All language subtitles for The House That Dragons Built s03e02.eng

There is tons of action this season.

And after all of
the preparation and training,

you really can't help
but escape into that world.

It's exciting to get out onto location

because you've just got the wind...

...the sea, and all
the elements of our world.

And landscape brings a poetry
to the show, I think.

Wales is the perfect location
for a show like this.

Its landscapes are dramatic.

And the weather of Wales
really contributes to the whole ambiance.

All the elements.

Wales provides scope and location,

the way that we cannot get anywhere.

It's gorgeous and it feels
very kind of "Westeros."

House of the Dragon sort of environment,
which is awesome.

-Yeah, let's do it.
-Yeah!

-Let's do it.
-Let's do it!

Do it!

The aftermath of the Battle of the Gullet

was probably one of our most
challenging pieces to do.

When you see this and the breadth of it,

this shows the cost
of something like the Gullet.

We had to use a mixture
of some real bodies

and then some prosthetic bodies.

With the real bodies, obviously,

some of those characters
had to have big wounds on

'cause they'd been through a battle.

It's so creepy.

You know it's fake,

but then the detail is so well done.

It was very surreal.

The great thing about our dummies was that

all the heads are
quite easily interchangeable.

So, I think we made 44 heads in total.

Otherwise, we're gonna see
the same 20 heads over again.

Prosthetic has a thing about creating
prosthetic of crew members' faces.

So, that's always a fun thing to watch.

Everybody wants to be a dead dummy.

I think we actually had more volunteers
than we had needs for bodies.

Pop them in the front.

Give us a picture like
you've kind of got death

rushing up to meet you.

That was good. I think you did
a good job holding that.

Thank you.
Kind of look constipated.

So the next stage is
to make a printable head.

Here we have a box-fresh Dan Storey head.

We then mold that,
pull a silicone version out.

We'll go through hair, go through paint,
have some eyes put in.

Then the beard has to be
punched in by hand,

individually, with a needle.

We'll give you a cool look.

We're gonna be hunting for me
on the set, you realize.

Dan the "behind-the-scenes guy"
is definitely in the wide shot.

When you misbehave on House of the Dragon,

you never know when you might
end up just a bloated body

floating in the wreckage of the Gullet.

Baela flying back with Jace's body
is incredibly sad.

We had to work out how to put
Jace's body over the dragon.

The buck isn't designed for two people,

but thankfully, in our sequence,
one of them's dead.

So, we didn't have to-

We didn't have to have them
moving around too much.

Emma said I look like Edward Scissorhands.

Harry, you know, was brilliant.

You know, lying there in an incredibly
uncomfortable position.

That feels great. Comfortable.

Are you okay just to fall back,
dead body on there?

-Yeah.
-Just mind your head on the side seat.

Yeah, I'm all good.
It's already what I've been doing.

I think one of the most challenging things
as an actor is to play dead.

It's long old days.

And by the end of the day,
if you lay down with your eyes closed

and don't move a muscle for ten minutes,

you will fall asleep.

So, I've got my eyes closed.
Obviously, you can't open them.

And I'm trying not to fall asleep,
but obviously you can't.

And I think one of the rehearsals,
I actually woke myself up snoring,

and they were actually shooting.

And I went...

like that, because I obviously
tried to wake myself up.

But how can you wake yourself up
if your eyes are closed?

Do you know what I mean?
Yeah, it was quite challenging.

Clare showed me some images quite early on

about how pale and sort of vulnerable

she wanted to see Jace at the end moments.

So, we worked on, you know,
paling up his skin

and painting in some veins.

Got a lot of dialogue.
Can you please leave me alone?

Oh, I could wax lyrical
about Harry all day.

I love him.

-Hello.
-How are you?

I haven't earned this at all,
but I feel deeply proud

of the young man that he's becoming.

You look well.

Jace has gone on a massive journey,

but then so have I as a person, I think.

So, I feel like we've kind of
grew up together, in a way.

It was very affecting for me.

You know, we cast Harry when he was-
He was, I mean, a young man.

I want to say he was 16 when we cast him.

But to see him mature as a man
and as a performer,

it's just you don't get that all the time.

It's just so sad.

You know, we've done every single part
of this journey together,

so it sort of doesn't feel real

that he's not gonna be back
or that he's gone.

But we had such a good time.

He's the best boy.

I will miss his kindness and generosity
and sensitivity on set.

We all say often we do not deserve him.

These memories
and the people that I've met

on this show is amazing.

I'm just grateful, really.

-Such a juvenile.
-Sorry.

-I'll be professional.
-Come on.

Thanks, guys, appreciate it.

Second Season, they used to be...

Fake one? Oh, it's a real one.

Back for more.

It's like we never left, darling.

Filming the rookery is- It was great.

We basically shot it
in the studio on the lot.

We had two rookeries.

One that you can see it from the outside.

The other you can see from the inside.

