All language subtitles for The House That Dragons Built s03e01.eng

Sorry. Rob, Rob, and Ben.
Could we...

Good morning.

Hope everyone had a good weekend.

I did because I went to editorial

and watched our stuff all cut in,
which is exceptional.

Everything is really delivering,
so keep working at that high level.

We continue to push ourselves
to get the best work.

Alright? Go, team.

Three, two, one!

Action!

When we kicked off 301,
on the page, Ryan Condal wrote,

"In the vast landscape.
In the windy hills of Westeros.

A sheep bleats."

The very first scene in Episode One,
we shot in Wales,

a beautiful remote location.

We were toing and froing about

what would actually be the best
conditions to shoot it in.

Should it be bright sunshine?

Or actually, should it be this

incredibly kind of oppressive,
overcast look?

And, of course, in the end
that was given to us, opposed to choice.

We want this to be
a scenic painting of horror.

This is a turbulent space

that the character of
Rhaena Targaryen has inhabited

alone on her quest to claim
the wild dragon.

When I was at drama school
and it was like,

how to deal with CGI
and acting with things that aren't there,

you detail it as much as you can.

Give them like specific
features, yada yada.

And, like, lowkey,
Tina looks like Sheepstealer.

So, that was really helpful
to be like, "It's just the baby."

Tina's auditioning for
House of the Dragon to play Dragon.

Yeah, I mean, it's more of a scream,
but yeah.

The buck is the best-kept secret on set.

I don't know why people
don't talk about it enough.

And they're snakes for not doing it
because it is the coolest thing ever.

Buck work can form
quite a generic workflow.

But actually that was very different

because we had to build
the side of the dragon

to allow Phoebe to then get handholds

to climb up the side of the buck,
to be on the buck,

to then ride the buck.

This is on the six-axis motion base.

And one of the protocols
is that you put somebody on it,

you tether them on for safety,

you mount all around it.

But then it was, well,
we want her to get on

to the six-axis motion base,
in camera, all in one shot.

So, it was like, "Okay, right,
so how do we do this?"

Because I hadn't seen one before,

I sort of assumed
everyone's looked like mine.

The changes, we put the boulders
on there for your hands.

That's for your right foot.

Just before we start moving,
can I just try climbing up?

Yeah, you can do it now if you want.

-Is that right?
-Yeah, absolutely. Yeah, go on.

You know, you do this thing of like
all this prep of like,

"Oh, and I have to imagine
it's this and this."

There was none of that that I had to do

because it's just there
and it's massive.

One of the things I want to make sure

that we think about
as we're laying this out

is it's spread out.

So you have little
bits and bobs of interest

throughout this view
that we're looking at.

Stray horses,

stray battles,

mutilated head,

head being cut off a lion,

bodies being thrown into inferno.

Here we go, stand by.

Stand by. Pre clearing, please!

Here we are in Episode One
and we find Daemon on fire,

literally!

You know, my big thought this year

was I wanted a lot more violence.

And they gave it to me.

We wanted to give it some action.

So we built some pretty interesting shots

to convey the idea
that there's been a battle.

It's just tailing off now,

and we're coming in
right at the end of the action.

Look what I found.

It's amazing what you find in Surrey.

We should also give a big shoutout

to the prosthetics team
for the Lannister lion,

which was absolutely gorgeous.

So in the case of the lion we made,

Darren Robinson sculpted the lion's head.

The teeth were made from dental acrylic,

so once we'd sculpted them
and molded them,

we made the teeth and the gums
as one big set of dentures

which fitted into the lion's mouth.

And Maria Cork then flocked it,

did all the hair punching on the mane,
and then we put the teeth in

and add all the gore
into the stump underneath.

We did have a fair bit
of mess on the lion.

It has to look like it's been
hunted down and hacked a bit,

so we wanted it to be
kind of quite weathered

and broken down.

We staged it as if
someone's sitting on it.

Like this, kinda chopping it.

There was an extra guy here
just kind of pulling it.

Got ahold of the mane out of it,
pulling it out.

We just really want to see...

-Okay.
-...all that.

So we'll get him dressed
and looking as it should.

We do loads of arrows, blood,
mud, the works.

-On all of them.
-Yeah.

There we go. We're in.

Oh, God, I'm sorry, lion.

Continue checks back there...

Give it a go. In like...

Can I hold above?

