(WARRIORS ROARING) -WARRIOR: Ahh!-(BLADES RESONATE) ♪ (ENTICING MUSIC) ♪ (WARRIORS YELLING) (STRIKING) (CRASHES) As soon as we wrote upepisode nine, we knew that it was gonna haveto operate on a scale that we never operated before.
DAVID: We had a number of night time battles, we had a number of siegesbut this is the first pitched battle, or at least thefirst large pitched battle.
And so, something different for us.
All of it is action with almostno dialogue and lots of horses and many extras and the giants.
The amount of supporting artistsand the size of the crew, how many cameras they got going.
IWAN: The magnitude of all the sets and everything, it's unbelievable.
It was hard, it was a long, long slog.
DAVID: Luckily we got Miguel Sapochnik back who is our meister from Heart home in Season five.
That was basically a massacre.
B: This is a battle, this is the story of a battle.
We never done that before.
They really wanted to kind ofget into the mindset of what it would be like to be ina battle like that.
KIT: It was fluid all the waythrough.
It morphed, it changed but the most important thing all the way through is.
it can't just be a battle.
If it's just a battle.
the audience don't have stakes in it, you know? KIT: You have to be following someone so we decide to follow to Jon.
♪ (ENTICING MUSIC) ♪ Ramsay.
weapon all the way throughis antagonizing people.
-(BLADE RESONATES)-KIT: Drawing them into a trap, and Jon completely falls for it.
B: He doesn't account for Ramsay's.
gift sets– psychologicalmanipulation, which Sansa warns him about! He's kind of thought, ah, this guy gonna do some stupid and honorable.
because he's not gonna be able to control himself, so I'll shoot his brother with a bow and arrow.
KIT: There's no way he can't gallop towards his brother, who is– been shot up with arrows and try and save him.
So he falls into that trap.
But he's–waited until Jon Snow.
is within archers range.
So that they can start shooting him immediately.
KIT: He seen his brother been killed, so he falls into the next trap galloping towards Ramsay.
Yah! Yah! Every step of the way he doesexactly what he wants him to do.
Yah! -(HORSE TRIPS)-(NEIGHING) ♪ (DRAMATIC MUSIC) ♪ Probably one of my favoriteshot of the whole season is.
DAVID: when we're behind Jon Snow and he sees that.
Calvary wall galloping towards him, and part of the reasonit's such a great shot, is that it's all real.
(BLADE RESONATES) DAVID: That's 40 horses charging full speed at Kit Harington.
Until the last minute, I stoodthere facing off against this Calvary charge, which is really scary.
KIT: We're a bit annoyed cause we think everyone is gonna think it was CGI.
and it wasn't.
Camilla, our horse mistresskept asking every year, DAVID: she say, “Give me some more stuff to do.
Like, this year was boring it's just people trotting from here to there on their horses.
” So finally we gave her enoughto do.
I remember the outline, I went, “Wow, ok, this is adventurous, how are we gonna dealwith this?” MAN: (YELLS) Charge! (INDISTINT CHATTER) CAMILLA: It's the biggest amount of horse requirement, I ever had on Games of Thrones.
We flew over in May to kind of start discussing How are we gonna prep it, CAMILLA: well, how many horses we're gonna use.
(WARRIORS YELLING) CAMILLA: We decided on 80 in the end.
So when we first see both armies we'll use 80 on the Stark side and let me see, 80 on the Boltons, so we're using the maximum.
CAMILLA: Then when we start the clash, we'll split it in half.
KIT: When we had horses charging pass me, those were all real horses.
CAMILLA: I obviously worked really closely with Rowley putting it all together.
And we make channels, so it looks like they're clashing but they're not the horses are actually just passing through, you know.
like two foot channelsso that they could clear out.
ROWLEY: We are gonna to make that look as close as possible to a collision without actuallycolliding the horses.
ROWLEY: So in very tight formation we'll have those guys cross and they'll pull the horses as they cross through.
We're falling them onto a verythick falling bed, so we don't injure the horses or injure the guys.
Um, but we're gonna try to make that something that's not really been donebefore.
-DIRECTOR: (YELLS) Action!-(WARRIORS YELLING) ROWLEY: You want it to feel crowded and mayhem and like, you know.
anything can happen any time.
But I really don't want anything to happen any time, I want what we plannedto happened, and it looked really cool and let's not hurt anybody.
-(HORSEMEN YELLING)-(BLADES RESONATING) -(WARRIORS SCREAMING)-(YELLING) To get across the fieldand follow the horses, the speed at which the moving horses, move really, really fast.
MIGUEL: You need a special rig and the rushing arm is such a fun machine.
to work with cause its gives you such dynamic shots.
(TRAVELLING) FABIAN: Especially, a camera tracking vehicle, it's a remote control arm.
FABIAN: That sits on a Land Rover in our case.
