All language subtitles for The.House.That.Dragons.Built.S02E06.1080p.HEVC.x265-MeGusta[EZTVx.to]

I was running all day with Seasmoke.

Obviously, there is an element
of "anything can go wrong"

but it doesn't, it won't.

Very good Health and Safety
on "House of the Dragon."

I can't believe they got away with that.

I was so lucky to watch it firsthand.

We're always ready for whatever they're
gonna throw at us.

I'm a Targaryen, baby. Ya know?

When I got my script and I realized that

Paddy was in two of my scenes,
I was really thrilled by that.

Did you say it?

"The Heir for a Day."

I love Paddy, I really do,
and I miss him terribly,

and I miss what he brought to the show
and also to the set.

The things you don't see on camera.

Have you got your pictures?

- Thank you, love.
- Lovely.

Ryan had hinted at me
coming back and I was like,

"Well, how you gonna manage that one?"

And the first day that I came to set,
there were actually people

when I arrived, who were a bit like,

you know, you could feel
this reaction like,

"The king's here, the king's here!"
It was kind of odd, really.

And seeing these giant statues,
now you're dead.

You're just this giant carving.
Well, I'd walked past it about 20 times,

and then I just sort of
caught it and went, "Whoa!"

I told my wife about this and she said,
"That's amazing. Can we have it?"

And I said, "No, we can't
put that in the garden.

You can see it from fucking space."

If we don't build a small version,

then we never have a quick way
of working out our mistakes.

And then, when it comes to
the big version, we know what to do.

Our chief sculptor got
the likeness absolutely perfectly.

And when you're talkin' about
working in a piece of

four-meter by four-meter polystyrene,

it isn't always the easiest thing
to get somebody's likeness.

It's so much more difficult

when it has to look like someone

'cause it's easy to have all
the features of someone's face

and it not look like them
at the same time.

So, it was great to actually feel proud
about something you've worked on.

Daemon's dreams are
an interesting aspect of this season.

I think it was very important
for both Paddy and for Matt

to ground the dreams in reality.

There's the second dream
where he comes across Viserys

who is mourning Queen Aemma and their son

after the tragic cesarean section
of season one.

Why is my son wrapped in a shit rag?!

- That's the scene, innit?
- Yeah.

Because the Silent Sisters' set
has a wall of candles,

the challenge for us
and the art department was

that they needed to be lit all the time,
but they would burn out.

So, we came in in the morning
and Vanja had said,

"Listen, guys, we need
the candles lit all day

'cause I'm using them for lighting."

I have to keep the candles
going the whole day?

And Vanja was like, "Yeah."

We could only work when
all the candles were on,

so we couldn't make any decisions

before all the candles were lit.

So many candles. I can't believe that

there's a single candle
remaining in England

after our show comes through here
like candle locusts.

I wasn't nervous because I knew
I was in good hands,

so compared to some other
fire work that we were doing,

this was, it seems, very safe.

Lick the-- Fuckin' hair goes all...

We were in Cáceres and the exterior
of the Grand Sept location

which has a steep staircase
that comes down the front of it.

Rickard Thorne gets Alicent from the Sept

and they come outside
and we have a large crowd.

It was definitely one of
the most challenging scenes.

Fifteen or 20 horses, 180 extras,

day and a half to shoot it,
and the sun's going down.

One thing that really stood out to me
was the passion and energy and love

that the background artists work with.

They really take it seriously.

They really want to get into character.
They really want to give you 100%.

We're asking them to create
these little stories

within the scene
where they're arguing over food,

or they're having conversations,

or running in different directions.

One of the early decisions
for the riot scene

was that we wanted to shoot it almost like
a documentary style,

as if we were reporters
hidden inside the crowd

with the handheld cameras and long lens,

which we could only do
because the stunt coordination

and the way the crowd
was directed was so realistic

that we could employ that approach.

We wanted to stage it with
as many cameras as possible,

so she can really run down the stairs
and do all the actions continuously

without us interrupting her
for different angles and different shots.

And we wanted to see
Alicent bein' pelted with fish

by the starving townspeople.

And, obviously, they couldn't be good fish
otherwise they'd be eatin' 'em.

