All language subtitles for The.House.That.Dragons.Built.S01E07.720p.HMAX.WEBRip.x264-GalaxyTV

Breathtaking,
slightly terrifying,

exhilarating.
All the emotions at once.

It felt good
to finally step forward

and to get the show going.

RYAN J. CONDAL: Once we rolled
on that first shot,

I knew we were off and running
on a great adventure.

Episode seven
was the one that we shot first.

It was necessary for Miguel
to set the tone

right out of the gate
with the cast and the crew
and everything.

It was a good one
to pluck out,

because by the time
you come around to it,

everybody's here in this alien
place at a funeral,

and nobody really knows
how to feel or act.

High Tide is a different feel
to the rest of the show.

It's a standalone castle
belonging to Lord Corlys.

We decided very early on
that St. Michael's Mount
in Cornwall

would be the main location
for that.

St. Michael's Mount
was absolutely glorious.

Seeing it in the show,
you see that location
and you think,

"Well, this has to be
a green screen or a set
or something."

I tell you, it is not.
That is a real place.

EMMA D'ARCY:
It's a tidal island,

which means that
depending on the tide,

if the tide's up,
you're gonna catch a ferry
to work. Heaven.

Or if the tide's down,
there's a road that emerges.

You travel there by boat
at a certain time of day,

and other times of day,
this path appears
out of the sea.

You can just walk back.

No acting required.

I mean, it does feel like
you're in another world.

It makes perfect sense
for the House of Velaryon

to have that as their seat,
because they are sea people.

Any island is
a nightmare for a film crew,

and most producers will say,

"If it's an island,
walk away from it."

But on this occasion,

it was such a powerful location
we decided to go with it.

Logistically, it's difficult
because at high tide,

twice a day, it is inaccessible.

So we had narrow windows

to get trucks
across the causeway.

You've gotta time everything
perfectly within that window,

to make sure you're not left
stranded on either side,

wanting to go home
or get to work.

We had to preload
all the costumes in,

and we had
an awful lot of armor.

So we went down
about a week before

and started setting up
the locations and the tents
and getting ready.

We spent, in fact,
the first two weeks

just getting the equipment
onto the island.

And we got everything
over there,

and then we started to build.

When I first went and saw
the sheer drop

of where we had to put
the set,

I was thinking, "How on earth
are we gonna do this?"

We were having
to build platforms

right down on the water's edge,
right on the rock.

We were all very nervous
about that, I think,

just because of the sheer uncertainty

of what weather
we were gonna face,
and tides.

It was a logistical problem
for the art department.

They can't drill into the rocks
of St. Michael's Mount,

so they have to strap it down.

It was slightly nerve-racking,

that whole experience
of making that work.

Worries about,
"Is the tide gonna come in
and wash it all away?"

The number of conversations
about how we couldn't possibly

build an extension
to the rock pool,

because of the tides,
and this, that, and the other.

There were just so many--
so many reasons
why we shouldn't do it,

which was, to me,
so many reasons why we did.

When you choose
a location like that,

which is a difficult location,

you want to take advantage
of what's there.

You don't want
to be hiding everything.

We built a courtyard
in the grounds,

so we used a lot
of the original architecture

and the stone walls.

You have to then
make those walls believable.

You couldn't take plants
onto St. Michael's Mount.

Their gardeners
were very helpful,

and, um, we used their stuff
rather than our normal way.

You couldn't tell
what they had created

and what was already there.

And so, we're up on a platform,

three or four days
into shooting,

I think I had stamped my foot,
and it was like,

"Oh, that's not stone at all.
Oh, my God!"

The more that's done around you,

the less you have to use
your imagination

because it's there.

I can't even believe
that actually exists.

To be able to shoot there,

I just-- I couldn't believe
we were so lucky.

So seamless.

It seemed like the gods
had built those cliffs

exactly--
exactly for that funeral.

We did two scenes up there

that were quite hard
to pull off.

The first day,
and then the next four days.

