All language subtitles for The.House.That.Dragons.Built.S01E02.720p.HMAX.WEBRip.x264-GalaxyTV

Looks like something
out of NASA.

I said, "Big," I don't know
if I meant that big.

You couldn't tell that you weren't
walking around an actual medieval castle.

You just don't want
to get hit by that.

The dragons are, visually,
very different.

My dragon's the best.

The Red Keep composite was
the jewel of the whole piece for me.

Because that's where the bulk of the
action is taking place in this season.

The Targaryens
are a very powerful dynasty.

So it's all about show,
it's all about,

"Look how powerful I am, look what
castle I've got, look what artifacts I've got."

That's the driving force
in all of the designs, I think.

Over a weekend, Jim pretty much just
cracked out a design for the whole Red Keep,

and on Monday morning we're looking
at this thing, thinking, "Bloody hell."

I remember
going there for the first time

and walking in, and my jaw
dropping to the floor.

And just thinking, "Oh, I said big...
I don't know if I meant that big."

That Red Keep
set absolutely blows my mind.

I was telling our mentees, "Go, really
walk that set and fully appreciate it.

'Cause you really won't see
anything that big, that spectacular,

except for a few times
in your career."

Jim Clay and his
team built a really completely realized world.

Almost 360 degrees, so really,

until you looked directly up
and saw the rack lighting,

you couldn't tell
that you weren't walking around

an actual medieval castle.

They really went to town
and made it a universe.

And I think one
of the principals behind Thrones

has always been,
particularly with the sets,

is we need to be able to shoot
in every direction

without it becoming
a visual effect.

And you can certainly do that
on the Red Keep.

There was me designing
this enormous set

which was going to take months and
months to work, and we had to schedule,

and there was a point
where the guys said to me,

"This isn't going
to be possible."

Our most challenging element
with regards to set was time.

We had 16 weeks to build this,

which by anybody's stretch,
is some goal, really.

So, as a team, we got together.

Miguel and Ryan
were hugely supportive,

they wanted to keep that set
and realize it as we designed it.

And so, they shifted
the schedule around endlessly,

and we achieved it that way.

But, you know,
God bless the guys,

because they stood behind it
and we got it built

as we conceived.

It was a remarkable achievement

from the
construction department,

and props as well,
and set dec,

to pull that enormous,
sprawling set together.

It's roughly
about 62 meters long,

it's 39 meters wide,
and at its highest point,

it's about 13 and a half meters.

We used 3,692 sheets
of 8x4, three quarter ply.

We used 52,038 meters
of 3x1 timber.

And we used 49,248 meters
of 4x2 timber.

And we also used gallons
of blood, sweat, and tears.

The stage was a
composite set, which means rather

than build individual rooms
for individual scenes,

this is a set where
all the rooms are combined

into one massive space,

as the interior of the castle.

I think the thing that
threw me is it's all to scale.

You know, like it's like,
you actually walk up in there

and then you can go
into my room,

you can go into
the small council chamber,

you can go into
Paddy's room.

It's all like built in,
it's not on separate stages,

which was really fun
to play with

and it made the world
a lot more immersive.

It's like a little
town they've built, essentially.

And it's weird
'cause you walk through it

and you keep finding
different elements to it

that you've never filmed on.

- Brother?
- Daemon.

It's cool, it's cool.
I like being on there.

The composite
also allows lots of positions

to watch, to observe,
to understand the little pockets

of conversations
that are going on.

To add to the intrigue
and the conspiracy

that must go on all the time
in those places.

Well, I went home to my wife
and I said,

"We could live there,
move in there."

It feels like I do live there.

My father is a king.

It is incredible.

I mean, it's a castle
in a stage.

I've never been on a set
like the Red Keep.

We're establishing
this weird, twisted pirate

called Craghas Drahar,
but nicknamed the Crab Feeder.

Stepstones is the
stronghold of the Crab Feeder,

and we filmed that down
in Cornwall.

And this is a tidal beach,
so the logistics

of working there
were pretty challenging

and restrictive.

Well, there's a reason
that a lot of films

don't take place right
on the coast,

and that's because of tides.

It was probably like 150,
300 meters out, the beach goes,

and you're like,
"Oh, this is gonna be great.

No problem, we'll just move up
to here

when the water gets there,"
but that tide comes in

and eats up the entirety
of the beach.