We were concerned about how many times

we're going to try
to hit Olivia with the fish.

Even though it was a prop,
it was still nasty.

We had this methyl cellulose that we mixed
into a kind of pinkish, gray sludge.

We then have a nominated stunt performer

who's the fish thrower.

Olivia, who's not only a fabulous actress,

but very generous and giving
with her performance,

and she's like, "Yeah, just hit me
with the fish. It's fine."

You know, "Let's not use the double."

By the way, the person who threw the fish
used to be a pro cricket player.

When I say my head swiveled 360,

I'm not, I'm not jokin'.

We'd done one fish hit and I thought,
"Oh, that was great!"

But I don't think it was
quite perfect for Andrij

and he needed it again.

The second hit was, like,
really gooey and juicy,

you know, and we got her,
so it was worth it.

They spent all day running
down these steps and I'm like,

"Oh, how many times are we gonna
run down these steps?"

We ran so much up and down those steps

in the heat, in this dress.

Olivia, there's a bit where she falls down
the steps at the end,

and it was always planned that

she falls towards us onto a mat.

Rowley's just like, "Just fall."
And I'm like, "Yeah, but

I'm running down some steps."

He's like, "Yeah, yeah,
you'll be fine. Just fall."

I'm like, "Okay."

We put some decent knee pads on her
and she did a really convincing fall.

I mean, if this acting doesn't work out,
she can come work with us.

It was fine. It was fine.

In the middle of the sequence,
we have an elderly man that asks for food,

played by a very seasoned
stunt performer called Terry Cade,

who's in his mid-70s and still performing.

He grabs hold of Alicent
and gets his hand chopped off

by one of the Kingsguard.

This is the trigger
for the crowd to erupt and go crazy.

Prosthetics gave us the arm,

and we used that for the arm
landing on the floor shot.

We do a shot with a blue sleeve,

we do a shot where Terry
physically grabbed Olivia,

and then we did the sword coming down,

but obviously
stopping short of Terry's arm.

Action!

You have to do a combination of shots

to deliver the final effect
for something like that.

The guy having his arm
chopped off is this much in the script,

so you're spending a lot of shooting hours

for a very small moment.

Fuckin' escalated quickly, didn't it?
Someone lost his fuckin' arm.

It was really fun. It was really fun.

I'd look back at Phia
and we're both runnin',

and she's got this massive
smile on her face.

We'd got the adrenaline rush of
almost like it was like a roller coaster.

Like, every time, I kind of
believed it was real

because I think if I had stopped,
I would've been trampled.

It was, like, pretty scary.
But I don't get to, like,

do the running around stuff
in this show very much,

so it was really, really fun.

Prosthetics, stunts,
Olivia's contribution.

That was a really good team effort.

You go through all the emotions
in a day as a director.

Hopefully, you leave
sort of relieved or satisfied,

and it was definitely
that feeling at the end of that.

Okay, folks, so, we're gonna
break for lunch here now. Thank you.

Alyn and Addam of Hull,
the bastard sons of Corlys,

and they have very different
attitudes about Corlys.

Alyn's the one that has
the Targaryen blood,

the silver hair that
he needs to shave every day

so that no one else recognizes it.

The challenge is that person
can shave only one time

before we have to wait for
a couple of months for the hair to grow.

I remember reading the scene and thinking,

how are they gonna do this?

When I read the script, I was like,
"Oh, this is gonna have to--

ya know, how are we gonna make this work?"

The haircutting scene with Alyn of Hull
was probably one of the trickiest scenes

that we had in the episode.

I think we had as many meetings
about the riot in Spain

as we did about the haircut.

The hair and makeup team here
are just on another level,

and they came up
with this really cool idea

of, essentially, spraying
my head with white hair,

but it would stick on end
and we'd get this dull razor

that allowed me to shave it
with water and take it off,

and it looks incredible.

We ended up with a double

who was actually one
of the props department,

who was a really good match
for Abubakar and the hair.

Obviously, we had lovely Steph
who's a crew member

and he was just walkin',
mindin' his own business.

I think he was getting scanned by Waldo
to be one of the ratcatchers, I believe.

Every time you see somebody
cut their hair, it was a double.

