All language subtitles for The.House.That.Dragons.Built.S01E10.720p.HMAX.WEBRip.x264-GalaxyTV

This an episode
that Miguel and Ryan wanted

to push visually.

It's exciting because
we've only teased Dragonstone.

There's so much. It's so big.

To see the work and the planning

that went into getting us
onto the side of a mountain.

It's extraordinary.
I don't know how they did it.

Dragonstone,
in the original series,

was a northern coastal area
at the top of Spain.

You only saw, really,
one face of the island
and the beach

in the original show,

but we needed
this whole, realized world,

and we found that in Portugal.

We found our Dragonstone.

The news reaches
Dragonstone in ten.

Viserys is dead.

And that's
where my story picks up.

Dragonstone,
we wanted to reintroduce a bit

as a new world in this

because we'd gotten
a taste of it, I think,
in the original series.

We never got a really full sense
of the castle.

We're seeing it in its entirety,
in all its nooks and crannies,

and everything that's here
for the first time.

You're seeing more
of this character,

and there's a couple
of surprises along the way.

Dragonstone is, again,
another style of architecture.

Uh, it's more brutal.

It's set on the island
of Dragonstone

with Dragonmont,
the volcanic mountain,
in the background.

It's a very kind of tricky set
to build, really,

because of everything being
so angular,

and nothing was plumb,
so to speak.

Nothing was perpendicular.

So it was quite a tricky one,
actually, yeah.

Dragonstone 177 years before
the original show is meant to be

quite a populated place,
much like King's Landing.

It's a living place
at this point

because dragons live
in the Dragonmont.

There are many adult dragons,
wild and tamed, living inside
the Dragonmont,

that brings life to the castle

that does not exist
in Stannis' time.

I want patrols
along the island's perimeters,

looking for any small ships
that might set ashore.

One bravo.
Take one, make the mark.

There's steam inside the castle.

Even though it's a wind-blasted,
seemingly cold place,

it's kind of heated from within,
essentially, by the dragons.

It feels cavernous, grand,
smoky, hot, bare.

But the singing, uh,

I quite enjoyed it,
I think, actually.

It's quite an interesting beat,

that luring
this very angry beast

out of the dark with a lullaby.

And it's a cut, everybody. Cut.

And we're gonna cut that there.

Rhaenyra's chamber is dominated
by that dragon carving.

Lovely dragon carving
on the screen again.

That was
from the original Thrones.

We haven't gotten rid
of that room.

We're just saying
that room was the apartment previously.

Miguel and Ryan wanted this
to feel as if it had been
originally made,

carved in stone,
and then clad in Valyrian steel.

The idea was that they wanted

to have adornments
onto this dragon,

so it looked like it had
expensive jewelry onto it,

to make this look as if it was
an expensive work of art.

A bit
that I loved working on was
Rhaenyra's chamber.

I spent a long time
working on that

because with that one
we were trying to figure out

how the sort of
set decoration would look

and, you know,
within the architecture as well.

Actually, I do love the bed.

I mean, the quality of that,

that's kind of--
that's solid wood.

And they've literally
chipped into that

and created the effect
of scales of a dragon.

And because it is set
underneath the dragon itself,

we've kind of done it in a shape

that really compliments
the dragon behind it.

It's a lot more kind of scaly
and textured in a sense of,

you know, rock and dragon
and all those coming into it

to try and make it
a bit different to the Red Keep
and everything else.

We really wanted
to expand stuff,
move stuff around.

We decided that we wanted

to take the Painted Table
out of the apartment,

where it was originally
in the original series,

and move it into a larger,
more grandiose location.

We're talking about spending
a lot of time there.

That is the equivalent
of our Small Council chamber.

And so, to have something
that was more user-friendly,

as far as shooting is concerned,
made a lot of sense.

We had talked
about in the original

was that you never really got
a good look at the table.

You never really got to see
how the map worked.

And we knew the table existed,

but just thinking about what
would've been the best days,

the glory days, of this table.

We took a casting
of the original table

from the original series

with the intent of just,
you know, recreating it
and maybe showing it

with a little less age on it,
or brighter paint, or whatever.

And this was completely
a pitch by Set Dec

and the Art Department,
which I love...

"Well, what if it was made
on this polished stone,

and if we put fire
under the table,

it would light a furnace

that then would light the table
from within?"

And, of course,
I just leapt at that idea.

Claire had this idea

that she wanted
to make it illuminated

from, uh, volcanic fire,
underneath the table.

I just wanted
to make it come alive a bit more

in a sense that we've got
all these contours
within the table,

but you can't actually see them.