Yeah. Go on, try it.

-Yeah. That'll fuckin' launch.
-Yeah.

Fucking on the money!

Come on, mate!

Fucking, come on.

Fucking get in, I love that.

Then old Roddy walks up
with Lannister's head

and he says...

We have come to die

for the Dragon Queen.

We've got Tommy Flanagan, who's come in,
he's a brilliant actor,

who is Daemon's ally.
He's one of the Winter Wolves.

March forward.

To battle!

Get in there, Wolves.

Cut there. Cut there. Cut there.

The Winter Wolves.
There you go.

And he's just been a great addition.

He's really understood
the tone of the show and what it is.

Hey, it's been great having you here.

I have to say, it's made my life
infinitely better.

It's been a pleasure, Matt.

It's my favorite character
this year, yours.

Alright, cut.

Come on.
Just a bunch of fucking lunatics

-coming out of the forest.
-Yeah.

Just a reminder that
at the start of every day,

a writer on set is going to do
a brief tone recap

just because there's going
to be increasing distance

between those tone meetings
and the scenes that we're shooting,

especially once we get
into the summer and the fall.

We wanted to get everybody
together and kind of pitch out

the sequence exactly what it is.

And the great thing about this sequence,
as you'll see, is,

so much of this from this moment

is practical, it's in camera.

And that's what makes it so exciting.

And I think that's what's gonna
make it really visceral.

The Battle of the Gullet
was such a sea-change moment

in the story, and I knew
that we had to do it

and we had to do it well.

So often with filming,

you're coming into a stage
and you'll hire it.

Or you go to a location
which exists and you film that.

This particular episode,

we had to build the outdoor stage
to mount the scene.

I had very fixed ideas on how to do that,

based on previous experience,
when I was a young man on Titanic,

and what I learned there from Jim Cameron

and Jon Landau.

In the early stages of production,

Kevin had this idea of building
both a dry and a wet tank.

And I asked him, like,
"What do you need a dry tank for

and a wet tank for?
Why can't you just use one tank?"

And he said, "Well, you want people
to go into the water, don't you?"

And I said,

"You built the Titanic, I trust you."

We wrapped Season Two,

having developed the ground
that was on the backlot,

ready for future set builds,

to then come in at Season Three
and Kevin say,

"Just so you know,
we're gonna dig two big holes

"and we're gonna fill one

"full of three million liters of water.

And the other one, we're gonna put
a huge rolling sea gimbal in."

And you go, "Okay."

The dry tank had a massive gimbal in

which would allow pitch and roll
and from bow to stern.

So we could have
that huge motion of a ship

going through the ocean.

The first ship that went on it
was The Queen That Never Was

which is over 125 feet long.

And action!

At one point, that whole ship was moving

with 115 people on board.

What's interesting
is that if you're on it,

the camera movement eradicates it.

So, in our dry tank,
we tend to keep away from the ship

so we could see it have lots
of things moving in the shot,

and that will give us the transit.

The issue is that it's too much fun.

It feels like you're on a ride,

and you're having to quell the excitement

and giddy feeling of wearing armor
and pretending to play pirates.

Hello! Listen up, listen up, listen up.

I just want to reiterate, okay,

it's a ten-second count.
It's a short burn.

When you guys get put out,

I don't want anyone
being cool as a cucumber

standing up all casual.

Stay down just to make sure
nobody reignites, okay?

We're not just gonna do this willy-nilly.

We want to make sure this is executed
with clinical precision.

You're clear guys, yeah?

-Yeah.
-Alright, good. Have a good one.

Rowley and Team Stunts put together
an extraordinary bit of action

where we get to see
the live deck of the ship

come alight with fire.

We ended up doing a ten-man
burn on the boat,

and we'd never strafed
an entire boat before.

So often we do these burns

and the men are all isolated
on a flat area of land.

Whereas here, suddenly you're
confined with all the rigging,

with all the dressing on the set,
with the stuntmen.

Where do you put your safety?

There's nowhere to hide
on the deck of a ship.

Therefore, it had to be planned
much tighter.

We fully intend to set ten people on fire.

They are not distressed.

Holy shit!

Oh, my God!

But everyone was so impressed with that.

When they came to see it, they were like,

"Oh, this is amazing. This is so good."

And I'm like, "The one over there
is gonna be

this on steroids."

