(horses nelghlng) (gasps) (all shoutlng lndlstlnctly) anderson: the scale hasdefinitely changed since l started, but eî½en then, it was pretty epic. new friendships deî½elop,new alliances are formed. lt starts with the writing and dan and daî½idare there with eî½ery single detail. we'd start with a î½ery specific idea of howwe want those big moments at the end to feel. -and this one was definitely no exception.-(jon groans)
benloff: this was onewe entered into with a bit of trepidation. also a lot of excitement because there were sceneswe'd been anticipating for so long. nutter: the bottom line is all aboutthese characters' emotional journeys and understandingwhat they're going through. without that, it's just pretty pictures. doelger: this season is î½ery much about characters stripping away who they once wereand becoming something different. your grace?
speak up. can't be worse than mutiny. fltzgerald: after the death of shireen, l imagine that there's onlyone way for selyse to go. the guilt and this accumulatiî½e effect of the life that she's been leadingbecomes unbearable. cunnlngham: we'î½e had so much trouble, we'î½e now felled the horses.sellswords, some of them haî½e left. our resources are dwindling,winter is coming. this is beginningto look like a suicide mission.
welss: as soon as he finds outhalf his army has fled and his wife has killed herselfand melisandre has left the building he knows that it was all for nothing. and at that point, he's playing a chess game and he's a good enough chess player to know the checkmate is coming in four moî½es. dlllane: talking about a particularkind of mindset that's fatalistic. l think the odds are so highand the cost so great that it's not just a selfish thing,it's a dutiful thing
that he has an obligation to behaî½ein a certain way in order to get the throne and eî½erything must be surrenderedto that end. on to winterfell. bauer: daî½id nutter was directing and he had a certain number of extrasand, of course, our hero actors, and they performedin front of a big green screen. we needed to proî½ide the big landscapearound winterfell. we had to proî½ide winterfell. we had to proî½ide the huge army,all on horses.
we researched medieî½al fighting techniques so we know how they organize themselî½eswhere the army just folds around the enemy and, you know, some may escape,but most of them haî½e no hope. we coî½ered from the ground,we coî½ered from sansa's point of î½iew, and we also do a flyoî½er so that you really understand the geographyof what's happening. and then we see the last aftermathwhen almost no one is left aliî½e and stannis is ultimately killed by brienne. l'm brienne of tarth.
l was kingsguard to renly baratheon. the glorious thing about brienne's last sceneof the season is that what she puts at stake, unwittingly,the rescue of sansa, is only matched by the anticlimax of killing this man. benloff: she was expecting this monsterand what she finds is stannis. and we had written a longer moment here,where stannis has more last words and finally we decidedthat didn't feel like stannis. do you haî½e any last words?
go on, do your duty. l think, by the end, he thought that somediî½ine authority wanted him on that throne. and then when he realizes that he was wrongand that it was all for nothing, l think brienne showing up to kill himwas almost like a welcome relief. (gruntlng) (men shoutlng lndlstlnctly) turner: for me, coming backand seeing them rebuild winterfell was kind of amazing. my first day on setwas shooting the king's arriî½al in season 1
when eî½eryone comes in through the gates. so, it was quite exciting.l do feel a bit like l'm home. benloff: lt's a much grimmer, darker place. the starks' rule, while not democratic,could be considered, l suppose, beneî½olent and roose bolton is anything but. so, it's become kind of a castle of horrors. lt's always pretty jaw-droppingwhen you arriî½e on set. you're on one section,or you're walking on the battlements and then suddenlyyou go through an archway
and then it just continues on. lt's a 360-full castle and you don't haî½e to imagine anything,it's all there for you. newman: winterfell, haî½ing beenburned at the end of season 2, you take a leap of faith that you belieî½ethat the boltons who end up at winterfell want it to be comfortable,want to be able to defend it. so, there's certain thingsthat you do recognize. rlley: rebuilding winterfellis actually incredibly exciting. there's a lot of scenesthat take place on the battlements.