The first day
was the funeral.

We didn't really have a sense
of what a Velaryon funeral was,

but we decided
to take what we knew,

which is they're a house
that's all about
the salt and the sea,

and build a ritual around it.

It's called
"The Seat of the Sea."

And the idea is that
all those stone sarcophaguses

build up at the bottom,

and over the centuries,
have built the foundation

for the island of High Tide.

That was my first scene.

For me, it was nearly
three months prep

because I had to learn
all the High Valyrian.

I drilled those lines
every single day

until I got to the point
where I thought,

"Okay, I know this backwards."

We had around 50 extras

for the Seat of the Sea,

it was the first thing
that we shot.

So it was really the first time
that we saw our nobles

and our citizens
of King's Landing

and High Tide
for the first time,

it was exciting
to create those looks.

Cut.

First week of shooting
out of the studio,

all our cast
standing around

in the intermittent
pissing rain

with this sarcophagus
that needed to be hoisted up

and over and fall
into the ocean,

and be picked up,
and pulled out,

and put back in and et cetera,
et cetera,

with the resets taking
20 minutes.

It was a--
It was a really difficult location.

It was a hard one.
We made a rig,

a lo-fi conveyer belt

that was drawn by the guards

using rope. And we had to build
that out

over the edge of a cliff.

We had to build
a stone coffin

and we had to weight it.

Basically, whatever we put
into the water,

we had to get out again.

When it hit the water,
it looked like
it was gonna sink,

but it didn't.
It would bob up really quick.

And then we'd--
we could take it,
and do it again,

and again, and again.

We've got to make
this fiberglass really strong,

because it's gonna--
it's gonna have a lot of, um,

battle damage on it.

So there's-- Yeah,
we're-- we're thinking about

how to-- how to do it,
so it survives lots
and lots of takes.

Normally, you would do
that kind of thing on a tank

in a studio,
but we actually did it
in the sea.

It was tidal,

so you had to wait
until it was the right time
to shoot it.

And if it's drifted
out to sea,

then you've lost it forever,
haven't you?

I know this is an emotional,
sad scene,

but it was really funny
when I saw the little coffin

go into the water,
they had to drag it out again

and go...
and re-start again.

When the actual sarcophagus
falls off,

and we go under water,

that will be
a fully-CG shot there.

The outcropping that
the sarcophagus comes off of

was brought in
by our art department.

But the scaffolding
that's underneath it,

and all of the safety fellows
who were underneath it

we all had to paint those out.

For all intents and purposes,
we should not have made
that day.

But then once we did,

we then moved
into a four-day sequence

of the wake.

In episode seven,
which is in part

why we chose it
to be the first episode,

they are all out of sorts.

We thought, "Well,
what better way
to start the process,

because our actors
need to find their characters."

The Lord of the Tides
rules the sea.

Even Harvey, little Harvey,
was not able to play himself.

We wrote a lot of these,
like, 10-12-15-17 page scenes

that all take place in one place
with all of our cast and crew,

which are, of course,
incredibly difficult to shoot

but they're really compelling
pieces of drama

because you have all these
little mini scenes

happening within the larger
overall scene.

And that wake sequence
is a great example of that.

We have nothing in common.

She's our sister.

You marry her, then.

I would perform my duty,
if Mother had only betrothed us.

It was an experience
for me in terms of learning

how to direct theater,

because it quickly became apparent

that the best way
to shoot it was to have

the entire sequence
play as one,

and then go around
picking pieces of it off.

Much to the chagrin
of the actors.

No matter how fat
the leech grows,

it always wants
for another meal.

Cut! Cut.

We were shooting
with four cameras

on a very small little bit
of set that had been built

on this sort of sea-facing side
of Michael's Mount.

I think everybody was a bit
like, "What are we doing?"

There were so many people
on that tiny bit of set.

These, these, and in there.

We couldn't get dollies
or cranes down there,

so moving the camera,

adjusting height during shot
was really difficult.

