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1
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And... action.
2
00:00:36,917 --> 00:00:42,083
We faced those icy fucks,
3
00:00:42,166 --> 00:00:45,458
looked right
into their blue eyes...
4
00:00:55,041 --> 00:00:56,834
The feast was
a wonderful sequence.
5
00:00:56,917 --> 00:00:58,625
It was seventeen pages long,
6
00:00:59,125 --> 00:01:00,125
in one room,
7
00:01:00,458 --> 00:01:02,375
and many different things
going on.
8
00:01:02,917 --> 00:01:04,226
That was really fun,
9
00:01:04,250 --> 00:01:06,667
the feast scene being
one of the first scenes we shot.
10
00:01:06,959 --> 00:01:08,083
And... Act...
11
00:01:09,917 --> 00:01:12,083
We had a room full
of cast,
12
00:01:12,166 --> 00:01:15,291
and it was like coming back
to school on the first few days,
13
00:01:15,375 --> 00:01:17,875
when everyone's just so hyper
to be back.
14
00:01:18,208 --> 00:01:20,000
We were, like, having fun,
cracking jokes,
15
00:01:20,083 --> 00:01:21,667
like, having a really good time.
16
00:01:21,750 --> 00:01:22,917
Yeah, it was good fun.
17
00:01:23,000 --> 00:01:25,875
You didn't know
Denmark was a country
18
00:01:25,959 --> 00:01:27,375
till you met Nikolaj?
19
00:01:27,458 --> 00:01:28,658
How f...
20
00:01:28,917 --> 00:01:30,518
For characters
like me, it's great, you know?
21
00:01:30,542 --> 00:01:31,917
You get to relax
for a little bit,
22
00:01:32,000 --> 00:01:33,625
you know, have a drink,
23
00:01:34,125 --> 00:01:35,417
hang out will my pals.
24
00:01:35,500 --> 00:01:38,250
And obviously after what
happened in Season 3,
25
00:01:38,333 --> 00:01:43,458
rumors obviously got around
that he's, uh, talented, so...
26
00:01:46,291 --> 00:01:48,184
Yeah, there's...
there's that, that's...
27
00:01:48,208 --> 00:01:49,417
It's holiday time for Pod.
28
00:01:49,500 --> 00:01:52,250
Of course, it's horrible that
so many people has died,
29
00:01:52,333 --> 00:01:54,333
but still, the show must go on.
30
00:01:54,583 --> 00:01:57,917
Life must go on, you have to
celebrate it somehow.
31
00:01:58,375 --> 00:02:01,667
So, the only way is to get
very drunk
32
00:02:01,750 --> 00:02:05,750
and to have a lot of fun.
33
00:02:06,375 --> 00:02:09,125
To Arya Stark,
the hero of Winterfell.
34
00:02:11,417 --> 00:02:15,792
That feast scene in episode 4
is... that was a bitch.
35
00:02:15,875 --> 00:02:18,667
That was a bitch to plot out,
it was a real bitch to shoot,
36
00:02:18,959 --> 00:02:21,625
and it's because so much
of the scene,
37
00:02:21,709 --> 00:02:24,458
like a lot of, I think, the best
scenes on Game of Thrones,
38
00:02:24,542 --> 00:02:26,083
are about what's not being said.
39
00:02:28,875 --> 00:02:32,083
If you turn off
the sound on that scene,
40
00:02:32,875 --> 00:02:35,166
the hope would be that you're
really following
41
00:02:35,250 --> 00:02:36,458
all of the emotional arcs
42
00:02:36,875 --> 00:02:38,726
through the looks that all the
characters are giving to each other
43
00:02:38,750 --> 00:02:40,142
and that's very difficult
to pull off,
44
00:02:40,166 --> 00:02:42,333
and it takes a director of
precision like David Nutter,
45
00:02:42,417 --> 00:02:44,709
it takes actors
of extraordinary intelligence
46
00:02:44,792 --> 00:02:46,291
and empathy and patience.
