower.

SPEAKER 2: Mark... Action!

I was laughing when I saw that,
when they put her on fire.

I was like, "That's me!"
But, it looked--

It's gonna be--
It's gonna be interesting to see

how they've managed
to put all the, you know,
different parts together.

We used
a tool there called Cyclops,

which is Unreal-based software
that works on an iPad. So you--

You know, the Apple iPad has
its own motion sensors in there,
and it uses that.

You can load a scene in,

and that scene can be a dragon,
if you want it to be,

and use it as a framing guide
that, you know,

if you tilt up here, that's
where Vhagar's head will be.

So, we tried two things.

We tried, one, actually putting
an iPhone-based version
of the app on the camera.

But most of the time,
it actually was me.

I would, sort of, kneel down
by the camera with my iPad
and discuss with the cameraman,

"Look, if you point this way,
you'll be seeing Vhagar here."

Angus has done a lot of prep work
on those kind of scenes.

So he comes knowing the lenses
that he wants to use,

and the camera angles,
and the distances.

And we kind of work
with him on that.

And the SFX guys have got the
flamethrowers and the torches.

It was...
It was, kind of a fun night,
in a weird way.

We had a wonderful
SFX technician.

He had made
this incredible flamethrower
that he was very excited about.

And we almost couldn't get
the flamethrower out,

which was gonna be really sad,
'cause I would've had
to report back to him,

"Sorry,
didn't use flamethrower."

But instead, we did.

It was a very
interesting experience,

and, surprisingly,
came out quite well.

And three, two, one... Action!

I remember, I was very nervous
coming and doing that rehearsal.

And I remember leaving, I was
like, "This is gonna be fun."

That was a nice memory.