so, that was one of the thingsthat was î½ery key, was designing the battlementssuch that they accommodated the action. but also what we were able to dois giî½e the whole place the feeling of being much, much bigger. one of the thingsthat we were î½ery interested in is actually showing the building process. so, an audience will be able to understand that there are new timberscreating new walkways. l think the constructionreally was the biggest challenge
because of the materialsbeing extremely heavy, the limit in timeand in construction crew, as well. lt's a proper architectural challenge. detailed plans, doors, windows,can always follow. we could only build to a certain height, the rest will haî½e to be topped up in post. bauer: so, we had to figure out which wallsor which structures they were building, where they existed in the castle, so that when we got high and wide,
eî½erything we had seenfrom the ground made sense. and also we had to understand, for continuity or for lookingone direction î½ersus another, what part of the castle are we seeingbeyond the set. turner: for sansa, coming back home,you'd think it'd be a pleasant experience. but as soon as she ridesthrough those gates, it's as if someonehas just mutilated her whole childhood. there's just no hope. eî½ery time there's a glimmer of hope for her,it's gone.
lt just gets taken away. and you kind of feel that littlefingeris a bit of an asshole for taking her there. my lady. l'î½e come to escort you back to your chamber. go with her. turner: myranda isdeeply in loî½e with ramsay. sansa is just standing there and she's just kind of like,"okay, l'm going to die." and then suddenly it switches.
reek! stop! (screams) (groans) we'll step through the fight, and then work out whatthe journeys of the characters are. then we'll start just playing with ideas. special effects, art department, stunts, they all haî½e to work togetherto create the effect. alfie allen will flip the doubleoff of the balustrade,
she'll fall really messily into a soft box rig. we will then remoî½e the box rig,put her on a wire, puppeteer her into exactly that position, then drop her through her final image onto a one-inch mat with some energy. and then vfx will stitch that together so it will look like we will see her go oî½erand go, boom, hit the ground. the original sin in theon's lifewas turning on the starks and betraying them. and now finally, after all this time,comes a chance for a little bit of redemption.
doelger: l think the struggle for theonin season 5 is the struggle for theon's soul. they're great scenes for alfie to play. and again, l think, as always,he just plays that ambiguity and that inner sense of torture and conflict absolutely brilliantlywith î½irtually no dialogue. the purpose of haî½ing theonin the scene at all is that sansa and theon end up beingsort of shared î½ictims of this monster. to bring them together by the end of it,to that moment in the finale, where they take each other's handsand jump for their liî½es.
we thought it would be a î½ery powerful storyand a powerful arc. jaqen: a girl has taken a life. the wrong life. the whole jaqen character is really coolin that he is so contradictory. l mean, when do you get to play a killerthat comes across as a nice guy? you neî½er really know what he's up to, but of course you knowhe's trying to help arya on herjourney. the training regimeat the house of black and white is essentially to completely strip awayone's ego, one's sense of identity.
you actually haî½e to become no oneso you can become anyone again. she fails at her first attempt to do that. oysters, clams and cockles! wllllams: she's senton a mission to kill a thin man. and on the way with her î½ial of poisonshe gets distracted by some lannister flags, which is a really interesting momentbecause up until this point, she's really starting to get the hang of this becoming someone else, becoming no one. and then as soon as she seesthose lannisters,
she's not eî½en thinkingabout jaqen or the waif. she's completely back to arya again,and eî½erything is about ser meryn trant. this season l think we get to see merynin all of his horror. (groanlng) for the scene where maisieand l haî½e our confrontation, we'î½e done a fair bit of preparationin terms of the physicality of the scene. and l think the emotion will take care of itself. she î½iolated the terms of the faceless men. the terms of the agreement are
you don't take a face from the hall of facesuntil you're ready. and she did. most importantly, she did itfor personal reasons, for arya's reasons. and she pays for it. what's happening? wlaschlha: the house of black and whiteconsists of many different rooms, halls. one of the bigger ones is the atrium.that's where a big fountain stands. that's where they receiî½e the drink of death. you haî½e the hall of faces,which is actually really amazing.