47
00:02:47,125 --> 00:02:49,875
And it takes writers like David and
Dan who can really structure it.
48
00:02:50,625 --> 00:02:51,500
Yeah.
49
00:02:51,583 --> 00:02:52,750
That was a fun sequence.
50
00:02:53,166 --> 00:02:54,375
We had to catch all these,
51
00:02:55,125 --> 00:02:59,417
"You looking at him looking at you, but you're
not seeing me looking at him looking at you."
52
00:03:00,041 --> 00:03:02,208
A lot of glances,
and that happens at parties.
53
00:03:02,792 --> 00:03:05,583
I had to do this in a way
that everything's connected,
54
00:03:05,667 --> 00:03:07,250
but also,
everything's not connected.
55
00:03:07,583 --> 00:03:09,875
So, it's all about a question
of where you put people
56
00:03:09,959 --> 00:03:11,291
and how you set it up.
57
00:03:13,375 --> 00:03:15,792
So, the plan which
David came up with was:
58
00:03:15,875 --> 00:03:18,709
you put them into groups
and isolate them to a degree,
59
00:03:19,125 --> 00:03:20,709
which we can do
with camera angles,
60
00:03:20,959 --> 00:03:23,667
so that once a certain group
has shot out its piece,
61
00:03:24,208 --> 00:03:26,917
we have them travelling up the hall
which connects to the next group.
62
00:03:27,000 --> 00:03:29,166
So, just clever choreography.
63
00:03:30,375 --> 00:03:32,834
As far as
the lighting, it's always tough
64
00:03:32,917 --> 00:03:35,291
because you want...
you have all those people eating,
65
00:03:35,709 --> 00:03:36,976
you want it shot multiple-camera
66
00:03:37,000 --> 00:03:39,500
because there's
multiple people talking,
67
00:03:39,583 --> 00:03:42,291
and so you wanna create
something that is flexible.
68
00:03:42,542 --> 00:03:44,458
So, my trick was candles.
69
00:03:46,125 --> 00:03:48,500
What we did, we built
some boxes under the candles,
70
00:03:48,583 --> 00:03:52,083
like some little riser,
and inside I had little lights,
71
00:03:52,333 --> 00:03:55,333
so the light was coming from
the glow inside the table
72
00:03:55,417 --> 00:03:57,583
and not just
a general top light.
73
00:03:58,959 --> 00:04:00,935
Most of our
drama scenes were action scenes
74
00:04:00,959 --> 00:04:03,267
simply in terms of the number of
bodies that we had on the ground.
75
00:04:03,291 --> 00:04:06,375
When you have that many moving
parts, it's always going on
76
00:04:06,458 --> 00:04:09,041
and you're always painting
a picture behind the actors
77
00:04:09,125 --> 00:04:12,208
who are giving the dialogue
or walking through the frame.
78
00:04:13,917 --> 00:04:18,125
If I was to try and find
you and Dan somewhere in the episodes,
79
00:04:18,333 --> 00:04:19,542
would I be able to?
80
00:04:19,625 --> 00:04:21,291
Uh, I think, maybe.
81
00:04:21,375 --> 00:04:26,208
A mad man! Or a king.
82
00:04:33,792 --> 00:04:34,667
Cut.
83
00:04:34,750 --> 00:04:37,250
Please take the juice
out of this cup.
84
00:04:38,667 --> 00:04:40,309
Leave it in there,
leave it in, it's good.
85
00:04:40,333 --> 00:04:43,458
We're there.
Well hidden.
86
00:04:43,542 --> 00:04:45,792
- Well hidden?
- Yeah... Giant beard.
87
00:04:47,333 --> 00:04:51,208
Uh, I was concerned we were going
to ruin that, but I don't think we did.
88
00:04:53,917 --> 00:04:56,041
Yeah, let's give some notes
to the director.
89
00:04:56,667 --> 00:04:58,542
What a day
at Wildling University.