When you interact directly with the water,
and you're in close,

then it needs to be wet.

So we built the second tank.

Here we were with two full-scale ships,

all put together
through movement and control.

Special Effects did a marvelous job,
and we worked very tightly with them,

making sure our designs fit the gimbals.

And there was a lot of collaboration

between swapping
of digital models between us

to make sure that everything
was gonna rock and roll

without hitting various elements
of the other boat

that we didn't want it to hit.

You've got one gimbal
driving The Bitchfist,

and then you've got
The Queen That Never Was,

which has now been cut in half.

And each moves independently
to each other.

And it can give you
some really acute angles.

No one expected The Bitchfist
to come in with such heft.

This thing not only
accelerated really quickly,

but then when it hit,

it then pitched and rolled
like one would expect a ship to do.

There wasn't one person who didn't see it
and their jaw dropped.

You could actually physically
see people drop their jaw.

It was really hard to

stop smiling as this thing is tilting
and moving and shifting.

We knew in the wet tank
we had responsibility

for cast and crew working in the water,

that we had to maintain
the quality of water.

And back in July, I designed a pipe system
so that we could pump water in

and we could pump water out.

It takes us two and half hours
to fill it from empty,

and it's three million liters of water.

We changed the water twice a day.

So that is six million liters of water
being filtered every day.

We have these huge silos.

We said we'd just put
a concrete pad down for the water,

and by the time the engineers came back,

they said, "Well, you've got
3,000 tons of water in silos."

So the concrete is just
under a meter thick.

It was a big operation.

We are on board The Bitchfist,

which is my ship.

And we are about to ram it
directly into that ship right there!

I think the title of The Bitchfist
was quite a sort of guiding light

on what it should look like.

We did quite a bit of research
on early Korean boats,

Roman boats, and gradually
we built this pirate ship.

The dressing of The Bitchfist,

I really took inspiration from pirates.

I mean, that just sort of
blew my mind there.

I thought, yeah, we can just
go to the extremes.

I was bringing rustic colors,

very natural, earthy tones to that.

But very broken down,
which is really great

because you can push
the boundaries with that

and actually just use things

that they would have picked up
on their journey.

Tonight, we shall walk
in the ashes of high tide!

We essentially came up with
there are three theaters.

There's the aerial theater
with Jace and Baela,

and then later with Rhaena.

And then there's the sea theater
with Alyn and Corlys.

And on the Triarchy side
with Lohar and Tyland.

And as you watch the battle,

you will see we're not
just telling the story

of random ships fighting each other.

So that was the big structural challenge

of like building this thing
around those points of view that we had

and telling their story
through this massive battle.

Take the ship.

On your feet! Prepare for the fight!

That was the moment where I realized,

"Oh, okay, this is- This is real.

This is a thing we're doing."

Do action, acting, close-ups,
all at the same time.

This is good. This is a challenge.
This is how we get better.

As long as you get the other person's eye
before you make a move,

it is the safest place on the set.

It seems weird when you're swinging blades
and hammers

and all that stuff at each other

and punching each other in the face.

But as long as you have
that trust and that connection,

it is a dance.

Yeah, it was an absolute joy.

They're very real live stunts.

It's Abu's fist in their face.

I'm running this ship, mate.

It's Abigail's sword in their stomach.

It is Steve with his arakh.

Over the course of a year
it took for them to get ready

and Steve, Abu and Abigail
knocked it out of the park.

Occasionally, in this business,

you kind of stand in things
that makes you feel like

you're on a living fairground ride.

The below deck set would actually sink,
and we had Abigail and Abu in a...

heavy fistfight.

We're not having to do a lot of work.

I mean, we're fighting
in water, chest deep,

trying to get these hits and punches in.

It's incredible.
I mean, when I was a kid,

I really wanted to be in
Pirates of the Caribbean.

That's one of the reasons
I became an actress.

I wanted to be a pirate.

And now, as soon as I stepped
onto my pirate ship

for the first time, I was like,
"Oh, yes, I'm home!"

I've done so much internal prep
to sort of create a character

and then get into them.

But I'm gonna miss Sharako
quite a bit, actually.

Oh!

'Kay, cut! Cut there.

Go on, step in and grab the dagger, aye.

That's me, wrapped.

That was actually
my final scene on the show.

But, I just came out of the tank.