It was very much a scene
that he'll use all four cameras,

longer lenses, focus pulls
between foreground
and background.

It was shot over five days,

and we had everything that
the weather could throw at us.

Fabian pulling his hair out...

...trying to match, one day,
beautiful sunshine,

next day, howling gale.

That's the death of me,
those scenes.

Those are the scenes
that were shot over five days

and you just shoot everywhere

and you have to try
and match it somehow.

But you're shooting this side
one day,

and you're shooting
this side the other day.

This scene
was supposed to take place
over the course of a day,

so we had to have
a daytime scene,

dusk, and a night-time scene.

There were days that were
very sunny and strong,

and there were days
that were windy and gray.

And some of the shots
that were supposed to be

in the middle of the daytime
are now night shots.

You can't really have very,
very strong shadows
in night shots.

So, we're having to roto-out
all the people,

get rid of all the shadows,

and then relight
a lot of those scenes.

A lot of the boats that were
out to sea,

we're painting all of those out,
the farms and the towns

that are along the coastline
in the background.

Where we shot, down in Cornwall,
was such a beautiful location

to start with, so it's just
augmenting that real location

and making it feel lived-in
and the right period.

It was a very
interesting experience

and a really good
learning curve.

And surprisingly,
I mean, it came out quite well.

Looking back now,
in hindsight,

at some of the stuff
that we shot there,

I thought it was great.
Like the funeral,

even though it was tricky
and dangerous, it really worked.

We were
all on this island together,

and it was just a really nice
experience to kick things off.

We hold back
the reveal on this a bit

because it is
the most exciting dragon.

Vhagar, who's the oldest,
largest dragon in the world,

certainly the largest dragon
you've ever seen
on Game of Thrones,

many times bigger
than Drogon was,

and Drogon was a huge dragon.

Vhagar is 130 years old.

One of the concepts
of this series

is that dragons keep growing
and growing.

As they get older and older,
we see they get more battered,

more weather-worn,
and they start to struggle

to support their own weight.

Dragons just, essentially,
grow until they die.

And part of their death-cycle
is getting too large,
too big for the world.

And Vhagar's so large
that she doesn't really fit
anywhere anymore.

In our story, she doesn't even
fit in the dragon pit anymore,

and that's created a bit
of a loner personality to her.

She's very grumpy,
she sleeps a lot,

you know,
she's like an old cat.

Aemond finds Vhagar
hiding in the dunes,

and Vhagar becomes his ride.

It's such an important
growth moment for him.

He claims the biggest dragon
who's ever existed,

which, in the beginning,
is terrifying, because she's,

you know, 150 meters long.

It's one of the sequences that
we first started pre-vising.

We shot day one on day two,

him approaching Vhagar
on Holywell Beach.

Because it was so complex,
we had to stick pretty-much
to the pre-vis.

I had him running around
these sand dunes for two days.

The wind's going and like,
literally, he looks at me,

and he's got, kind of, he's
encrusted with sand in his eyes.

And I'm like,
"Just one more take."

They shot dragon-riding
in The Volume nearly
six months later.

Filming on a dragon.
Obviously, you don't get
much better than that.

Hello, guys.
We are going on to set.

Dragon riding again.

You do the drop, boom.
And as you drop, the camera
comes up, and then you...

Gonna be very fun.

Special Effects,
Mike Dawson and his team,

they developed
a new motion base,

which has much
more extreme angles
than I've used before,

so it can be more dynamic.

We used it on what's
known as The Volume,
which is new technology.

Basically, the environment
is surrounded by,

I think it's, two and a half
thousand LED TV screens.

Three, two, one. Line!

Cut!

This is a three-axis
motion base that we built.

Visual Effects
can give us pre-vis,
we can feed that in.

It will move exactly
as the pre-vis,

so all the movements
can be repeated.

It's all got to be
quite precise.

We had a special-rigged seat,

which was rigged vertically,

so you could hang out
of the saddle.

The first day was quite hard.

And the next day I came in,
I felt so much power.