90
00:05:03,750 --> 00:05:04,750
Sean...
91
00:05:04,875 --> 00:05:07,125
I'd smile but my beard...
my beard will pop off.
92
00:05:18,625 --> 00:05:21,375
The funeral pyres were a big
undertaking for us.
93
00:05:21,750 --> 00:05:24,792
They were wood construction
over a metal frame,
94
00:05:24,875 --> 00:05:27,792
that being because Sam Conway,
special effects,
95
00:05:28,041 --> 00:05:30,875
had to have burn rigs
inside all of these pyres
96
00:05:31,083 --> 00:05:35,000
to be able to burn them
at different... at varying rates.
97
00:05:35,083 --> 00:05:36,709
The heroes lying down,
98
00:05:36,792 --> 00:05:38,834
we did a process
of toughened glass
99
00:05:38,917 --> 00:05:41,041
and bulletproof plastic
underneath.
100
00:05:41,750 --> 00:05:45,041
And then the hero would go in
and put the torch
101
00:05:45,125 --> 00:05:46,166
underneath the actor,
102
00:05:46,667 --> 00:05:49,307
uh, and then you'd see...
beneath them, you'd see the flames spread.
103
00:05:49,750 --> 00:05:52,959
There would be flame
reacting around the sides of them,
104
00:05:53,041 --> 00:05:54,375
but not actually touching them.
105
00:05:54,625 --> 00:05:57,208
But because you're seeing the
flame through glass,
106
00:05:57,417 --> 00:05:59,875
for all intents and purposes
you're seeing flame,
107
00:06:00,083 --> 00:06:02,083
which is really extraordinary.
108
00:06:03,834 --> 00:06:06,625
Once we'd finished with the
real people in the funeral pyres,
109
00:06:06,709 --> 00:06:09,041
they were switched out
by the props department
110
00:06:09,125 --> 00:06:10,583
for burning bodies,
111
00:06:10,667 --> 00:06:12,166
chicken wire bodies
that were costumed
112
00:06:12,417 --> 00:06:15,333
'cause we were actually setting
fire to the funeral pyres for real.
113
00:06:16,000 --> 00:06:18,709
It was a huge burn,
in terms of fire.
114
00:06:19,041 --> 00:06:21,500
So, we had fire support,
medical support,
115
00:06:22,291 --> 00:06:24,333
and that was the classic,
116
00:06:24,417 --> 00:06:26,959
biggest, widest shot
of Winterfell,
117
00:06:27,208 --> 00:06:30,583
with the hugest effect
in the front of it.
118
00:06:32,959 --> 00:06:35,519
What I remember is that it
was incredibly hard to put out,
119
00:06:35,750 --> 00:06:38,125
which... I did say it would
be very difficult to put out.
120
00:06:40,250 --> 00:06:41,250
Gets very hot.
121
00:06:41,583 --> 00:06:43,834
Everyone has to move back
'cause they feel the flames.
122
00:06:44,834 --> 00:06:47,709
I knew the shot was over
when I saw Bran running past me.
123
00:06:47,792 --> 00:06:51,625
I was like,
"Well, it's gotta be over
124
00:06:51,709 --> 00:06:53,333
if Bran's started
to walk again."
125
00:06:58,709 --> 00:07:00,917
Episode three
is such a massive battle,
126
00:07:01,000 --> 00:07:02,959
and so many people
fall during that episode,
127
00:07:03,041 --> 00:07:05,250
and part of that is about
our heroes, you know,
128
00:07:05,333 --> 00:07:06,559
the characters
that we really know,
129
00:07:06,583 --> 00:07:08,709
and part of it is just seeing
the sheer number
130
00:07:08,792 --> 00:07:09,917
of other folks who fell.
131
00:07:10,166 --> 00:07:13,625
We've got real pyres that were
built by our department,
132
00:07:14,250 --> 00:07:17,041
and then the VFX team
extended them so you can see
133
00:07:17,125 --> 00:07:20,458
there's actually thousands
and thousands of fallen.
