All language subtitles for The.House.That.Dragons.Built.S01E09.720p.HMAX.WEBRip.x264-GalaxyTV

♪ (INTENSE MUSIC PLAYS) ♪

Episode nine changed
the whole history of Westeros.

I don't know if my imagination
can do that.

It's unbelievably uncomfortable.

It's not very pretty.

And the whole time
I was thinking like, "Oh, I just
shouldn't have done that."

And then, this incredible
explosion, an event.

Nine was a script that we
very much enjoyed writing

because it's a thriller,
it's a race against time.

Finally, the King is dead.
And now what?

Viserys' death sets off
this whole domino effect.

Nine was a
completely different ball game.

I mean, basically, it's a coup.

And then, this incredible
explosion, an event.

It starts with a bang,

with this information
getting out,

and the council being called,
and the doors being locked.

ALEJANDRO MARTÍNEZ:
The small council is always lit,
it's always active.

But this was totally a mystery

that they were plotting
the coup.

It may not come to that.

MARTÍNEZ:
A few decisions that we made:

how to shoot it,
what cameras to be following,

to be about the characters,
what everybody's thinking.

So I wanted it to be about them,
about what they were saying.

The King was well last night,
by all accounts.

Which of you here can swear
that he died of his own accord?

MARTÍNEZ:
It's a really dark environment,

with just focus of light
at the table.

My inspiration was a little bit
of The Godfather.

- I will have no part--
- Sit down!

MARTÍNEZ:
There is a murder in between.

It's pretty brutal,
but it's pretty quick,

and then the whole conversation
keeps going.

But the King did not wish
for the murder of his daughter!

- He loved her.
I will not have you deny this.
- He did.

One more word, and I'll have you
removed from this chamber
and sent to the Wall!

Episode nine
is primarily Alicent's story.

It's a good departure for her
because she's seeing her father
for who he has become.

Clare Kilner watched
that first scene in episode one

when her father, Otto Hightower,

sends her in to visit Viserys
in his grief.

And then, in episode nine,
she comes to her father

and basically tells him
to fuck off.

Our hearts were never one.

Rather, I've been a piece
that you moved about the board.

And we sort of drew a parallel
between those two scenes

to show the arc
of what had happened
between the two of them,

from when she was a child
to now,

when she's a woman coming
and saying, "I'm done with you."

Olivia is heaven to work with.

She's a weather system,
you know?

She has such
a vast emotional range

and can access any number
of paradoxical emotions
in one line.

She has an incredible ease
and a deep relaxation

that she can just switch it on
and move into the character.

And blow your socks off,
to be honest.

Reluctance to murder
is not a weakness!

I have Aegon.

We will proceed now
as I see fit!

Cut. Thank you. Great.
Everybody, thanks.

Flea Bottom had been established
in Game of Thrones in Spain,
in Cáceres.

You walk into it,
and it just immediately is
King's Landing.

You can see why
they've shot there before.

And also, it's this thing
about historic towns

which are beautifully renovated
and kept up.

It's very hard to make them feel
down and dirty and seedy

in the way that we want to do
with Flea Bottom.

You're into the red-light
district of King's Landing.

It's the poor neighborhood.
It's rough and ready.

You don't go down there at night

unless you know
what you're doing
and you can handle yourself.

All the windows
were getting covered up

with tatty, old, wooden blinds
or pieces of fabric.

We were spreading dirty
and smelly things around
on the floor.

It's not very pretty.

Aemond has an idea
to go and visit a brothel

that he knows
that Aegon frequents.

They have an
interesting conversation
with the madam there,

who actually, oddly,
was my teacher at drama school.

I was so nervous.
I was acting in front of her
on screen.

Some time last night.

Ah,
I was really liking that one.

One more.

Mark up.

And the whole time,
I was thinking, like,

"Oh, I just shouldn't have
done that."

I think
we got a little glimpse of

the kind of Flea Bottom
that we wanted to portray.

Which is a far more
lawless place than it
used to be.

There's a place
called the "fighting pit",

which is a real sort of
seedy, underground club

where kids fight
and terrible things happen.

And all this really sort of
grim kind of world

that exists beneath the sort of
veneer of royal life.

The fighting pit
was really interesting.

Some of these gruesome scenes
are the funnest to do, weirdly.

We had to get special teeth
that were filed down

'cause the idea is that they
bite and scratch each other.