Props and set dec
and art department,

we just picked up shovels
and did what we had to do,

I think, to make it happen.

There was just absolute determination

from every single member
of the crew.

Whenever he captures
any of the Valyrian sailors,

he stakes them to wreckage
on the beach

and feeds them to the crabs.

In the script,
it's depicted as a sort of

swash-buckling character,
but Greg was keen

to give him a more
monstrous feel.

So, rather than have
a flashy sword, he said,

"I want him to have a hammer,
and I want him to use it

as the thing that nails
the people to the stakes."

I designed something
that has got

that sort of menacing feel
to it.

And kind of fits in
with that character.

It's got two sides on it,
hammer-side

which everyone knows
is the meat masher.

It's got those spikes
and you just don't

want to get hit by that.

And then on the other side
it's got a bladed section,

which, you know, in a battle
it's... it's just nasty.

It is nasty.

There's so much more energy
that has to go into it,

and it's so brutal
and I think it just adds

to that character,
where his mentality is

and how violent he is.

We are creating makeup effects
which relate to some things

that we did
on Game of Thrones before,

such as the greyscale.

- Stone men.

Don't let them touch you!

The Crab Feeder has greyscale,
which he's had for many years.

And the first time we see him,
it's fairly extensive

when we see him topless.

He's not very happy.

He's got a really bad case
of eczema.

You really want
to pick it, though.

You really want to.

It's quite progressive
up the left-hand side

of his body.

So we had a really extensive
makeup on Dan,

which was probably about
a four-hour makeup,

covering his left arm
going up onto the side

of his neck,
and it covers all his scalp.

He wears a mask which he's
fashioned together

from a Sons of the Harpy mask
and other bits and pieces

he's found in shipwrecks,
which covers

the majority of his face.

So we never really uncover
and see the extents

of the disease on his head.

We had to make it look like
it was for a villain, basically.

You know, it had to look like
somebody would be scared

by looking at the person.

We got a scan of the actor
and we basically

made the mask around his face.

We need to get a knife
and just carve out of it

to look like it's been handmade.

Get sandpaper, just rub it down
a little bit.

Because we don't want
everything to be sharp,

we don't want everything
to be perfect.

We actually made the costume
on him

by adding lots of elements
that he could've found.

'Cause he's a pirate,
so he finds his element

and then he creates, himself, his
costume, by putting those elements on top.

Very tall and thin,
but wonderful.

He was causing havoc
in the waterways

and this was kind of
the entrance to his lair.

You've seen what he's doing,
staking sailors to the beach

and the crabs come
and feed off the sailors.

Different elements of them
have been eaten away,

hands, legs, arms, feet,
wherever they've been staked out

the crabs are eating them.

Barry will come
and put on these

fabulous prosthetics,
but he always asks

for our inclusion
to help it look like

it should be lived-in.

So is it dirty,
is it sweaty,

is it all of those elements?

We've got this stuff
that we put on

to make you look like
you've spent a day at sea

and you get that sort of
dry lips

and little things like that.

As if I wasn't dead enough.

- You mind if I?

Gracias, señor.

He was going to be more
of a boogeyman,

so we wanted to create
a silhouette, a presence,

a person.

The combination of the mask
and the greyscale

and his interesting gate
and body

all conspired to create
a memorable character

who feeds his enemies
to the crabs.

When people ask me
about the show

and they say--
They just assume

I'm going to be riding a dragon,
and then they say,

"Oh, did you get
to ride a dragon?"

And I go, "No..."

"Well did you fight in it,
though?"

"No."

And then they say,
"What do you do?"

And I go...
"I don't know,

sit around the Council table
all day."

Some of my favorite scenes
from the original series

happen in the
small council chamber.

I love those palace
intrigue scenes

and they're the most difficult
to write

but they're the most fun
to write in a lot of ways,

where you're servicing
all those voices

and everybody's kind of vying
for the king's attention.

The king is surrounded
by a lot of people

with their own agendas,
whether that's saving money

or promoting their own family,

or doing the good work
of the realm.

And it's on the king,
just as it's on

the showrunner of the show,
to hear the voices

of the council around him
and try to make

the best decision possible.

I think we had something
like 60 or 70 pages

of scenes in the
small council chamber

throughout season one,
it's a lot.

I really thought
that we needed something

that had
more grandeur to it.