134
00:07:35,041 --> 00:07:37,142
So, what was important
with respect to the funeral
135
00:07:37,166 --> 00:07:38,875
on episode four
was the fact that...
136
00:07:39,375 --> 00:07:40,917
I wanted to make sure that...
137
00:07:41,375 --> 00:07:43,458
there's some big-scope stuff
that was important,
138
00:07:43,542 --> 00:07:45,434
but also, there were some
really intimate moments
139
00:07:45,458 --> 00:07:47,418
between the characters
that I didn't want to lose.
140
00:07:47,625 --> 00:07:50,959
There was a moment in which
Dany says goodbye to Jorah,
141
00:07:51,375 --> 00:07:53,750
where Sansa says goodbye
to Theon,
142
00:07:53,834 --> 00:07:55,125
so I wanted to make sure that...
143
00:07:55,333 --> 00:07:57,917
that was really covered
in the proper fashion.
144
00:07:59,291 --> 00:08:00,375
That was really hard.
145
00:08:00,709 --> 00:08:04,208
I remember right before my take,
146
00:08:04,417 --> 00:08:06,125
putting the pin on Alfie,
147
00:08:06,583 --> 00:08:09,291
David Nutter came up,
the director, and he was like,
148
00:08:09,375 --> 00:08:11,291
"You never got to say goodbye."
149
00:08:11,375 --> 00:08:13,166
"And you never told him...
150
00:08:14,166 --> 00:08:17,083
that you saw him as a Stark."
151
00:08:17,458 --> 00:08:19,208
And then I was, like, bawling,
152
00:08:19,291 --> 00:08:21,208
because I'm thinking, like,
153
00:08:21,291 --> 00:08:25,166
I will never properly
get to say goodbye to Alfie
154
00:08:25,250 --> 00:08:27,750
as Theon. Like, that will be
so crazy.
155
00:08:27,834 --> 00:08:29,291
It was something in which...
156
00:08:30,083 --> 00:08:32,583
We all have situations
in our life,
157
00:08:32,667 --> 00:08:34,041
where people die
at the wrong time,
158
00:08:34,125 --> 00:08:36,667
and things happen
before you expect it to happen,
159
00:08:36,750 --> 00:08:37,959
where you say to yourself,
160
00:08:38,041 --> 00:08:40,500
"I wish I had said this,
I wish I had done that."
161
00:08:40,959 --> 00:08:42,166
So, I wanted to make sure
162
00:08:42,250 --> 00:08:44,375
that there was something
gnawing at her.
163
00:08:47,125 --> 00:08:50,792
She took that nugget,
made it into something special.
164
00:08:51,000 --> 00:08:52,226
She's that great of an actress.
165
00:08:52,250 --> 00:08:54,291
She really did a tremendous
job there with that.
166
00:08:56,041 --> 00:08:57,500
The emotion was easy to capture
167
00:08:57,583 --> 00:08:59,875
because the emotion was...
was very real.
168
00:08:59,959 --> 00:09:01,839
These are people who have been
working together,
169
00:09:01,875 --> 00:09:03,625
some of them for 10 years.
170
00:09:04,291 --> 00:09:07,041
Yeah, it was
a very difficult thing
171
00:09:07,125 --> 00:09:08,417
to say goodbye.
172
00:09:08,500 --> 00:09:10,417
Even if the ceremony
was fictional,
173
00:09:10,500 --> 00:09:15,000
the goodbye and the emotions
in the goodbye were very real.
174
00:09:23,208 --> 00:09:25,625
The new Scorpion
this year is phenomenal.
175
00:09:25,875 --> 00:09:27,041
The thing with Dave and Dan,
176
00:09:27,125 --> 00:09:28,434
they just want
to scale everything up.
177
00:09:28,458 --> 00:09:30,917
Everything had to be
better, bolder, for this year.