-The one from the inside...
-It was like a wooden box.

And myself and Matthew sat inside it with,

you know, 30-odd screaming ravens.

It was built well enough so that
you could take the back off

where the ravens were,

and then shoot through
the birds onto our heroes,

whilst all the time they're being
pushed and pulled

and rocked about.

It's basically people
pushing it and moving it

so you can feel the movement from inside.

Then me saying, "More, more, less, less,
50% more, 30% less."

Okay, a bit more, please, guys.

A lot of guys are rattling
the thing around,

so we're like, oh, my God.

Bouncing around as if
we're going down a bumpy road.

That was a really cool
kinda going back to basics.

And how do we move this?
Well, we just move it, right?

On this show, you can go from a day

of seeing two ships crash
into each other in a wet tank,

and then you go onto
another stage and there's a grip

rocking a half of a horse cart
with his foot.

And look, it all results
in the same credible,

believable film at the end of it.

And that's just,
that's filmmaking for you.

We were all laughing so much that day,

with, you know,
all those birds flapping about

in this tiny little space.

The crows are...

are horrible, but, you know,
we're still in touch. We text.

What is it?

We shot the outside
of the rookery in location.

It's great to do...

I wouldn't call it action.

It's nice to be a bit physically violent.

And hitting someone
with a birdcage is always fun.

Three, two, one. Action!

There's sort of a semi-comedic
element to that scene.

It's messy and awkward and sort of nasty.

These aren't warriors, you know.

These are people who are making
the best with what's to hand.

And then Tom added
the brilliant idea there

that when he takes the arrow

and just stabbed
the Staunton soldier repeatedly.

So he had a vessel for his rage.

And then, Episode Two evolves from grief

and aftermath from a battle

to how Rhaenyra reacts to it.

Today, King's Landing receives its queen.

It's a peak, peak moment in the story.

As a cinematographer,
what I tried to do was

to just give it
a very special theme to it.

So, early on, we decided

we were gonna make the scene
brighter as it progressed.

So, they leave Dragonstone on a cloudy,
kinda stormy day.

And as they reach King's Landing,

the sky opens up

and there's like tons
of sunlight coming in.

We set out with some rules on the buck,

like basically, if we had actual dragons

or if we were up in the sky,
like, how could we shoot that?

Because you want there to be
some kind of familiarity

with the cinematic language
of shooting things

like practically up in the air.

Have to really have a shout-out
to the stunt team.

They're a brilliant set of boys
and wonderfully skilled.

Mad as foxes, mate. They're all like,

"Oh yeah, we're getting
burned tomorrow. Can't wait."

I'm like, "You lot are off your head."

It's always fun to have Matt Smith
slicing through people.

I was thinking about Quentin Tarantino
when we were shooting that scene.

You know, as he just cuts his way through.

I just woke up one morning,
it's like, "Yes,

we have to have a top shot
with all these pools of blood."

And then, they end up

getting to the throne, which is, you know,

personally, it's one of like
the coolest moments

and it's a turning point.

I think my favorite scene
to shoot this season

was claiming the throne in Episode Two.

Pretending to behead someone
whilst crying uncontrollably

is one of the maddest acting challenges
I've ever undertaken.

My favorite scene to shoot was,
I think, Otto's beheading.

Because it's such
a big moment in the show...

and it's also our first day on set.

Good to be back.

So, it scratched a couple of itches.

You know, it's like us
back in shooting mode.

And, you know, what's more fun
than cutting someone's head off

in the throne room, right?

I'd never done a beheading on this show,

but everyone else
had seemingly done tons of them.

It's actually a very simple process.

When you have scenes like
a character being beheaded,

which happens quite a lot...

...we make sure

that we have all the swords
required for that action.

Usually that means, you know,
having the hero sword,

having the full rubber sword,
and having numerous amounts

of cut-down versions of that sword.

So, it's important that we're standing by,

making sure that we speak
to the stunt department

who are there on the day,

and the director as to how
this action plays out.

Like, I want her to go to strike
and then shut her eyes.

-Yeah.
-And that is just hard.

It's like you've got the angle wrong
rather than the distance wrong.

-Yeah, right.
-Yeah. That's it.

-That there, that's it. Yeah.
-Yeah. Okay, yeah.

And then, making sure that
the visual effects department

have got what they need,
because they're gonna have

to add on the rest of the sword.

Okay, and walk away now to the throne.

There wasn't a lot of screen time
with Rhys this season.

I will just miss his naughtiness
and his silliness.

But I saw Rhys very recently.
He took me on a boat.

So, it's all good.

Enjoy, guys. Stay alive.

We'll see you later.

As long as you can.

Look after yourself, mate.

Aemond arriving at Harrenhal

was an incredible sequence to get.

It really jumped off the page.

It was very exciting to shoot.

For me as a VFX producer,

I'm reading Episode One,

I'm thinking you couldn't
write more visual effects

into an episode.