looks a bit eerie. rlley: the hall of faces wasthe most exciting part of season 5 from a design perspectiî½e. the thing that really interested me about it was the idea that these faces are somehowstored, but also part of the architecture. through creating a space wherewe haî½e columns of faces and walls of faces, it meant we were ableto create a room with depth. so, within this space,what greg middleton did, who was the first cinematographer to shoot it,
he shot it in î½ery cool light so that the warmth of the faces,the skin of the faces showed through beautifully. and so, it has a wonderfulkind of mystery to it. we'î½e built approximately 600 faces in total. and we'î½e built approximately 550î½ac-form plastic faces, which are basically scatteredaround the atrium. and they consist of, l think, we'î½e got31 or 32 different faces, which are cast from different extras,different people on the crew.
and we'î½e tried to haî½e a mixof as many different races and ages, face shapes and sizes as possible. benloff: lt's fun to walk around it. dan and l haî½e our faces up there in different colors and forms and eî½erything, so you walk around looking for your own facewhich is pretty creepy, actually. one thing about peoplein the design department is we loî½e to build things, we like a challenge. and house of black and white gaî½e us that.
through concept artists,through sketch work, we realized the least we could build... lt was a collaborationbetween design and î½isual effects just to work out where our bit endsand their bit takes oî½er. the exterior sets were shot in croatia. and our team did a beautiful, beautiful jobof building out the rest of the structure in cg that extends the structure to its full,super-creepy, gory height. there's a lot of terrifying scenes this yearinî½olî½ing arya. the changing facesis one that we tested early on.
lt's an idea more than it issomething that you can see, but we knew that in the blocking,jaqen, who was wearing a hooded robe, lands on the groundand arya thinks he's dead. so, we had to get all of the peoplewho were representing all of the faces into that hooded robewithout the robe moî½ing. we watched how the hood fellwhen someone fell onto the floor. and then we made it like that,we stiffened it and fixed it to the step, and then we made a small track that the person lies on and then we justtrack them into the exact position
so we can line up their eyes on a monitor. so, the trick was causing the faceto become translucent as she pulled it off, and the act of pulling it offwould reî½eal the next face. and we had the person moî½e just a little bit so it felt like there was a little bit of resistancetaking each face off. and the face seems to dissolî½eeî½en as she's pulling it off. so, it's a lot of î½ery, î½ery, tricky stuff, but l think it's a really effectiî½e moment. what l'm trying and failing to say...
l know what you're trying to say. no, l'm afraid you don't. l do. l'm glad that you're my father. coster-waldau: well, it's unfair, isn't it? l mean, he's finally reî½ealingto his daughter this big secret. and then she says that she knows. for the first time, jaime, he's ableto openly be father to his child and experience that that's a î½ery nice feeling.
listen... tlger free: l was reading the script,and l was like, "no, this is too happy. she's gonna go." and l started crying. (chuckles) not because l die, but because it's so sad because she's finally found her dadand he has finally found her. the thing l loî½e about this sceneis that it could end 30 seconds before it does and it would be a really heartwarming scene. because for the first timehe's being embraced by his child
with the child knowing that she is his child. when he started out doing this, it wasn't really about a sense of dutyto his children. lt was just about how to get himself back inthe good graces of the woman that he loî½es. and oî½er the course of the season, it becomes about being a father,probably to his great surprise. forgiî½e me, child. l wish you all the happiness in the world. varma: unfortunately,myrcella is a casualty of war.
my ends are greater. l'm going to torture her parents. welss: and jaime is probably not goingto be facing a î½ery happy cersei lannister when he gets back. we haî½e to go home. drogon. can you take me back to meereen? clarke: when l learned he's hurt, and tired,and no food, no water, no nothing, l think he's taken me backto where he's been hanging out.
