♪ (DRAMATIC MUSIC PLAYS) ♪ DAVID NUTTER: And.
KRISTOFER HIVJU:We faced those icy fucks, looked rightinto their blue eyes– (EVERYONE LAUGHS) ♪ (UPBEAT MUSIC PLAYS) ♪ The feast wasa wonderful sequence.
It was seventeen pages long, in one room, and many different things going on.
SOPHIE TURNER: That was really fun, the feast scene beingone of the first scenes we shot.
Act– (EVERYONE LAUGHS) TURNER: We had a room full of cast, and it was like coming backto school on the first few days, when everyone's just so hyper to be back.
We were, like, having fun, cracking jokes, like, having a really good time.
Yeah, it was good fun.
PETER DINKLAGE: You didn't knowDenmark was a country till you met Nikolaj? NIKOLAJ COSTER-WALDAU:How f– DANIEL PORTMAN: For characters like me, it's great, you know? You get to relaxfor a little bit, you know, have a drink, hang out will my pals.
And obviously after what happened in Season 3, rumors obviously got aroundthat he's, uh, talented, so.
PORTMAN: Yeah, there's– there's that, that's– It's holiday time for Pod.
Of course, it's horrible thatso many people has died, but still, the show must go on.
Life must go on, you have tocelebrate it somehow.
So, the only way is to get very drunk and to have a lot of fun.
(CHUCKLES) To Arya Stark, the hero of Winterfell.
(CHEERING) That feast scene in episode 4is.
that was a bitch.
That was a bitch to plot out, it was a real bitch to shoot, and it's because so much of the scene, like a lot of, I think, the best scenes on Game of Thrones, are about what's not being said.
BRYAN COGMAN: If you turn off the sound on that scene, the hope would be that you're really following all of the emotional arcs through the looks thatall the characters are givingto each other and that's very difficultto pull off, and it takes a director of precision like David Nutter, it takes actors of extraordinary intelligence and empathy and patience.
And it takes writers like David and Dan who can really structure it.
That was a fun sequence.
We had to catch all these, “You looking at him lookingat you, but you're not seeing melooking at him looking at you.
” A lot of glances, and that happens at parties.
I had to do this in a waythat everything's connected, but also, everything's not connected.
So, it's all about a question of where you put people and how you set it up.
SEAN SAVAGE: So, the plan which David came up with was: you put them into groups and isolate them to a degree, which we can dowith camera angles, so that once a certain grouphas shot out its piece, we have them travelling up the hall which connects to the next group.
So, just clever choreography.
DAVID FRANCO: As far asthe lighting, it's always tough because you want–you have all those peopleeating, you want it shot multiple-camera because there's multiple people talking, and so you wanna create something that is flexible.
So, my trick was candles.
FRANCO: What we did, we built some boxes under the candles, like some little riser, and inside I had little lights, so the light was coming from the glow inside the table and not justa general top light.
CHARLIE WATSON: Most of ourdrama scenes were action scenes simply in terms of the number of bodies that we had on the ground.
When you have that many movingparts, it's always going on and you're always paintinga picture behind the actors who are giving the dialogue or walking through the frame.
INTERVIEWER: If I was to tryand find you and Dan somewherein the episodes, would I be able to? Uh, I think, maybe.
HIVJU: A mad man! Or a king.
(LAUGHTER) (KIT GROANS) NUTTER: Cut.
Please take the juiceout of this cup.
(LAUGHTER) LIAM CUNNINGHAM:Leave it in there, leave it in, it's good.
DAVID BENIOFF: We're there.
(CHUCKLES) Well hidden.
-INTERVIEWER: Well hidden?-Yeah.
WEISS: Uh, I was concerned we were going to ruin that, but I don't think we did.
(CHUCKLES) Yeah, let's give some notesto the director.
What a dayat Wildling University.
(LAUGHTER) NUTTER: Sean.
I'd smile but my beard–my beard will pop off.
(LAUGHTER) ♪ (DRAMATIC MUSIC PLAYING) ♪ The funeral pyres were a bigundertaking for us.
They were wood construction over a metal frame, that being because Sam Conway, special effects, had to have burn rigsinside all of these pyres to be able to burn themat different– at varying rates.
SAM CONWAY: The heroes lying down, we did a process of toughened glass and bulletproof plastic underneath.
And then the hero would go in and put the torch underneath the actor, uh, and then you'd see–beneath them, you'd seethe flames spread.
PAUL GHIRARDANI: There would be flame reacting around the sides of them, but not actually touching them.
But because you're seeing theflame through glass, for all intents and purposesyou're seeing flame, which is really extraordinary.
WATSON: Once we'd finished with the real people in the funeral pyres, they were switched outby the props department for burning bodies, chicken wire bodies that were costumed 'cause we were actually setting fire to the funeral pyres for real.