And then we get to Episode Two.

And then we have the opening aftermath...

dragons landing at King's Landing,
you know, massive sequence,

and then Vhagar lands at Harrenhal,

and it's huge.

When I was thinking about
Vhagar landing in that space,

I started thinking about King Kong.

The previous season,
we'd had all that scaffolding

and they were building up the Great Hall,

and I started thinking,
what about if when Vhagar lands,

all these old arches
and everything they had built

started falling apart?

For us, that's just a massive, all-out,

CG-fest.

And then we had burns on top of that.

Okay, here we go. Ready?

And, three, two, one.

Action!

Out! Out! Out!

Ground guys, got that? Well done. Good.

We had not seen Aemond
in his proper battle armor

to date 'cause he went
into battle on his dragon,

which, you know, he can do
in a T-shirt and shorts.

But this, he knew he was gonna
have to get down and get dirty.

So certainly he would
have a set of battle armor.

What does that look like?

This season, we've had a lot
of new designs,

but I would say Aemond,
he was one of the most complex

and really significant builds.

It's very different to anything else

we've seen on anyone else
in the show so far.

And Simon's workshop of 15 people

spent 26 weeks working on it.

It was brilliant.

Very heavily inspired by
kind of mid-medieval,

Gothic armors.

Ewan has this very classical build.
He's very lean.

He very much has the build
of a actual medieval warrior.

I've been fascinated by
St. George and the Dragon,

and he's depicted in full plate armor

and this tall, lithe figure.

And I thought, Ewan has
the perfect physique

to carry that off.

And then we looked at sculptures
and different armors,

and then how you would tweak that
in order to make it feel Targaryen.

We went through many different iterations
of dragon scale,

and eventually we settled
on hundreds of small,

overlapping dragon scales

that are kind of unique
in shape to Aemond.

They have quite a sharp
and menacing look to them.

But it's a complete head-to-toe armor.

Every part of his body is covered.

Everything's individually tailored

and sculpted to fit him.

Something that was imperative for Aemond

was making this armor that was

fully articulate with all of my joints,

because Aemond, as we've established,

he's agile, he's flexible.

And to have a piece of armor
that tells that story

and is also practical, was just amazing.

The one thing that I introduced to the mix
was I thought he should have a helmet that

kind of honored the fact
that he had an eye patch.

Half of his face could be protected

because he can't see
out of that side of his face.

And I just love that design

'cause I think it's so intimidating
to see that coming around the corner,

with the one eye peering at you
from under the hood of that helmet.

The work that they pulled out of the bag
was just nothing short of incredible.

And it's an honor that they let me
be a part of that as well.

We wanted the taking of Harrenhal

to be visceral and dramatic
in a way where you were seeing,

you know, not only Vhagar do her work,

but also see what it takes for Aemond
to carve his way through the castle.

Ewan loves stunts and fighting, clearly.

Ewan is sort of unquestionably

our best cast fighter,
I think, on the show.

And I think everybody else
would kind of own up to that, too.

Yeah, he just throws himself
at all of this stuff.

Ewan is almost amazing
at everything he does.

He's really cool.
He's always been cool, though.

No, he is amazing at everything he does.

Ewan can do it all.

Ewan's awesome. He works really hard.

He's naturally gifted with the sword.

I don't think I've worked with
many people like Ewan.

He throws himself into anything
that you ask him to do.

Doing the choreography
over and over again until it's just-

it's second nature,

I absolutely love it. I love it.

For the fight where
he's basically fighting

through every guy that comes at him,

there was a single Steadicam shot.

Doing those two-minute-long fight scenes

without breaking, it's just so immersive.

Ewan is a really passionate actor.

And he knew as much as I did
that it is a ballet.

It is a dance between the two of us,
and we've got to get it right.

And then when Ewan swings that sword
and you're right there with him,

it's a little more real.

Then we have Vhagar kind of strafing
and burning into the corridors,

this, like, kind of system of corridors.

We have the situation where
we lit two guys behind him.

So, we had a guy that was manually lit.

Okay, here we go!

Three, two, one! Action!

And then we had a guy ignited
which creates a fireball.

And burn!

And then he kills that person
that's manually lit.

Seeing that full body
burn two feet away from me,

and you can see his eyes.

And these blue eyes are just engulfed

by a 20-foot flame
up in the air above him,

and it's quite haunting.

It's as real as it gets.

We normally don't set off bombs on stage

in blast radius of one
of our main characters.

But it's so much better,

you know, to see the character
kill somebody

that's fully on fire
and it's actually them.

There's so much value there,
and it's way too close

to do face replacement.

All of these different
elements that we've got

of, you know, people being on fire...

props being on fire.

Now in post, putting it all together

and just having that
as a base to build on.

It's a luxury.

To me, action without emotion is empty.

We have epic action sequences...

in contrast with these real,
intimate moments.

So, they're all rooted
in something very real.

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