178
00:09:31,834 --> 00:09:33,583
I was hoping to use
the same one again,
179
00:09:33,667 --> 00:09:35,625
thinking, "Oh, it was great
last year."
180
00:09:35,709 --> 00:09:37,125
I mean, what could you
possibly...
181
00:09:37,208 --> 00:09:38,375
What more could you want?
182
00:09:43,542 --> 00:09:47,083
We saw in Season 7 that Qyburn
had invented this Scorpion,
183
00:09:47,166 --> 00:09:48,917
this giant, dragon-killing
Scorpion,
184
00:09:49,000 --> 00:09:50,375
and it didn't quite work.
185
00:09:52,583 --> 00:09:54,250
So, Qyburn went back
to the drawing board,
186
00:09:54,333 --> 00:09:57,166
and he made an even larger,
more powerful Scorpion.
187
00:09:58,834 --> 00:10:00,393
What we need
to create with this one
188
00:10:00,417 --> 00:10:03,000
is to make it bigger, stronger,
and a bit more dynamic.
189
00:10:03,083 --> 00:10:06,583
It's 65 percent bigger
than we did previously
190
00:10:06,667 --> 00:10:07,667
on Season 7.
191
00:10:07,959 --> 00:10:11,166
Euron has added a few
little touches for himself.
192
00:10:11,917 --> 00:10:12,959
The seat on the back,
193
00:10:13,041 --> 00:10:16,709
and added four more cross limbs
for more power
194
00:10:16,792 --> 00:10:18,041
and a bit more... madness.
195
00:10:18,709 --> 00:10:22,000
The bolts are a nice design,
a bit more of a barbaric style.
196
00:10:22,083 --> 00:10:24,500
When you see it first,
it'll be in this closed mold,
197
00:10:24,583 --> 00:10:26,083
and when you see it
the second time,
198
00:10:26,166 --> 00:10:27,709
once it fires the projectile,
199
00:10:28,166 --> 00:10:31,709
it leaves the limb,
it opens up, and it rotates
200
00:10:31,917 --> 00:10:34,208
so it'll rip open
anything that it hits.
201
00:10:36,291 --> 00:10:39,917
It's absolutely incredible work.
202
00:10:40,000 --> 00:10:42,458
The whole production this season
is just amazing,
203
00:10:42,542 --> 00:10:44,917
what they've been creating
for us actors.
204
00:10:45,208 --> 00:10:49,041
You really feel that you're part
of the biggest show in the world
205
00:10:49,125 --> 00:10:50,792
when you're sitting
on a Scorpion
206
00:10:50,875 --> 00:10:52,792
and everything is just
going around.
207
00:10:52,875 --> 00:10:56,041
You really feel... wonderful.
208
00:10:56,417 --> 00:10:57,959
We have Euron
sitting on the seat,
209
00:10:58,041 --> 00:10:59,959
he's in the back,
he's like king of the castle,
210
00:11:00,041 --> 00:11:02,417
being swung around
by four brutes.
211
00:11:03,083 --> 00:11:05,125
So these guys are lifting him
up and down,
212
00:11:05,208 --> 00:11:07,125
doing the trajectory
left and right.
213
00:11:07,500 --> 00:11:09,083
But he loved it. He loved it.
214
00:11:09,166 --> 00:11:10,686
He'd have been
still on it if he could.
215
00:11:13,000 --> 00:11:14,625
I'm gonna be brutally honest.
216
00:11:15,250 --> 00:11:16,750
I've talked to my wife about it.
217
00:11:16,834 --> 00:11:18,625
'Cause you have to talk
to someone, right?
218
00:11:18,709 --> 00:11:20,208
And I've mentioned to my wife,
219
00:11:20,542 --> 00:11:23,000
"How awesome is it
that I killed a dragon?
220
00:11:23,083 --> 00:11:24,750
And I killed it
with a Scorpion."