That's three years of being
on House of the Dragon

and now I'm done.

I'll always be your Pirate Queen.

She lives on forever in our hearts.

The dragon battle above
the sea battle is extraordinary.

One of the things we wanted to do

was rather than tell that story
solely with the actors,

you know, so, close-ups
on actors on dragons,

we wanted to be able to try
and tell that story

with the dragons themselves
and the choreography of the dragons.

We really found a kind of
a sweet spot of dynamic,

loose, organic flying buck shots.

It was amazing.

And Loni was in his element,
which made us be in our element.

And he sent us off for
horse riding lessons this season,

and I think it worked.
I think it really helped.

I think we were, like,

really in tune with
the movements of the buck.

We actually animated
all of those dragon battles in advance.

And we actually got editors involved.

Everyone bought in
with the overall story arc

because the battle on the ships with the,
with the battle with the dragons,

they were so interconnected.

So, we really had to lock that in.

Awesome! Awesome, awesome.

It's a green dot...

-Yeah.
-...that bleeps.

-Yeah.
-Which is for when the grapnel goes,

"Whew!"

Super tricky to figure out,

like, what's dynamic?
How do we build that tension?

How do we kind of foreshadow
or plant the seeds of what's gonna happen?

The buck really helped with that,
because every time a sort of grapnel hit,

you'd feel a big jolt.

So, I kind of didn't really look
at the rehearsals

of what the buck was doing.

So when I got on it,

I didn't want to know what was coming.

Jace!

Three, two, one. Action!

Jace!

Shorten it. And, three, two, one, action.

Jace!

-Shorter.
-Jace!

Good. Cutting.

I think he's dead.

I think he's dead.

Harry had it coming.

He's such a diva with
his pretty hair and all that.

Everybody wanted to see him...

No, unfortunately, I mean,
Harry's just like the nicest human.

You feel terrible doing it.

The guy, bless him, is game for anything.

-Ready for this? Yeah.
-Yeah.

The rehearsal was good yesterday.

Yeah, it looks awesome. So, yeah.

-I feel good about it.
-Yeah, I saw you actually

-in the water. Good for you.
-Yeah. Yeah.

You're filming split-second clips
of the scene,

which is hard to keep
the energy up the whole time.

I can't be in one shot looking scared,

and then in the next shot,
looking erratic.

You've got to follow the same energy
the whole way through.

He will just look at me
and give me words of wisdom

for like two minutes

and tell me what's happened.

He'll tell me to get my heartbeat up
or give me a minute before,

and I'll get my heart rate up.

And he really just keeps the power going.

He's shouting down this megaphone.

He's absolutely brilliant.

Three, two, one. Action!

Fight! Command her! Save her!

Fly, Vermax!

I drowned him not once,
not twice, but six times.

The guy never cracked.

He just said, "Yes, sir.
Let's do it again."

By having your left hand on the handle,

it makes this feel like
you've only got one hand to do it.

Otherwise, it's much more achievable.

We had this harness that's strapped in,

and he's getting dragged under
and he can't undo the clip.

So we have all of that
tension and the jeopardy

and he ends up going under water.

We had to have a number of tests with him

because he was sitting
on a dragon saddle

that was mounted on a gimbal,

so we could submerge him
as the dragon was drowning.

We have an underwater six-axis,

which gives you
a different kind of movement.

So you can go up and down
and thrash about.

Six-axis aren't made to go into water.

They're not. They don't like it.
But this one does.

I think that will be really
exciting for him to be on that.

I'm here to see him off.

Because that's just because
I'm actually just dead,

which is how I meant to be, but...

There was something really therapeutic

about the loudness of on set
and the waves.

And then when I get dragged down
underwater, it's just silent.

So, I was actually staying
underneath the water

for as long as possible.

'Cause I could just hear the diver,

"Harry, we've cut.
Harry, we've cut."

And I'm like,
"I'm just gonna stay under here."

Cut there. Cut there.

It's the real trick with that sequence.

So much of it happens in the spectacle
of flying on a dragon and the CG.

Really, it relies on Harry's performance

to make you feel the tragedy of this loss.

That's almost a kill shot?

-It would have been.
-It would have been.

-If I escaped, even...
-Yeah, yeah.

...wouldn't have survived that one.

Harry was an absolute trouper,
and I think has one of the most special

on-screen deaths I've ever been a part of.

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