Throughout”The Battle of the Bastards”, we had a number of trackingvehicles, one of which was.
the vampire bat with the rushing arm on it.
On a muddy slippery fieldover about five or six hundred yards of very fast horses that was the vehicle to chase them properly, and get the results we wanted.
SEAN: It worked very well.
The results were amazing.
(INDISTINT DIALOGUE) JON: Go! Go! Fellow your commander! (WARRIORS YELLING AND SCREAMING) You've got two giant armies thatare opposing one another.
STEVE: You know you're not gonna have more than a few hundred extras on one side or the other so you got a lotcrowd replication.
JOE: We had a lot of Calvary, a lot of infantry.
Wun Wun, the giant is involved.
Most of it would be photographedbut it also needed a lot of digital enhancement.
STEVE: You've got things happening that you can't shoot in any real way.
You got a giant punching out a horse.
We shot horses fallingand charging toward one another that we can use as elements, but we start to get into complex areas that we haven't really broken ground with on the series before, where it's fun and exciting but also, very challenging.
(COMMANDS) (WARRIORS GASP) (HORSE NEIGHING) (GRUNTS) “The Battle of the Bastards”becomes incredibly compact all these combatants force into this incredibly tight space on the battlefield, partly crammed in by bodies.
You got horses, you got.
you know, men by either side just piled up on thismassive hill.
The body pile was absolutely enormous in terms of it's scale and ambition.
DEBORAH: All of those prop bodies had to dressed in the appropriate uniforms.
DEBORAH: We had to have the shields and the flags.
You then need to dress the horses and their saddlery.
You need to make sure that the correct sigil is on the horse.
Even though I know that all of these bodies are fake.
DEBORAH: It was deeply moving.
It's pretty grim, it's verybrutalizing to look at.
DEAN: I never seen that before ever.
DAVID: It comes from reading real accounts of these various battles both medieval– and even more modern ones.
DAVID: You read accounts of battles in the Civil War, where their bodies were piled, so they become an obstruction on the battlefield.
I think what I was findingthroughout filming this was moments of giving up.
KIT: And the first moment we found that was when the crush starts happening and he just stops fora moment.
KIT: And then he tries to fighthis way back but he gets pushed over, he gets trampled.
-(JON GASPS)-(WARRIORS ROARING) Jon is almost literallyburied alive.
DAVID: Beneath the bodies.
KIT: He was being almost killed by his own men, not on purposebut just in this wave of fear that kind of overcomes everyoneas they try to get out of the way of his incoming wall of shields.
And then something drives himto fight out, and in that moment where hecomes up and he goes for breath he's reborn, again in a way.
-(BREATHES)-(DISTANT HORNS) -(WARRIORS CHARGING)-(WARRIORS YELLING) (CLASHING) D.
: Winterfell is a placethat really mean so much in the context of the show, and the episode is really about bringing things home.
: The final act takes place in the Winterfell courtyard and it ultimately boils downto Jon against Ramsay, and Sansa against Ramsay.
IWAN: Always wanted to do a scene with Jon Snow.
It's really nice to get tosort of.
have the two bastards there together facing off.
KIT: It's a horrible moment when you see your hero go a bit too far.
ROWLEY: The only direction I gave to Kit was, “He's not human anymore.
He doesn't feel any sympathy, empathy for this guy.
” -(YELLS)-(GASPS) (GRUNTS) We actually spent an entire day, ten hours with Kit on top of Iwan beating him.
(CHUCKLES) I just shot it in every single angle I possibly could.
KIT: What we wantedto try to get with that was– that he just needing bread, he's just flatting this person's face and that's what changed in Jonfor me.
KIT: A monster has risen in him a bit, which I think should be unsettling for the viewers.
There's nothing he wants morethen to beat Ramsay to death with his own fists and then he sees his sister.
I think Jon then realizes, you know, as he's about to kill him.
He's on the verge of death.
SOPHIE: He realizes this is your fight this your guy to kill.
Because he understandswhat she's been through.
Where is he? IWAN: It's a very justified ending, so that Sansa has the power in the end.
Your house will disappear, your name will disappear, all memory of youwill disappear.
It's such a strong moment forher because all her life she's been affected by these menwho have just done such terrible things to her.
IWAN: It's nice to get to do a final scene with Sophie, after last season.
And this is the first momentthat you actually hear her say, “This won't affect me and I'm stronger than that”.
It's my favorite scene.
♪ (DRAMATIC MUSIC) ♪ Her walk away, that final shotwas so crucial and just to get that little hint of a smile just right I think we ended up making poorSophie do it, you know, 12 or 13 times in the middle of the night.
DAVID: It's not a big smile, it's just a little hint of a smile.
(RAMSAY GASPING) DAVID: Sophie doesn't day verymuch, but I think it maybe my favorite thingshe's ever done on this show.
♪ (DRAMATIC MUSIC ENDS) ♪.