We had these nails.
We had to dirty the kids up.

I wanted to shoot it almost like

what I imagine a dogfighting pit
or a cockfighting pit would be.

Except it's done
with children.

It's just really sad 'cause
they're really feral as well.

And even the way in which
they're fighting with each other
is very feral.

You know, they look like--
sort of like monkeys
or something.

you know, going at each other.
It was nuts!

We auditioned children

from local Judo and
Brazilian Jiu-Jitsu clubs.

And then we just
worked with them,

and we choreographed their
own individual fight beats.

It was more about
having them looking feral,
screaming, growling, snarling,

than it was about the fighting.

It was
a very animalistic atmosphere
and energy in there.

Which was nice 'cause it was
showing the unhuman element

towards Aegon and where he
was hanging about.

And I think that scene played
a big role on the episode.

Because we need to know
what kind of a king
we're about to get.

Do you see now, what he is?
You've not seen everything.

Aegon's?

One of many, I'd wager.

INTO THE HEAVENS

The Grand Sept was another
environment that we used
the Volume for.

The key with
the Volume seems to be

that you have elements of
built scenery,

which separate us and the actors
and the action

from the actual screens
of the Volume.

In terms of set dressing,

there isn't much that
we can put in there, really.

Because you can't hang things
from the ceiling or the walls.

You are restricted within
a certain space.

Basically,
we put all the foreground in,

and then the screen behind
takes over.

I mean, it's pretty impressive,
innit, when you look at it.

It's the religious center
for the Faith of the Seven.

And I wanted the idea that

you look down the point
of each star,

and there was the statue
of each face.

It was beautiful
because it has such strong
light shafts in it.

The influence was
Daniel Libeskind's design for
the Jewish memorial in Berlin.

That was particularly impressive,

with his use of light,
with these high, slat-y windows,

which just shafted light through
into the center

and took you out of the space
and into the heavens.

I do regret this, friend.

This is a new Grand Sept.

This is not the one
that we see get blown up

in season six
of Game of Thrones.

This is 200 years before it.

At this point, the
Sept of Baelor doesn't exist.

So we've built it as a CG asset.

We see it in our King's Landing
environment that we've created.

Fortunately,
we found a great courtyard.

But we were replacing
so much stuff,

we ended up building quite
an extensive green wall there.

When we arrived in Spain,
and I saw

those steps and that plaza,

it made me think
of Romeo and Juliet.

And I just got obsessed
with those steps,

and how could we choreograph
something on them.

So we planned a sword fight.

Action.

You won't win.

The boys loved that scene,

and they threw themselves
into it.

They wanted to jump over
the bannisters and the railings.

They were just really good
at doing

their own fighting
and some of their stunts.

They really worked hard
with Rowley

to get those sword fights right.

That's when it's just fun.

A fight is normally five
or six punches or kicks.

And a sword fight
is normally five or six strikes.

So we have to try
and find a way

of making those moves
look interesting and exciting.

Because there's not
an infinite variation
of what we can do.

It was like
a crash course, basically,

in sword fighting 'cause we'd
never done it before.

We've obviously done
martial arts in the past.

It was just kind
of getting our style
and flavor into the sword fight.

But to be fair, I think we took
to it quite well, innit?

I enjoy doing that side of thing anyway.

All the physical stuff like
that, I think, is all good.

TOM GLYNN-CARNEY:
We have a bit of a scrap
on the floor,

Aemond and I,
and, uh, it gets pretty heated.

Let go of me!

We really wanted to make it
into, like, a sibling hatred.

And we thought, "What if Aegon
spits in Aemond's face?"

Me and Tom
are like-minded people.

We knew that we were gonna go
and give everything that we had
to that scene.

GLYNN-CARNEY:
There's a bit where he grabs me,
and I said to him,

"I'm gonna bite
your hand there."

And he goes, "Yeah, yeah, yeah.
No, lovely, lovely. We'll have
more of that. Yeah, yeah."

I was on board, yeah.

Ah, great. Brilliant.

APPLAUSE, CLAMORING)

We've seen the dragon pit
in Game of Thrones.

But this is, of course,
200 years before,

so there is a full version
of the dragon pit.

One of the sets
you could never build.

You'd use
your whole budget to build that.

It's 250 foot long,
120 foot wide.

That is still only a fraction
of the floor space.

What we ended up doing
was building component pieces
of the dragon pit.

One of the key elements being
the embossed, carved,
bronze doors.