bauer: drogon has carried dany to his nesthigh up in the mountains, and she's trying to stir him to action,so she's crawling all oî½er him. normally, dany only pets the dragon. ln this case she's crawling on him and pullingon his horns and trying to get him to go. stuart's team built a buck that could slideand moî½e the actress around. the proportions haî½e changed in thatthey're not childlike proportions anymore. the heads are less round,they're a little more elongated. the eyes look more adult,they haî½e a lot more expression. and the camera gets right in.because we get in so close,
he really has to emoteas much as any of our other actors. we looked î½ery closelyat all kinds of lizards and reptiles. and selling the creature is all about incorporatingas much realistic, liî½e action, organic material and textureand behaî½ioral quality as you possibly can. (horse nelghlng) (men shoutlng) l would say that when she sees the dothraki,she knows what that means. she knows who they are.
her relationship with drogo was one thing,but drogo is gone. and she knows, in a way,he was sort of an anomaly. clarke: she's a smart cookie, though.she drops her engagement ring in the hopes that the boys, that the lads,will come and find her. (chuckllng) the longer we sit here bantering, the longer daenerys is out therein the wilderness. the dragon headed north. lf we're going to find her,that's where we'll haî½e to go. but you would not help us on this expedition.
you would help us here in meereen, though. dlnklage: once the queen is gone,who's gonna be organizing eî½eryone and keeping eî½erybody under control? and we quickly decidethat l'm the best man for the job and we'll see how that works out. what was î½ery exciting for us when we firstread the outlines this season was that we had differentconstellations of characters that were finally coming together. l think the greatest new combination we haî½eis daenerys and tyrion.
clarke: (chuckllng) l was like,"yes! this is amazing. this is it." 'cause l think peter's phenomenal and just getting to act with himhas just been a gift. dlnklage: when l signed on for this show,they told me of my character arc. that was so inspiring to me, as an actor,to haî½e that trajectory. for tyrion, this is a season of sort of rebirth. so, l'm, this season, feeling as an actor thesame way as tyrion is feeling as a character. varys: a grand old city, choking on î½iolence, corruption, and deceit.
who could possibly haî½e any experiencemanaging such a massiî½e, ungainly beast? l did miss you. l haî½e absolutely no idea what the dynamicof grey worm, missandei, tyrion and varys is gonna be. lt's gonna be an interesting team-up. benloff: when tyrion wasthe transitional hand to the king, varys was his confidant. he saw how he maneuî½ered politically and he knows that tyrion'sgot a î½ery toughness to him,
but he also has a compassion to him. lt's what he and varys came to do,support daenerys, and it's sort of like a pick up and carry on and continue the beginningsof their beautiful friendship together. nutter: after the daznak fight,they're rudderless. daario, who is someonethat is truly instinctual physically and understands strategiesî½ery, î½ery well in a physical form, he basically takes all ofthose instincts that he has and becomes the puppet master.
looks like it's you and me, jorah the andal. let's find some good horses. we haî½e so much to talk about. glen: daario has known herin a way that jorah has always wanted to. there's a kind of deep irony in thatthe two of us are united in pursuit of her. but it's one of those loî½ely question marks that l think a lot of the end of episodesleaî½e you with, where you think, "l wonder where this is going"and l wonder, too. hulsman: l'm hoping thatl'm making the right decision
by bringing him back in the rankswhile she's not there. because l'm assuming that that'swhat dany would probably want. l say it eî½ery season,but it couldn't get darker. there are more cliffhangers in this seasonthan l haî½e read in any season. and there are more, "oh, my god," moments which, hopefully, fans are gonna appreciateas much as we do. l haî½e sinned. l see that now. how can l haî½e been so blind for so long?
l want to be clean again. l want absolution. l will permit you to return to the red keep. (crylng) thank you. thank you. doelger: the high sparrow isthe head of the religious group. we're î½ery lucky thatjonathan pryce accepted the role. and l think what jonathan does so well is he's capable of so manyconflicting emotions
and portray those at the same time. you first meet him, you think he's a manof enormous compassion. he also is î½ery steely. cersei thinks she will get me on her side. and l suppose l play with that for a while, but there's no way l'm gonna giî½e in to her. headey: cersei's weakness is she doesn'treally consider real threats, real threats. she liî½es in a state of denial. she's kind of in control of things.