I really love
lighting through things

and the kick that you get
off certain things.

So, the main part of it was
this obsidian rock effect,

which has a gold running
through it. It's a bronze.

All the towns, and the villages,

and the roads are carved
into the wood,

and it's illuminated
from underneath.

I wanted to originally do fire,
but it was too dangerous.

So, the idea then of the candles
being rolled under,

and then lighting up
some element
underneath the table,

then made the table
come to life.

So, we had to remold the table

and create
a clear, fiberglass top.

So, it became a light box,
in essence.

The LEDs that are in there...

a huge, massive process
to get that set up.

And also
because of the color

of the pigment of paint
that we used on it

to get those contour colors.

You had to really mix
the different light in
to get it right.

So, we needed to put
a bit more yellow into it

to make it
a little bit more like fire.

So... yeah, it was
a whole kind of process

of research and developing that.

The table looks fabulous,
doesn't it,

when it all lights up and stuff.

But, again, there are challenges
that come with that.

Because there's nowhere to sit.

When you read it,
the Painted Table,

I presumed it was gonna be,
like, just a map on a table.

And I'd have been like,
"That's extraordinary."

But what they have,
it's magnificent.

And that would look good
in my garden, too, actually.

Anyway, just putting it
out there.

In Portugal,

shooting all the exteriors
of Dragonstone on Monsanto,

which is just
a fascinating location,
was a joy.

Miguel and Ryan had seen it
about a year prior.

I got there, and we hiked up
into this mountain.

And I was looking around,
and I'm like,

"The only way we're going
to be able to shoot here is

to carry everything
or to helicopter."

Like, as though
that was a crazy idea,

and everybody's like, "Yuck."

PEPE ÁVILA DEL PINO:
Monsanto's amazing.

It's a very unique,
strange place

where there's, like,
these amazing boulders.

They seem like
they fell out from the sky

on top of this tiny mountain
where there's nothing around.

Got together, the first day
we scouted it.

We had to park as high
as we could drive the car

on the little pebble road,

and then walk up
through this rocky mountain.

The first thought was like,
"Well, if it rains,

this is gonna become
like a slide."

And then, "How is the access
gonna be here?"

It's very high up.
The access is very bad.

We had to helicopter in,
uh, the whole unit.

They built an amazing mini-base
in the middle of the castle.

The crane, the platforms,
everything was flown.

Everyone put
their efforts together.

We asked
if the Air Force could help us.

We literally took over
the side of a mountain

and built infrastructure, uh,
storage, ways to feed people,

everything to bathrooms,
to equipment,

to be able
to take over Monsanto,

to be able to film the work.

Picking the part of Monsanto

where we were going
to shoot Daemon

intimidating the Kingsguards
with the dragon,

the really first
and foremost thing is,
the dragon's humongous.

So, you have to find a place

where, believably,
that dragon can be.

And because it's the Blood Wyrm,

it has
this incredibly long neck.

It's important to be able
to, um, find a space

and to have it reach down
and really open its mouth

and be able to see
the fire brewing inside.

Swear anew, your oath
to Rhaenyra as your queen.

Or if you support
the usurpers, speak it now.

Anytime that we have to do
something that's completely CG,

you really, really need
a lighting reference.

And, uh, we had
the most beautiful heads made up

that were sculpted perfectly

and then painted perfectly

so that they look
as real as possible

so that we get them
in the light,

and we get
all the reflections right.

And then when we give
all of that data over
to our visual effects companies,

they just need to match that
as well as they possibly can.

Cool. All right, guys.

So, it looks like we're wide,
and we're looking this way.

You had to be on top of a rock
or wedged between two big rocks

to get the shot, but it was
enough space to work with it.

- Longer lens from there?
- Yeah.

Just being there
gives everyone an understanding

of the scope
of the show we're making.

Once you're on top
of a mountain at sunrise,

then you see nothing but, like,
an amazing foggy horizon,

an endless view of the sky,
with this crazy rock formation,

and you're like,
"Okay, yeah, this is unique,

and this is epic, and there's
something larger than life

in the stories we're telling."

Monsanto did that.

We did it.

It's a beautiful spot,
by all accounts.

And cut.

The low point
in Rhaenyra's trajectory turns
into the high point

as she cremates
her unborn child.

She goes to commit
the dead child to the flame,

as-- as befitting
any dead Targaryen.

Her people gather around her,
and her father's crown arrives,

in the hands
of Ser Erryk Cargyll,

who's defected from the Red Keep

and brought her father's crown
to her.