221
00:11:26,709 --> 00:11:30,291
Episode 4 has this little
thing called Rhaegal's death.
222
00:11:33,750 --> 00:11:35,625
And his demise
223
00:11:35,709 --> 00:11:39,959
is some of the gnarliest-looking
animation I've ever seen,
224
00:11:40,041 --> 00:11:43,917
where they did an amazing job
putting that together.
225
00:11:51,208 --> 00:11:53,834
In the end,
we have a couple of shots
226
00:11:53,917 --> 00:11:56,166
of the destruction
of Dany's ships.
227
00:11:56,625 --> 00:12:00,041
So again, we kind of are in
a completely digital scenario
228
00:12:00,125 --> 00:12:02,667
to sort of show how these boats,
up close,
229
00:12:02,959 --> 00:12:05,917
puncture into the ship
and tear it apart.
230
00:12:07,125 --> 00:12:10,083
And the last shot
is a very special one.
231
00:12:10,166 --> 00:12:12,917
It's one of Tyrion
having this long shot,
232
00:12:13,000 --> 00:12:14,625
running across the deck.
233
00:12:16,458 --> 00:12:19,083
That was another oner,
but kind of a cheated oner.
234
00:12:19,583 --> 00:12:20,935
So we had him
running around the deck,
235
00:12:20,959 --> 00:12:22,750
we had some physical
effects there,
236
00:12:23,000 --> 00:12:25,667
- but a lot of it we did later.
- ...2, 1, go!
237
00:12:26,125 --> 00:12:27,917
Love it. Love it.
238
00:12:28,000 --> 00:12:29,959
Um, and when they're done
in one shot,
239
00:12:30,041 --> 00:12:32,500
like this is,
one continuous thing,
240
00:12:32,834 --> 00:12:35,333
it doesn't let the viewer
off the hook.
241
00:12:36,458 --> 00:12:38,917
All the boat work for Game of Thrones
242
00:12:39,000 --> 00:12:41,959
essentially is done
on a set piece
243
00:12:42,041 --> 00:12:43,681
that's out in this location
in Bainbridge.
244
00:12:43,750 --> 00:12:46,625
Everything that you've ever seen
on a boat in Game of Thrones
245
00:12:46,709 --> 00:12:49,542
where people are standing,
walking or talking on a boat
246
00:12:49,625 --> 00:12:50,959
has been done on that ship.
247
00:12:51,041 --> 00:12:54,083
It's surrounded by green screen,
and everything around the boat
248
00:12:54,166 --> 00:12:56,792
will have to be replaced
with CG water
249
00:12:56,875 --> 00:12:58,125
or water photography.
250
00:12:58,375 --> 00:13:01,583
And then at one point,
the railing gets blown away,
251
00:13:01,667 --> 00:13:05,750
which the section that gets
blown away is actually CG, so,
252
00:13:05,834 --> 00:13:07,583
when all the pieces
come together,
253
00:13:07,667 --> 00:13:09,000
you see the special effects,
254
00:13:09,083 --> 00:13:11,709
you see the CG,
a lot of atmospherics,
255
00:13:11,792 --> 00:13:13,667
you see Peter
going up to the water,
256
00:13:13,750 --> 00:13:15,542
it's a pretty spiffy moment.
257
00:13:32,291 --> 00:13:34,458
The King's Landing city wall and gates,
258
00:13:34,542 --> 00:13:36,959
we sort of saw this
as a sort of fortification
259
00:13:37,041 --> 00:13:39,000
around the whole
of King's Landing,
260
00:13:39,709 --> 00:13:42,208
loosely based around
the walls of Dubrovnik,
261
00:13:42,542 --> 00:13:45,875
which have a particular
sort of style to the stonework
262
00:13:45,959 --> 00:13:48,333
which we were trying
to hint at.
263
00:13:49,667 --> 00:13:51,417
By the time
the platforms are on,
264
00:13:52,000 --> 00:13:55,250
we're looking at not far off
from about 57 feet,
265
00:13:55,333 --> 00:13:58,667
56, 57 feet to the top
of the platforms.