I've never had to shave
my head in my life,

but this is something that Alyn has done
religiously, every day,

and so, I had to make it look like
it was a ritualistic act.

We even got one of our barbers,
as well, to come in

to tell us how to actually
properly shave the head.

I'm imaginin' that the blade
will be wet, right?

So, I'll be wettin' the blade
and then comin' back

- and then comin' down--
- No, you wet your hair.

I'd wet the hair,
so the hair would be wet.

And so, to have the right people around
to tell me that,

I didn't have to really
think about the act of it,

all I had to think about was the scene
and what I was doing.

We cut from Abu and we actually used
a close-up of Steph,

and then we used Mark as the hand
to use the cut throat.

So it involved, like,
four different people

to achieve this one look.

So, I feel like, after this,

I won't be able to walk
around with my hands up

because everyone's gonna
notice it and be like,

"Hey, those are the hands!"

Like, even me as Clinton,
I'm like, "Why would you shave

that beautiful silver hair?"

If I had that hair,
I'd be rockin' it every day.

- Stand up straight.
- Yeah, you're with your f-- your dad.

Rhaenyra, in her desperation
to have a dragonrider,

goes into the archives
in the Valyrian temple

and finds out that Darklyn's
ancestry is connected

with the Targaryen ancestry,

and therefore, thinks that
it's a good idea for Darklyn

to potentially be paired
with Seasmoke as a rider.

We have the sense that
Seasmoke is missing his bond.

That's why Rhaenyra
seizes upon that idea that,

perhaps, he's lonely
to try to give him a companion

in Ser Steffon Darklyn,
who becomes Ser Steffon Sparklin'.

The Dragonmont cavern went
through a lot of process

in terms of getting the right space,
getting the right height for the gantry,

getting the right extraction systems
in place so that we could use the fire.

So technically and logistically,
there was a lot to do.

Dragonmont is a big network of caves,
so what do you build that connects it

to the human space of Dragonstone?

This gantry could exist in this giant cave
and dragons could come up to it,

and that's how you step on and step off.

This set, built by Jim Clay,
is 15 feet, 5 meters off the ground.

Everyone at the beginning
was questioning why it was built so high.

And then you stand on it and
you understand why it's built that way.

It's scary.

We were so high up from the ground

that we had to worry
not only about the fire,

but also about nobody
falling off the plinth.

It was the first time
Rhaenyra attempted this,

and we didn't know what was
going to happen to Darklyn,

so the idea was to be
as shocked and surprised

with his death as Rhaenyra would be.

So, what do you reckon to this lookin'

anything like me, do you think?

I think they've got the nose.

Maybe it's a bit bigger there than here.

Stunt masks provide a protection
for the stunt guy,

which means a thickness of silicone,
which means that we're never gonna be able

to make it look convincingly like a person

who hasn't been attacked by bees.

Do your best Michael Myers impression.

Then, to be honest, like,
once they're up in flames,

all you're really aware of is

that he's got black hair
and he's got two ears,

and the rest of it
is down to your imagination.

On season eight of "Thrones,"
we learned that with prosthetics on,

it felt like havin' a fire mask
'cause the silicone would protect you.

So this year we went,
"I know what we'll do."

We'll assume that people have been fully
engulfed initially,

so they would be burnt
and have lost their hair.

So, we got Waldo and his team

to make prosthetic masks
that covered the ears.

And it's the ears that always get burnt
when you do a burn without a mask on,

that go 'round the back of the neck,

so that we could literally
have people on fire

without masks on, but stood up.

- That was a bit innovative for us.
- And action!

I think that it's al-- The knife's already
on there. And then you go...

like that.

That's prosthetics on a prosthetic.

So we have to stick the neck on first

with the tube, that wound,
running down his back,

and out the bottom
of his trousers on a pump,

and then, while he's on fire,
he has to find his mark

and cut that

and then, fall to the floor
and all this sort of gushes out.

That was Levan.
It's one more piece for us to stick on,

but Levan has to hit all these marks
while he's on fire

'cause, obviously,
he can't see what he's doin'.

Yeah, props to Levan.

Levan, are you okay? Lee, you alright?

Having thought that I was
up for most things,

having watched it, I thought,

"Oh, it turns out, I actually
don't want to be set on fire."