And Daemon puts
the crown on her head
and calls her "Queen."

We only had a few days there,

but we had one of
the most epic scenes take place,

which was
a real Thronesian scene.

I think Ryan even told me,
he said,

"You know, if anybody asks
what kind of scene they're in,

or what this scene's about,

you tell them,
'It's a Game of Thrones scene.'"

There's a funeral
of a dead baby.

There's a knight showing up
with a stolen crown

and an impromptu coronation.

There's-- Everybody
at Dragonstone takes the knee.

It's pretty unbelievable.

What's beautiful
about Ryan's writing is

that there's five scenes
within every scene, you know.

And a scene like that is there,

there's a very quiet
mom-and-dad,

husband-wife moment in there.

There's the watchful eye
of Rhaenys,

who's watched Rhaenyra
since she was 14, you know,

in terms of the moves
she's making,

if she's worthy of Queen.

The cast just nailed it,

and barely a word is spoken
in the sequence.

I actually was emotional
at the end of Monsanto.

To go to these corners
and edges of Dragonstone
you haven't seen before,

and to understand
how it's all put together,
was important.

And when you're done,
and you accomplish something
like that,

and you've somehow conquered
the side of a mountain,

and you've brought
the show to life

in a place that nobody
has ever filmed before,

it's one of those days
you'd never, ever forget.

This is the joy
of this series, I think,

is that there are
so many different sets

and different
architectural styles.

And Storm's End doesn't
disappoint in that respect.

The clue is in the title, really.

It's at the end of the world,

and it's lashed
by storm and lightning

and wind and rain
the whole of the time.

So, another bleak place
to inhabit.

I am Prince Lucerys Velaryon.

I bring a message
to Lord Borros from the queen.

We backtracked in

so that the scenes leading
up to Storm's End

would also be shot
on The Volume or on green screen

so that everything kind of kept
an aesthetic piece.

Storm's End
was a volume set primarily

'cause there does not exist
a castle

that looks like Storm's End,
outside or in.

We wanted to give
those final ten minutes
of the show a particular look.

...with the eyepatch coming off

'cause that'll give us
a real chance to see it.

Then a moment, and then come in,
and you go and scoop it back.

When we're producing
ancient monuments' interiors

with stone walls,

it's a more tricky element
to do convincingly.

You can put a set in,

in that sort of semicircle,

and I think
the trick there, obviously,

is where you merge reality

of a-- of a hard set
into those screens.

They're just looking
through the lens,

and they're sort of
lining up a shot.

And, you know,
the beauty of it is

they're able
to line up that castle

that otherwise wouldn't be there
in the frame,

and really make that a part
of their shot composition.

We made the stone throne,

and we made the benches,

and then art department made
the structures around the edge.

Um, and that was it, really.

And until they put
something up there, it's like,

"Is this gonna work? Is this--
Is it..."

"Is it gonna make sense?"

They put an image up there,

and you stand in the middle
and look around,

and you kind of go,

"Oh, yes, yes, I can see
how this is gonna work."

Go home, pup.

And tell your mother
that the Lord of Storm's End

is not some dog
that she can whistle up at need

to set against her foes.

The key, really, to Storm's End
is not so much

what happens inside
as what happens outside,

which is, uh,
our first dragon fight.

The dragon fight
at the end of season one is
our big grand finale.

And it's the first dragon fight
put to film in Game of Thrones,

and we had to make it one
for the record books.

And you care about, I think,

the two riders riding
on their backs,

so it's-- it's a drama sequence,
but it's also visual spectacle.

And it involves, you know,
all of our best tools

with all of our best vendors
and-- and visual effects,

and all that coming together

to hopefully make a--
a fantastic sequence.

No, I just told them, you know,
uh, "Make sure it's really good.

Don't come back to me
unless it is.

See you later.
I'll be back on Monday."

To hear it
from Miguel.

You know,
I bought these dragon toys
to use for the dragon fight

and kind of, with my iPhone,
started to construct

and block out
what would start to happen.

I was flying them with my hands,

and he was shooting them, and,
um, that's how it all started.

It went through a process
of first understanding what--

what the evolution
of that chase would be

and what the characters
are going through.

Or maybe
get close so that we see

- Luke's face looking around.
- Yeah. Yeah.

- And then...
- We look down. Right.

And then I have to
make it interesting visually.

You think Luke-- You know,
Luke's fighting a storm,

and then, in this kind of
horror movie way,

we start to reveal
that Vhagar is lurking.

And now down. We're down
for a few seconds, and Vhagar!

Then it becomes a dragon chase
and a dragon fight.