266
00:13:59,250 --> 00:14:04,208
The towers are 49 feet high,
the wall is about 200 feet long.
267
00:14:06,583 --> 00:14:08,291
The King's Landing parlay,
268
00:14:08,583 --> 00:14:11,041
the challenge is the size
of the set.
269
00:14:12,333 --> 00:14:14,667
So we quickly decided
and convinced everybody
270
00:14:14,750 --> 00:14:17,500
that most of the close-up work
would be done
271
00:14:17,583 --> 00:14:21,041
on a separate set piece that
would be built on the ground,
272
00:14:21,125 --> 00:14:23,000
right on the ground,
and would put them
273
00:14:23,083 --> 00:14:24,750
probably at about eight feet up.
274
00:14:25,083 --> 00:14:27,834
So you're able to talk
to the actor,
275
00:14:27,917 --> 00:14:29,250
bring the camera in at a proper,
276
00:14:29,542 --> 00:14:31,500
you know, reasonable level
to be able to achieve
277
00:14:31,583 --> 00:14:33,458
- all the shots we had.
- Stand down!
278
00:14:33,542 --> 00:14:36,125
But it's a little bit of,
you know, Hollywood magic.
279
00:14:37,041 --> 00:14:39,542
Another challenge
was that, of course, this set...
280
00:14:39,625 --> 00:14:42,542
is incredibly visible
from the surrounding area.
281
00:14:42,625 --> 00:14:44,875
I mean, and the big concern,
282
00:14:44,959 --> 00:14:47,625
of course for this season
more than ever,
283
00:14:47,709 --> 00:14:49,709
was the secrecy of the plot.
284
00:14:49,792 --> 00:14:53,041
In other words, um,
we wouldn't want to give away
285
00:14:53,125 --> 00:14:55,875
that Missandei
is going to be executed,
286
00:14:55,959 --> 00:14:59,208
so having her stand up there,
you know, 40 feet high,
287
00:14:59,291 --> 00:15:01,291
there was no way to hide that.
288
00:15:02,166 --> 00:15:05,000
So again, later on,
we're adding her in there now,
289
00:15:05,083 --> 00:15:08,333
often times as a digi-double,
but for the closeup work,
290
00:15:08,417 --> 00:15:11,542
we shot her separately on stage
to composite her on that
291
00:15:11,625 --> 00:15:14,041
per location so we could
put it together in the end
292
00:15:14,125 --> 00:15:17,125
as a seamless "Oh, this has all
been shot in the same place."
293
00:15:25,250 --> 00:15:27,417
When I read that, it made sense
to me immediately.
294
00:15:27,500 --> 00:15:29,583
I was like, "When is she ever
going to do something
295
00:15:29,667 --> 00:15:32,375
when someone tells her to do?"
She's not going to go, "Okay."
296
00:15:32,959 --> 00:15:34,709
She's going to think,
"Fuck you."
297
00:15:34,792 --> 00:15:36,417
Also, it's, you know,
Dany's best friend,
298
00:15:36,500 --> 00:15:38,500
so she's like, "Fuck you, too."
299
00:15:40,208 --> 00:15:43,041
She's fun at parties,
that's all I can say.
300
00:15:49,875 --> 00:15:52,041
The parley is a Hail Mary pass
from Tyrion.
301
00:15:52,625 --> 00:15:57,083
He's hoping that maybe,
if he brings up Cersei's child,
302
00:15:57,709 --> 00:16:00,000
he can talk some kind of sense
into Cersei.
303
00:16:00,458 --> 00:16:02,142
Tyrion talks to his
sister in a way that you think
304
00:16:02,166 --> 00:16:03,726
that she may actually listen
to him for a change.
305
00:16:03,750 --> 00:16:06,125
She may listen to her heart
and listen to what he has to say
306
00:16:06,208 --> 00:16:07,208
and understand it.