And I was like,
"I need to get this
as well as I can."

SPEAKER 2:
Three, two, one. Action!

I think it
kind of overwhelmed me
at some points, you know?

Trying to focus on
so many different things,

like hanging off
ten feet in the air.

It's a stunt. That's why
they call it "stunts."

Leo is a natural,
an absolute natural.

We shot additional,
final approach, moments

on blue screen
almost seven months later, so...

Actually, one of our concerns
was making sure he doesn't
look like he's growing up

during the course of the scene.

We started shooting one year,
and we finished a year later.

I'm surprised we made it.

I loved every second of it.

And I think it came out
pretty well.

Prior to starting,
the most concerning sequence
for everybody

is this fight
when Aemond comes back

after having ridden the dragon.

Vhagar is my mother's dragon!

Your mother's dead.
Vhagar has a new rider now.

The goal of it was always
to make it feel like a fight
amongst young adults.

The actors are aged
from nine to twelve.

How do I manage these five kids
and get them ready to shoot
this sequence?

I've never done a fight--
fighting before.

The questions are,
"Can we do it?"

And so, the answer
always has to be, "Yes."

We had, like,
a week of just stunts.

And you'd have, like,
a couple of hours

of just rehearsing,
over and over again.

Punching and, like, kicking,
and, like, practice fighting.

It gave us the ability
to teach them how to fight,

how to maintain distance,
how to maintain control.

It's more about
making your arm do that,

as if it's made contact
with something.

It also taught them,
when the camera's over here,

you might have to change
a punch to go across the face.

It taught them
how to film fight.

Leo Ashton, back up again.
Leo. And do the walk in again.

I shouldn't do it like that.

I should do it like that,
at the bottom.

When it's an angle
at the camera.

And cut.

I would always be
kind of surprised that
he had managed to get them

as affective at doing
these sequences as he had.

Rowley, very smartly,
wanted them to show up on set

with all that muscle memory
built into them,

so that they could just worry
about their performance stuff.

We're all really good friends,
all of us kids who are fighting,

but we just have to
hate each other.

You're in this cramped space,
and it's really hot.

And you're just going at it
every time.

And you need to give it
a hundred percent energy
every single time.

Star jumps, please.

You need to be
way out of breath.

♪ (CHILDREN SING TUNE) ♪

- And three, two, one,
and action.
- Harvey, shh.

You'll die screaming in vain,
just as your father did.

Because it's children,
you can't really get them to
throw dirt in each other's eyes

or cut their eyeballs out,

so there's a lot
of blade replacements
and blood added.

But most of it is
the Prosthetics Team's work,
which is brilliant.

They had to put blood
in my mouth.

It was a disgusting taste.
I'm sorry.

But I had to, like, spit it out.

I had to have some Listerine
just to wipe that all out.

And then, again!
I had to do it again!

We had a laugh,
that's for sure.

There was a couple
hilarious moments.

They had fun with it.
They made it like camp.

They really did
a great job of it.

Action.

The thing about kids fighting
is you need every hit to land.

Because otherwise,
it looks staged.

And I've seen the cut
and it does look pretty feral,

what they're doing
to each other.

It was hard. And I'm so proud
of everyone who was involved.

Well done, guys.
Well done. Very good.

Working with other actors,

choreographing a long scene,
and just getting it done,

and having the feeling
that you've just completed
something incredible,

it just makes you feel
so good inside.

Gods be good.

The episode is really bookended
by these two very long scenes,

"The Wake" being one
that doesn't really end
in much resolution.

And this one is
"The Great Coming Together"

that ends with
a very final punch to it.

We got it up and running
as 15 or so actors,

and then we added 40 extras
into the mix.

It felt like we started
to really, sort of,
be the characters.

Miguel and people around
could see the thing come to life
just a little bit more.

Losing an eye
is quite something.

There was so much work
going into that makeup.

We created an appliance
which went over the one side
of his face.

We had this slash,
which went basically
down his forehead,

through his eyeball,
and onto his cheek.