And action!

Those were one
of our favorite jobs here.

We wanted to have lots
of busyness in them

'cause when you make
something big,
they can be very bland.

So we wanted to keep the drawing
in them quite simple,

so you could see from a distance
what they were.

But when close up,
they wanted a lot of detail.

There's lovely bits of sea.

There's some of the walls,
some of the castles are great.

And even, you know, there's
a sunburst in one of them.

We're just having a bit of fun.

And, of course,
the doors were only

a third of the size
of what they would truly be.

So we know that the effects
are gonna have to add

the last two-thirds
of the doors.
So that is all blue screen.

ALEJANDRO MARTÍNEZ:
The effects was a big,
big part of it.

Many conversations we had
about what we could do,

couldn't do, how to do
what we wanted to do.

Logistically,
we were working in different
parts of the dragon pit.

And we couldn't put them exactly
where they were in relation
to each other.

So we had a number of problems.

For example,
when we'd shoot one end
of the dragon pit,

we could never look
towards the doors.

So, we had to have a blue screen
in front of the doors

because we had to add
perspective to it.

Plus, having that
separation from reality of
working in a blue environment,

and having to keep people aware
of what they're looking at,

and have an understanding
of what's going on.

The scenes were concepted
so that when you're on the stage
in this space,

everybody can see
what you're actually looking at.

And we can
lock the two worlds together,

so that then, anyone who wants
to interact with it

can see a view through
camera with the creatures,
with the set extensions...

They can walk the set and see it
all in stereo on the glasses.

Basically, anything that's not
there now, that's important
to the composition of the frame,

then that's what we
provide solutions for.

GLYNN-CARNEY:
And it was the full 360 thing,

the way that they wanted
all the shots in.

All the shots were included.

That was one of those
moments where I was like,
"Oh! We're doing it."

With COVID, we couldn't have
that many people in there,

so it's a lot of
adding CG people,

but also a
full CG environment around them.

GLYNN-CARNEY:
And there was a big line,
over 100 supporting artists,

who were playing soldiers,
with swords in the air,

creating this, sort of, archway
for me to walk under.

But I kept being reminded
by people that these extras

are gonna be multiplied,
and multiplied, and multiplied,
and multiplied.

And they're gonna go for miles.
And they're gonna be up
in the balconies.

There's just gonna be
hundreds of thousands of people.

And I'm thinking, "Oh, my God!
I don't know if my imagination
can do that."

Cut!

- Cut there.
- Okay. Let's, um, let's do the
fallback now.

The crown of the conqueror
passed down through generations.

Aegon's crown
is a 3D-printed item.

3D printing is quite interesting
'cause it's resin that's then
copper-plated,

and then nickel-plated,
and then iron-plated
to get this look.

It's quite an in-depth
experience to get to this point.

And leather on the inside
to make it a little bit more comfortable.

And it definitely...
doesn't fit me.

I wish it did.

Aegon Targaryen is the true heir
to the Iron Throne.

This is the
coronation scroll holder,

which the septon will open
when they crown Aegon.

The item goes back and forth
between us and Graphics
for its sizes, looks...

I quite like how things
bounce around all the time

and how many people end up being
involved to get this thing done.

I'm very interested
in the design and construction
of movie props,

and swords in particular.

And there are three Valyrian
steel blades in this
particular story.

The first of those
is Dark Sister.

And that ends up in Daemon's
hand when he's given it for his
prowess on the tournament field

as a knight and a dragon rider.

The second sword is Blackfyre,
that all the Targaryen kings
carried and wielded.

You know, Jaehaerys and Viserys
and, of course, Aegon himself.

So, I hunted down
Peter Johnsson,

knowing that he was a real
sword designer, and said, "Hey!

Can you create something
that is a real weapon

that looks like it's from
this fantasy world
that we're creating?"

When you make a sword,

the first priority is to make it
purposeful and well-balanced.

But a sword is also
an object of power,

and it has to express this power
in its design.

And to show that these
Targaryens took on the faith
of the seven gods,

everything is built
from this circle with
the seven-pointed star.

So, everything is held together
by this geometry.

A mystical way to bind the power
of those seven gods

and the symbol of the dragon
into these objects.

When we make a weapon,

we always make it for real
for the filming.

And then we will produce
rubber versions from that.

And we might make
hard versions,

we might make soft versions,

depending on what
the stunt requirements are.