It was a huge burn, in terms of fire.
So, we had fire support, medical support, and that was the classic, biggest, widest shot of Winterfell, with the hugest effect in the front of it.
CONWAY: What I remember is that it was incredibly hard to put out, which– I did say it wouldbe very difficult to put out.
(CHUCKLES) Gets very hot.
Everyone has to move back 'cause they feel the flames.
I knew the shot was overwhen I saw Bran running past me.
(LAUGHING) I was like, “Well, it's gotta be over if Bran's startedto walk again.
” ♪ (INTENSE MUSIC PLAYS) ♪ Episode threeis such a massive battle, and so many peoplefall during that episode, and part of that is aboutour heroes, you know, the charactersthat we really know, and part of it is just seeingthe sheer number of other folks who fell.
We've got real pyres that were built by our department, and then the VFX team extended them so you can see there's actually thousands and thousands of fallen.
♪ (SOMBER MUSIC PLAYS) ♪ (FIRE RUMBLING) NUTTER: So, what was important with respect to the funeral on episode fourwas the fact that.
I wanted to make sure that.
there's some big-scope stuffthat was important, but also, there were somereally intimate moments between the charactersthat I didn't want to lose.
There was a moment in whichDany says goodbye to Jorah, where Sansa says goodbye to Theon, so I wanted to make sure that.
that was really covered in the proper fashion.
That was really hard.
I remember right before my take, putting the pin on Alfie, David Nutter came up, the director, and he was like, “You never got to say goodbye.
” “And you never told him.
that you saw him as a Stark.
” And then I was, like, bawling, because I'm thinking, like, I will never properly get to say goodbye to Alfie as Theon.
Like, that will beso crazy.
It was something in which.
We all have situationsin our life, where people dieat the wrong time, and things happenbefore you expect it to happen, where you say to yourself, “I wish I had said this, I wish I had done that.
” So, I wanted to make sure that there was somethinggnawing at her.
♪ (SOMBER MUSIC PLAYS) ♪ She took that nugget, made it into something special.
She's that great of an actress.
She really did a tremendous job there with that.
The emotion was easy to capture because the emotion was–was very real.
These are people who have beenworking together, some of them for 10 years.
Yeah, it was a very difficult thing to say goodbye.
Even if the ceremonywas fictional, the goodbye and the emotionsin the goodbye were very real.
(INDISTINCT CHATTER) ♪ (DRAMATIC MUSIC PLAYS) ♪ TOMMY DUNNE: The new Scorpion this year is phenomenal.
The thing with Dave and Dan, they just want to scale everything up.
Everything had to be better, bolder, for this year.
I was hoping to usethe same one again, thinking, “Oh, it was greatlast year.
” I mean, what could youpossibly– What more could you want? ♪ (ENERGETIC MUSIC PLAYS) ♪ We saw in Season 7 that Qyburnhad invented this Scorpion, this giant, dragon-killing Scorpion, and it didn't quite work.
So, Qyburn went backto the drawing board, and he made an even larger, more powerful Scorpion.
DUNNE: What we need to create with this one is to make it bigger, stronger, and a bit more dynamic.
It's 65 percent bigger than we did previously on Season 7.
Euron has added a few little touches for himself.
The seat on the back, and added four more cross limbs for more power and a bit more.
The bolts are a nice design, a bit more of a barbaric style.
When you see it first, it'll be in this closed mold, and when you see it the second time, once it fires the projectile, it leaves the limb, it opens up, and it rotates so it'll rip openanything that it hits.
PILOU ASBAEK:It's absolutely incredible work.
The whole production this seasonis just amazing, what they've been creatingfor us actors.
You really feel that you're partof the biggest show in the world when you're sitting on a Scorpion and everything is justgoing around.
You really feel.
We have Euronsitting on the seat, he's in the back, he's like king of the castle, being swung around by four brutes.
So these guys are lifting him up and down, doing the trajectory left and right.
But he loved it.
He loved it.
He'd have beenstill on it if he could.
(BOOMING) I'm gonna be brutally honest.
I've talked to my wife about it.
'Cause you have to talk to someone, right? And I've mentioned to my wife, “How awesome is it that I killed a dragon? And I killed itwith a Scorpion.
” Episode 4 has this littlething called Rhaegal's death.
(RHAEGAL YELPS) STEVE KULLBACK: And his demise is some of the gnarliest-looking animation I've ever seen, where they did an amazing job putting that together.
(RHAEGAL SCREECHES) (WATER CRASHES) In the end, we have a couple of shots of the destruction of Dany's ships.
So again, we kind of are ina completely digital scenario to sort of show how these boats, up close, puncture into the shipand tear it apart.
And the last shot is a very special one.
It's one of Tyrion having this long shot, running across the deck.
That was another oner, but kind of a cheated oner.