And the maester's
sewing the cheek up.

Prosthetics team
did a great job.

We don't shy away
from those details,

so you do see, you know,
the skin being sewn up.

Jace? Luke!

The nature of prosthetics are

they always take a long time
in the chair in the morning.

But with a young child,

when you've got reduced day, obviously,

the pressure's on
to get an appliance
on somebody's face

as quick as possible.

I was just coated.
It was all down the side
of my face and hair.

There were a lot of jokes about
"Oh, you've been a fight."

- Enough.
- It should be my son
telling the tale!

- He called us--
- Silence!

Cut.

I've never shot scenes
for as long as we have on this, ever.

But I enjoyed that.

Yeah, it was a huge scene
that we did over days
and days and days.

I realized very quickly that
the ringmaster in the scene
was Paddy.

He was tired,
but he was kind of elated

at this performance
he was having to do.

And he really just kept
everybody's energy up.

I loved shooting that.

I thought it was
a fantastic scene.

There was a lot going on in it.

It was so, like,
meticulously choreographed.

It's a family saga.

It's all about
the relationships between
the individual characters.

So, everybody in that scene
has a different motive,

and is therefore looking
at certain people
at certain times.

We shot, again,
with four cameras.

A lot of it was about,
"How can we get one camera here,

and not see another camera
there?"

But if you take the time
to make that work,

then you can be
really efficient with it.

I shall have
one of her son's eyes in return.

It's a long shoot,
but in between takes,
everyone was having a laugh.

Paddy, like,
fell over at one point,
which was hilarious.

There were
so many funny moments.

But at the same time,

there were so many
incredible moments to witness,

from my position,
of excellence in acting.

And it's so mesmerizing
to watch,

even from an actor's
kind of vision.

Where is duty?
Where is sacrifice?

That's actually
one of my favorite scenes
that we shot in the season.

It's finally boiling over,
all these years,

and it's a joy to watch.

Now they see you as you are.

Rhaenyra and Daemon
are old-school Targaryens.

They really are
all about fire and blood.

The writers took
what material we had,

knowing what we knew
about Old Valyria,

knowing that
any kind of marriage ceremony
would probably be a bit primal.

And so, one of our writers
wrote vows,

which we gave off
to David J. Peterson,
our Valyrian translator,

to translate into High Valyrian.

And we turned it all into
a ceremonial Valyrian wedding.

All right,
quiet please, everyone.
Here we go. Shooting!

Whether it's a wedding or
a funeral, it's a ceremony.

And they will present themselves
for a ceremony.

And we have to back that up
with hair, jewelry, and looks.

All of that
has to be thought out.

We gave them
quite a stark makeup.

They meant business.

That love in that wedding
is a real love.

It's not for show.

She's not marrying someone
she's been told to marry.

Emma's got
quite a big hair ornament.

There's almost a little mirror.

If you look at them,
there's a slight twist
that echoes each other.

It's a nice look.

Those last two lines
that you said,

you say those lines,
and that's the,
"You may kiss the bride."

That was actually
one of the most difficult costumes.

I couldn't do more than
what I had done before
for the different wedding.

So I thought it would be
a good approach

to do something
completely different.

We thought, "What about
going in the direction
of the dragonkeeper?"

Something very simple,
very kimono-like,

which seemed to have been
created before the Targaryens.

I wanted
the red blood-elements in it.

We had to create the tie-dye,

going from red into
the purity of white,

and that was a lot of work.

The costumes
were beautifully hand-printed
by our team,

and required
a huge amount of work

to finish, get ready,
and then age.

Because they had
to look like they were
thousands of years old.

And to be ready for Matt
and Emma to wear them on the day
was quite a challenge.

EMMA D'ARCY:
Rhaenyra and Daemon,

they're normally
a potent chemical mix.

But briefly,
during this ceremony,

I don't know, there's something
quite peaceful about it.

It's just magical.

♪ (MUSIC CLIMAXES) ♪