And also something
that was, for the crew,

easier to work in.

We had this room built
that was designed around

the idea that we should
be able to shoot

in any direction
at any time.

Miguel and Ryan wanted
a different council chamber,

we wanted it to feel fortified

so it has these huge columns,
and that was a bit more

flexibility to design
something new.

Jim and I, we looked at
different finishes

for the table itself.

And I had this really lovely
round piece of marble

which had a hole in the middle,
and Jim picked up on that

and said, "Oh, actually..."

And I had all these lovely
stones as well,

these circular stones
of various different

beautiful colors.

And he said,
"Well what about if we put

the ball of stone into--"
And I was like, "Yeah."

It represented the council
and them coming in

and being part of the meeting.

Everybody essentially
shows up for work

and they punch in,
and I thought it was really cool

and just a way of visualizing
the kind of set formality

of the small council chamber.

What would be quite nice
is somebody's talking

and someone else
takes their ball

out of the donut,
and they have to stop talking.

Dear me.

It's enjoyable, we should have things
that we like in this world.

Why don't you take the princess to
see about the new Kingsguard posting, Lord Commander?

This knight
will protect you as well.

You should choose.

At the time
that she chooses

the King's Guard,
it's something

that's not quite
an impulsive choice,

but it's her first thing
she's assigned to.

It's something that's done
off-hand

that does influence the course
of a lot of events.

Three Charlie take two,
echo marker.

In the original series, the heyday
of the King's Guard had long passed.

But this is that heyday,
and you're trying to show that.

And show how important,
how meticulous they were

over their decision making.

So for these knights
to come all this way

to King's Landing to be
even considered for the job

was a big deal.

So we wanted to put a bit
of pomp and circumstance

around the selections.

That wonderful little
chess board

was a big piece of that.

Greg became obsessed
with this kind of

chess board of totems
and he was like,

"Well, what's that
gonna look like exactly?"

And I said, "I don't know,
however you want."

And seven months later,
the most elaborate chess board

of totems and sigils appeared
on the set.

And they spent at least
three hours shooting just that.

It almost looked
like a sun dial and it evolved

from different ideas,
so it was pulling together

all the relevant ones
for the different knights

and who she was gonna choose.

Each one is
a 3D representation of the sigil

as opposed to just the sigil
on a little pin.

When I pitched it to Greg,
he liked that.

It made it more interactive
for Rhaenyra.

All of these are 3D printed,
so there's no one

that's like more or less difficult.

It was always very much about
getting the design into ZBrush,

so Casey, the concept artist,
did all of that for us,

and then it goes out
to a 3D printing company,

and then it comes back
to Ellie, the painter,

and she painted all of these
from references that I gave her.

Do any of these knights
have combat experience?

This actually caused us the most
trouble, because every time we made it,

it just looked
a bit too phallic.

So we settled on this straight
little version you can't get lost in.

I choose Ser Criston Cole.

We have the biggest
volume set in the world.

It is spectacular. It looks
like something out of NASA.

It goes by many names,
the virtual studio, virtual set,

it's the new kid on the block
at the moment.

What the volume provides
in its tool form

is an alternative.

It's a way of bringing
the action back home.

It has over 2000 LED screens,

it is completely enclosed
and operates with the camera.

There are 92
motion-capture cameras,

and what those do
is solve the position

of where the principal
camera is.

And that information
gets passed into Unreal Engine

which is a game engine.

It's that next evolution
of the ability

to see your visual effects
live, in-camera,

while you're shooting.

Ultimately, on the set,
there was just this

unadorned bridge.

Yeah, you've got the castle
behind the characters,

but then above them,
still in the frame,

you've got this smeared castle
across the ceiling tiles

which is correct
in perspective of the camera.

But to your eye,
it looks really, really strange.

But then when you go over
to the director's monitors

at Video Village
and just look at what's

in the camera,
you're transported

to where this scene
is taking place

and you're sort of brought
into the illusion.

It was so great to have something

the actors could react to
in real-time.

It's pretty surreal.
It's a lot easier,

'cause you're not imagining everything,

it's there in front of you.

Ser Crispon, wasn't it?

Ser Criston Cole, my Prince.

Ah, yes, apologies,
I couldn't recall.

Perhaps my Prince recalls when
I knocked him off his horse.

It was spectacular
to look through the lens

and see, really see,
where the show comes to life

and to give it a real look
and texture.