So we had himrunning around the deck, we had some physical effects there, -but a lot of it we did later.
2, 1, go! DINKLAGE: Love it.
Um, and when they're donein one shot, like this is, one continuous thing, it doesn't let the viewer off the hook.
STEFEN FANGMEIER: All the boat work for Game of Thrones essentially is done on a set piece that's out in this location in Bainbridge.
Everything that you've ever seenon a boat in Game of Thrones where people are standing, walking or talking on a boat has been done on that ship.
It's surrounded by green screen, and everything around the boat will have to be replaced with CG water or water photography.
And then at one point, the railing gets blown away, which the section that getsblown away is actually CG, so, when all the pieces come together, you see the special effects, you see the CG, a lot of atmospherics, you see Peter going up to the water, it's a pretty spiffy moment.
♪ (DRAMATIC MUSIC PLAYS) ♪ (DISTANT SHOUTING) ♪ (PULSATING MUSIC PLAYS) ♪ NICK WILKINSON: The King's Landing city wall and gates, we sort of saw thisas a sort of fortification around the whole of King's Landing, loosely based around the walls of Dubrovnik, which have a particular sort of style to the stonework which we were trying to hint at.
By the time the platforms are on, we're looking at not far offfrom about 57 feet, 56, 57 feet to the topof the platforms.
The towers are 49 feet high, the wall is about 200 feet long.
The King's Landing parlay, the challenge is the sizeof the set.
So we quickly decidedand convinced everybody that most of the close-up workwould be done on a separate set piece that would be built on the ground, right on the ground, and would put them probably at about eight feet up.
FRANCO: So you're able to talk to the actor, bring the camera in at a proper, you know, reasonable levelto be able to achieve -all the shots we had.
-NUTTER: Stand down! FRANCO: But it's a little bit of, you know, Hollywood magic.
FANGMEIER: Another challengewas that, of course, this set.
is incredibly visiblefrom the surrounding area.
I mean, and the big concern, of course for this seasonmore than ever, was the secrecy of the plot.
In other words, um, we wouldn't want to give away that Missandeiis going to be executed, so having her stand up there, you know, 40 feet high, there was no way to hide that.
So again, later on, we're adding her in there now, often times as a digi-double, but for the closeup work, we shot her separately on stage to composite her on that per location so we couldput it together in the end as a seamless “Oh, this has allbeen shot in the same place.
” ♪ (DARK MUSIC PLAYS) ♪ When I read that, it made senseto me immediately.
I was like, “When is she evergoing to do something when someone tells her to do?” She's not going to go, “Okay.
” She's going to think, “Fuck you.
” Also, it's, you know, Dany's best friend, so she's like, “Fuck you, too.
” She's fun at parties, that's all I can say.
(LAUGHS) ♪ (DARK MUSIC CONTINUES) ♪ The parley is a Hail Mary passfrom Tyrion.
He's hoping that maybe, if he brings up Cersei's child, he can talk some kind of sense into Cersei.
NUTTER: Tyrion talks to his sister in a way that you think that she may actually listento him for a change.
She may listen to her heartand listen to what he has to say and understand it.
You've always lovedyour children.
more than yourself.
So we wanted to be able to justhang out there just long enough to have it so that.
you would thinkthat she may change, but she's got this lookon her facewhere it's just like.
that's just who I am.
I can't help it.
And Lena's a tremendous actor, and that played out beautifully.
MAN: Bravo marker.
*** LENA HEADEY: There's such a kind of basic kid in her still, so I think she sees himin the moment asking her to do something for him.
I beg you, if not for yourself, then for your child.
And she can't do what he's–She cannot.
It's like a kid in a– She can't dowhat he tells her to do.
Because that would be.
If you have any last words, now is the time.
♪ (DRAMATIC MUSIC PLAYS) ♪ NATHALIE EMMANUEL: To playthat despair, but also that fire and finding that duality in that moment, it was quite challenging.
But David Nutter, who's, you know, wonderful, was really great and supportiveand was really good at helping to support me in that scene.
It's sad, it's a sad momentfor her 'cause she's.
to have liberation and thenhave it just taken from you.
♪ (DRUM ROLL AND CRESCENDO) ♪ (SWORD SLICES) (BODY THUDS) ♪ (SOMBER MUSIC PLAYS) ♪ For Grey Worm, losing her.
is just, like.
there's nothing left.
There's just nothing, he has nothing left now.
She has taught him how to be a human being.
Like, her and Dany have nurtured him into being human.
And then it's just taken away.
And the final shotof Dany walking away, we knew it would be the last shot, there wasn't any question of how we were going to go out of the episode, so it was really a question of how Emilia would convey.
a kind of almost unimaginable sense of anger and rageand vengeance.
while walking towards the camera and past the camera without saying a word, but, uh, I would say she did it.
♪ (DISSONANT CRESCENDO) ♪.