Peter had used Damascus steel
to make the Blackfyre sword.

So, step by step,
we engineered the blade

and then transfer that
into vector files.

Then, to print that out,
lay the vinyls on,

peel the sections off,
you then lay it

into the acid
to let it eat away

at the open metal.

So much effort's gone
into the blade at this point

and it can just go wrong
by putting it all in acid.

Luckily, we got some
really fantastic blades.

♪ (TENSE MUSIC PLAYS) ♪

Out of the way!

The old one
that people should recognize

is the famous Catspaw Dagger
that we first met in season one

of the original Game of Thrones,
the dagger

that is put into catspaw hand
to go murder Bran Stark

after his fall off the roof
and after witnessing

Jaime Lannister
and Cersei Lannister together.

We actually got the original
catspaw dagger flown over.

We looked at it, measured it,
and we decided

to reduce it slightly,
but it's got

the same silhouette.

But it has a different feel
in the way

it's been manufactured.

And the thought was, you know,
between now and then

it may have been re-hilted,
but at the end of the day

it's got the dragon bone hilt
and the same

Valyrian steel blade.

And we just really like
this idea

that the dagger that ends up
passing through hand

after hand after hand,
was a nice way

to tie the two series together.

It doesn't matter.

What do you mean,
"It doesn't matter"?

I don't want it.

♪ (TENSE MUSIC CONTINUES) ♪

We knew we needed
a penultimate scene.

There had been this kind of,
"Oh, will it be the coronation?"

et cetera, and I just kept
thinking to myself,

"We gotta do better than this."

I just remember we were
in the writer's room one day

and I was like,
"It would be awesome

if Rhaenys just came through
the floor on a dragon!"

The visual of it was so powerful
and so much fun.

It went in immediately
and we never looked back.

Once Meleys shows up
and all hell breaks loose

then it's a lot of destruction,
a lot of dust and splinters

and pure chaos.

It's huge, that sequence.

Because there's lots
of physical simulations to do.

First of all,
you're building an environment.

You've got CG crowd work,
simulated dust clouds,

et cetera in there.

So it's a lot of work,
a lot of integration.

Oh, there she is.
There's the door, and...

You have Rhaenys on the buck
and it's such

a brilliant showdown
between her and Alicent

that's not verbal at all,
it's purely in the eyes.

MARTÍNEZ:
When previzing, drawing,
and storyboarding and shooting,

you have to consider dragons,
although they're not even there.

Any time there's a dragon
in the scene all hilarity

ensues among the cast
because, of course,

there's never a dragon.

Trying to act opposite
a man holding a stick

with a ball on it
with a dragon...

And me shouting, "Okay, Olivia,
the dragon's gonna get you,

it's gonna take a breath."
And then we'd have SFX

blow the dragon breath
on Olivia's hair,

and Olivia's hair would just
like shoot back.

It takes every ounce
of creative imagination

going on inside your head
for that to work.

Rhaenys is a Targaryen,
so I use the color red and black

for the armor.

It was a really nice one to make
in that it's quite understated,

it's deliberately very elegant.

It obviously shows wealth
and power,

but it's not too in-your-face
in that regard.

But it was probably 10-12 weeks
in terms

of modeling
to get the form right.

It's all perfectly tailored
to her shape

which involved a lot
of repeat fittings.

Which, I'm told, looks amazing,
it's unbelievably uncomfortable.

One of the nice details
that we managed to incorporate

was the talon scales
on the front of the chest.

Was just a nice little,
really subtle visual clue

that, you know, you just need
to be a little bit careful

who you're gonna mess with.

We wanted
a triumphal moment for her

at the end of the season
and we see her

being the one that's going
to take the news to Dragonstone

of the coup and of
Rhaenyra's throne being stolen.

It was a great heroic moment
for her character.

When she wasn't picked
in Harrenhal

right at the beginning,
I think inside,

her spirit wanted to get
on a dragon

and burst through the ceiling
and say, "Fuck you all!"

For me, it's all
about how can we get

to the core of a character
and express that visually,

so it can go out to an audience
and they can feel

a little bit of what
those characters are feeling

and go through their journey
with them.

MARTÍNEZ: Episode nine
was my absolute favorite.

It has an evolution,
it starts

with a very specific event
and it ends

with another one that changed
the whole history of Westeros.

It's got all the hallmarks
of an iconic Thrones sequence.

It was just big.