It's really
about getting, you know,

a more accurate,
computer-controlled,

hydraulic buck
that can move faster.

And then
you've got quite a lot of roll,

left to right, as well, Dom.

But still safely,
it's about finding ways

in which you can composite
your actors from this buck

onto the back of a dragon,
and it feel believable.

It's really about
the interaction

that these different surfaces
have with the wind and the rain.

We spent days
shooting the actors

for the final battle
in The Volume,

on the motion base.

And what made it
really interesting is

we shot it in wind
and rain and smoke.

This was new to us
shooting in The Volume.

We were all very careful
about how we shot in The Volume.

It's a very expensive space,

and so you don't really want
to keep covering it in smoke.

You don't want
to be getting them wet
too much either.

So, then we talked a lot about,
you know, how we could do

all the physical things
that our series demands.

We have
lots of atmospheric texture.

We talked a lot about
how to do that in The Volume,

and, well, I think
we overcame a lot of things.

It's so immersive,
being in The Volume.

And even with the buck work,

to have the rain machine
and the wind machine within it,

it really does encourage you
to just lose yourself in the--

in the moment
and in the character.

It was really cool
going onto it, being lifted up,

'cause you actually
get lifted up,

and you feel like you're,
you know, flying in the sky.

It was really great fun.

How does it feel
to watch a CG version
of yourself?

I know. Well, that's to be beat.

ELLIOT GRIHAULT'S MOM:
Oh, it made me cry.

I think what excites me
about this show,

and what I'm gonna enjoy
watching over and over when--
when it comes out is,

I love this element of surprise
on this show.

And what I mean by that is

all the characters
are dimensional.

They all have a heart
that you can feel.

What I hope
viewers will walk away with is

a deeply-felt
and truly-told story
of a family,

and I hope
there are moments there

that are really human
and relatable.

And that it's not about
good versus bad,

that it's about people
who are really all trying to do
the best they can

with what they know at the time,

and how that sort of
all goes wrong.

It's a great family drama,

but the epicness,
and all the scale,

and all the things
that people come to know

and love about the show
are in service

of this deeply emotional story

that's taking place
at the center.

It's so big.
Like, you know, there are bits

that I have nothing to do with
that are unbelievable.

Um, so, I mean, that--

all that size that we loved
in Game of Thrones is-- is here.

I hope that it's gonna be,
um, a new series

that just sparks the imagination
and the excitement that--

that we've had before.

The first episodes
of the show tried

to stick a little bit
to the visual vocabulary

of what Game of Thrones did.
But, hopefully, we want--

what we want to do on ten is

just push it to the edge
a little more.

I genuinely hope
that audiences are open

to watching a new chapter
in the Game of Thrones saga

that will evolve
to earn its own right

and have a place in, you know,

the Game of Thrones,
the Westerosian world.

I'm really, really proud of,
uh, the job that everybody did.

The crew seems to be,
like, very at home here,

which is great.

Work's near my house,
so it's great for me. It's--

You know what I mean? It is!

Genuinely,
I couldn't have done this
in a different country.

I wouldn't have made it.

There's just a few things
I wanted to say.

Uh, firstly, um,
from myself and Ryan,

we can't thank you enough.

Thank you so much.

You have all worked
above and beyond
the call of duty.

It's been amazing.

That's become
our House of Dragons backlot,

so we can stay there
and develop over the years.

They're building more stages,
uh, next season.

It's new, it's contemporary,
it has all the facilities,

so it's-- it's a joy
to work on a space like this.

I can watch
behind-the-scenes stuff

on-- on all the shows and go,
"Wow, that's amazing," you know.

It's been great working
among sets with real things,

and cutlery, and-- and,
you know, the world around you.

It's been a joy.

The most rewarding moments

working on this show is
really with the actors.

I really enjoyed
delving into the characters,

working on the scenes.
It was a true collaboration.

And by the end of it,

we were just working
very instinctively together.

What I've liked most is

actually getting to know
all these people.

Relationships that I've had
with the cast

have been extraordinary.

People who are... now my mates.

And I think what-- again,
what Miguel and Ryan have done,

and all of the directors
that we've had,

I don't think there's one person
that I've come across

where I've thought,
"Ooh, he or she is a bit dodgy."

I don't know.
That's an incredible thing,

to create an--
an atmosphere like that.

That's extraordinary.

It's been really nice
to be all together,
like a family.

Just being able
to do this job, too, achieves

what I certainly would've,
20 years ago,

called my dream job, uh,
is another thing entirely.

So it's-- it's--
it's really amazing.