We provide the fire gel.

We make it ourselves.

It's almost like a protection.
They have their own protection on,

but just the top burns
rather than the costume.

They put the gel on underneath
and then on top of the costume,

and then special effects paint them up
with IPA and alcohol and off they go.

We ignite them with
a flamethrower, which is scary.

We used a podium one,
which is basically a powder,

like a pollen,

and we fire that out and ignite it
at the same time,

and it burns very clean,
very yellow, and it's very limited.

You can't be panicky, though, can you,
'cause it's not a good look.

You gotta be really positive and like,

"Yeah, it's gonna be great.
It's gonna be fine and..."

It's just alien to do that.

It's alien to squirt somebody
with ignited gas, isn't it?

But you've got to plan it,

you've got to build it,
you've gotta show Rowley.

We have dummies that we dress up,

put them there, squirt them on,
show him how it burns.

He likes it, he doesn't like it.

And then, we go to the real people.

Action!

One, two, three,

four, five, six,

seven, eight, nine, 10!

Out, out, out!

You have to be conscious
of when you put people out

because you can blow
burning stuff off them onto other people

because they're not out.

They would burn for a lot longer.

And then we put some cold towels on them
and stuff like that just to keep 'em cool.

But if they do that,
we know we're alright, you know?

Definitely won't be becomin'
a stuntman anytime soon.

That is mad.

Felt the heat from there.

It's always better to do things in camera.
But fire is one of the things,

just because how it reacts
to wind and movement,

it's really hard,

and I don't think it's yet convincing
for that to be computer generated,

certainly not in its entirety.

You can enhance, but I don't think you
could replace real flame.

Not just yet. Maybe 20 years,

we won't be setting people
on fire anymore,

but right now, thank goodness,
we can do it better.

Top man. Thank you, Lev.
Great work.

Addam is walking home
after a day of fishing

and there's a chase scene
between him and Seasmoke.

You look at a storyboard
and go, "That's not so bad."

And then you go,
"Oh, hang on, it's still going.

"Oh, it's-- Oh, it's still--

The shot's still going,
oh, the shot's still going."

We planned the route,
as you do always,

as to what does the background look like.

And often, it's the route
that's the most uncomfortable

or awkward for the performer.

Clinton, fantastic actor, great athlete.

He did all his own stunts.
We provided him with a stunt double

and he was like, "No, I'm doing this."

When an actor wants
to do their own stunts,

I'm at the monitor going like.

Clinton was so exciting
and he was in such great physical shape.

We tried to have long takes
and long choreography,

and for somebody to repeat
that a couple of times,

running up the hill,
running down the hill,

could've only done it with him.

I don't know how we'd
do it with another actor,

and he was happy to do it every time.

Shootin' that scene with Seasmoke

was a dream come true for me.

As a kid, what did we all imagine
when we were, like, playing,

you know, make-believe?
It's always a dragon.

We have this bit at the end
where he falls down this rock face.

So it was a real rock face,
which we covered

with a fake rubber rock face,
and he did a great job.

It's always better if it's in camera
and it's the real person.

Visual effects cover the dragon overhead.

We had then picked him up on a drone,

so we built a drone shot in

where he runs through
the woods and we track him.

And then, of course,
we had some local mortar cannons

that shot debris and tree branches.

So we had some physical effects.

When the dragon comes
crashing through the trees,

we had something
to blast through the shot,

so that we don't rely completely
on the digital aspect of that.

And then, of course, when the dragon comes
face to face with Clinton,

that's when VFX were reintroduced,

so that we can have that moment where
Clinton and the dragon are nose to nose.

When we storyboarded the sequence,
and we previs'd it, and we budgeted it,

we're like, "Okay, it's big,"
and then we shot it.

It went amazingly well,
but when we got into post,

it was so good that the scene
doubled in size,

so we got twice as many dragon shots.

And can I tell you, you know,
each dragon shot is very expensive.

I mean, it's like owning a dragon.

The scene is incredibly dynamic.

We shot it in a very similar way

that we shot the Steffon Darklyn moment
just before he's burnt.

At the moment that Seasmoke
kinda goes in for Addam,

we cut out of it

leaving the audience wondering
what's gonna happen next.