The real Dragonstone bridge
was completely impractical

to shoot a scene on.

This one is a bridge
that's been seen

in Game of Thrones.

And it's this fabulous,
zigzagging bridge

that connects the mainland
to a monastery.

Because we were able
to re-create it

from lidar scans
from the actual set,

we were able to shoot
in any direction,

you can shoot profiles,
you can shoot wides,

you can be above.

Draw sword!

In the center, there was a pivot
so they could turn and spin 360,

so we'd shoot up the incline
one day, and then overnight,

magically, we'd be shooting down
the incline the next day.

They can create a background
which is 10,000 feet

up in the air
in the mountains

and so that gives them
the opportunity

to be really,
visually creative.

What the volume gave us,

was we could re-create
the environment,

and control the lighting
and have consistent lighting.

You can put the sun anywhere
you want, you can make--

you can design everything
exactly how you like it.

But you have to have
a lot of restraint

working with the technology
so it feels real.

I think the biggest challenge
is always trying to blend

the elements of the screen
with the practical

elements on set,
and that's contrast,

that's saturation,
that's the direction of light.

We pushed to play with the fog.

It's this eerie strange light
that goes piercing through

which I think helps to build
that atmosphere of tension

that is building around
the scene.

That, obviously, we couldn't
have done in-location.

It was the perfect technology
and situation to try it.

I will say about
the volume, is, it's amazing seeing

all the wizardry that goes on,
that surrounds that,

to sort of compose
the shots and stuff.

We worked extensively with
building the environments

that you'd see on the screens.

The command center,
the brain bar,

and you see everybody working.

They're a very adept
kind of department

on a show like this
because so much

of what we're trying
to achieve

will come after it.

Are you so desperate

for the King's attention
that you resorted

to skulking about
like a common cut-purse?

I'm simply keeping
with the traditions of my house.

The same as my brother did
for his heir.

Matching the physical and the
digital is what this is all about.

There's a little bit of trickery
in design,

and so that was
a real partnership

between the production designers
and the VFX crew

to kind of figure out
how to do those little tricks.

Towards the end of the bridge,
where it has to join

onto the wall,
we're extending that up,

just 'cause you don't really
get away with it

in those bits where you're
seeing directly

from set to screen.

If you wish to be restored
as heir, you'll need to kill me.

I found the technology unbelievable.

My favorite part
of shooting dragons,

you get a tennis ball
and you put it

on a fluorescent stick
and you hold it up.

All the extras go bananas
'cause they know

that's meant to be a dragon.

So that part's fun.

- It's so silly.
- It's silly.

I know.

There's probably about 17 dragons
at the height of this story.

Knowing we were gonna get to do so
many different kinds of dragons is just so fun.

But any time you're seeing a dragon in
the shot, obviously, it's a big visual effects show.

Because we had so many
CG environments

and CG creatures,
we were trying to find

as many ways for our directors
to jump into post, really.

So he has to have something
like an iPad,

with an AR function on it,
so he can see

his actors in the foreground
and he knows that,

"Oh, you know,
there's a giant castle there."

or a dragon's gonna fly over
at some point,

and I need to be aware
of where that's gonna land.

The first dragon you meet
is Syrax,

which is Rhaenyra's dragon.

She's built for speed,
she's very proud and honorable.

The next dragon you meet,
of course, is Caraxes.

My dragon's the best.

Because he's the grumpiest,
and he's sort of lithe,

and they call him
the Blood Wyrm.

He's angry and snappy,
a bit like Daemon to be honest.

He's a snake-necked
dragon and he's also deformed.

But when he's in the air
he's beautiful, you know?

He flies beautifully
and he flies

like no other dragon
that we've built

because of his shape.

He sometimes flies
like a sea snake almost,

and sometimes flies
like a swan.

They're a bit like dogs,
they have

their own personalities.

Give me your hand.

They are,
visually, very different.

They have different
color schemes.

George R.R. Martin
was very keen,

he's always wanted the dragons
to be distinctive.

So we've worked on
their characters,

and we've tried to obviously
do that through their design.

We're also trying to do that
through their animation,

trying to imbue each one
with particular quirks.

Their purpose in the story
is they're weapons

of mass destruction.

These creatures are
not to be trifled with.

They were made out of magic,
they're extremely powerful,

and without them, we would
not be the house that we are.