307
00:16:07,250 --> 00:16:09,208
You've always loved
your children...
308
00:16:11,500 --> 00:16:12,583
more than yourself.
309
00:16:15,917 --> 00:16:18,792
So we wanted to be able to just
hang out there just long enough
310
00:16:18,875 --> 00:16:20,500
to have it so that...
311
00:16:20,959 --> 00:16:22,359
you would think
that she may change,
312
00:16:22,417 --> 00:16:24,917
but she's got this look on her
face where it's just like...
313
00:16:25,500 --> 00:16:28,375
that's just who I am.
I can't help it.
314
00:16:29,041 --> 00:16:32,583
And Lena's a tremendous actor,
and that played out beautifully.
315
00:16:32,834 --> 00:16:33,875
Bravo marker.
316
00:16:34,750 --> 00:16:38,125
There's such a kind
of basic kid in her still,
317
00:16:38,458 --> 00:16:40,792
so I think she sees him
in the moment asking her
318
00:16:40,875 --> 00:16:42,375
to do something for him...
319
00:16:42,792 --> 00:16:48,083
I beg you, if not for yourself,
then for your child.
320
00:16:48,333 --> 00:16:50,291
And she can't do what he's...
She cannot.
321
00:16:50,375 --> 00:16:51,417
It's like a kid in a...
322
00:16:51,500 --> 00:16:53,125
She can't do
what he tells her to do.
323
00:16:53,583 --> 00:16:56,208
Because that would be...
surrendering.
324
00:16:57,000 --> 00:16:59,625
If you have any last words,
now is the time.
325
00:17:06,917 --> 00:17:09,625
To play
that despair, but also that fire
326
00:17:09,709 --> 00:17:11,875
and finding that duality
in that moment,
327
00:17:11,959 --> 00:17:13,083
it was quite challenging.
328
00:17:13,166 --> 00:17:15,875
But David Nutter,
who's, you know, wonderful,
329
00:17:15,959 --> 00:17:20,083
was really great and supportive
and was really good at helping
330
00:17:20,333 --> 00:17:21,667
to support me in that scene.
331
00:17:21,959 --> 00:17:25,291
It's sad, it's a sad moment
for her 'cause she's...
332
00:17:26,000 --> 00:17:29,125
to have liberation and then
have it just taken from you...
333
00:17:29,625 --> 00:17:30,917
It's heartbreaking.
334
00:17:32,834 --> 00:17:34,000
Dracarys.
335
00:17:49,500 --> 00:17:53,250
For Grey Worm, losing her...
is just, like...
336
00:17:53,959 --> 00:17:55,083
there's nothing left.
337
00:17:55,750 --> 00:17:58,583
There's just nothing,
he has nothing left now.
338
00:18:00,375 --> 00:18:02,583
She has taught him
how to be a human being.
339
00:18:02,667 --> 00:18:08,041
Like, her and Dany have nurtured
him into being human.
340
00:18:08,750 --> 00:18:10,500
And then it's just taken away.
341
00:18:13,333 --> 00:18:15,667
And the final shot
of Dany walking away,
342
00:18:16,000 --> 00:18:17,333
we knew it would be
the last shot,
343
00:18:17,417 --> 00:18:18,583
there wasn't any question
344
00:18:18,667 --> 00:18:20,309
of how we were going
to go out of the episode,
345
00:18:20,333 --> 00:18:24,750
so it was really a question
of how Emilia would convey...
346
00:18:25,250 --> 00:18:27,375
a kind of almost unimaginable
347
00:18:27,458 --> 00:18:31,417
sense of anger and rage
and vengeance...
348
00:18:32,000 --> 00:18:34,083
while walking
towards the camera
349
00:18:34,166 --> 00:18:36,417
and past the camera
without saying a word,
350
00:18:36,500 --> 00:18:38,709
but, uh, I would say she did it.
28151
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