l was î½ery excited. l think there's nothing better than buildinga character up to kind of tear them down. and so, this last four years has been that, trying to create this impenetrable female and now, she gets broken. but not completely. a sinner comes before you, cersei of house lannister, to make her walk of atonement.
nutter: l haî½e a good relationshipwith lena and we trust each other. lt's easy to hate cersei. lt's easy to say that she's the bad guy. what l wanted to somehow create is a little bitof empathy and sympathy for her character as she went through this terrible ordeal. l think it's a really difficult scene for cersei, in part just becauseof the obî½ious nature of the scene and in part because she has to haî½eso much emotion. you know, by the second half of that walkshe's really broken down.
she's the kind of actress where she wantsthat to feel as real as possible, and lena did an incredible job. waddlngham: with the crowdthat was kind of fiî½e or six deep and as far as the eye could see, and the abuse that daî½id was gettingthese people to shout at us, it was extraordinary to try and fightthat aggressiî½e energy and just float through,but really thrilling to do. once she realizes what this is gonna be, she knows that all she can controlin this situation is her reaction to it.
lt's like she's in the middleof the worst waking nightmare you could possibly imagine. caulfleld: walk of shamewas a big one for us. we really wanted to be protectiî½e of actors. and the sequence itselfwe wanted to keep secret for the audience. we always hate spoilers becausel think it ruins it for the audience that wants to just see it fresh for the first time. the extras were great and we knew,again, you get that feeling of, "okay, we're gonna be fine."
and then daî½id nutter came in,and you really know you're gonna be fine. doelger: what's always fascinatingto me about this show is how beautifully drawnand complex the characters are and how the audience reaction changesseason to season. cersei, who's been doing nothingbut terrible things to people for fiî½e seasons, l was î½ery moî½ed and l felt sorry for her. l neî½er thought l would feel sorryfor cersei lannister at all. (crylng) benloff: the only person there who showsany sympathy whatsoeî½er is qyburn,
and she's come to really depend on him. he's the only personwho î½isited her in herjail cell. and not only that, but he's brought her a giftand you see him. and it's not a î½isual effect.you see them standing together, and they look likethey're from two different species. nutter: she gets the chance...the newest member of the kingsguard, which is of course the mountainthat is resurrected by qyburn. he's in a sense, l would say,game of thrones' frankenstein. this newest member of the kingsguardhas a solemn oath in duty
to protect and to serveî½engeance on whoeî½er is her enemy. and get ready for season 6, l haî½e to say. ralsanl: the walk of shame is a giantstaircase here in downtown dubroî½nik and we'll be using all of the stepsas the stairs up to the sept. and then right where the stairs end,there's a giant green screen. and we'll replace eî½erything behind thatwith the digital set, which is all cg. and so, we usually dress up to 1 0, 1 5 feet and eî½erything aboî½e thatbecomes some digital augmentation. she's looking out at all the peoplethat she has to get through.
when she looks up, we add king's landingdigitally in the background. we know the different types of people, so we haî½e the kingsguardand we haî½e the peasants and we haî½e the faith militant. we take each of those charactersand just put them on green screen and then later we can makedigital characters of those people. conway: the further she goes intothe slums, the worse it becomes for her. what that means for usis that it becomes a dirty enî½ironment. and then we haî½e to add more smokeand rubbish eî½erywhere and dust eî½erywhere.
so, as she's walking through,it just gets progressiî½ely worse for her until she finally ends up at the red keep. lt's an interesting process,do you know what l mean? because you haî½e to put yourself in itand feel it and we always talked about this moment, when l met with daî½e and dan,before all of this was a reality. they had kind oflaid a story out up to this point. and so, l always wanted to take her there. how's it feel to be friendswith the most hated man in castle black?
samwell: you were friends with mewhen l first came here. and l wasn't winning any elections back then. here's to us, then. long may they sneer. jon knows he's one of the most hated lordcommanders the night's watch has eî½er seen. and it's the loneliest place he's eî½er been.lt's the loneliest place jon will eî½er be. send me, gilly, and the baby to oldtown so l can become a maester. that's what l'm meant to be. not this.
sam's not a huge amount of useto the night's watch where he is. jon knows this, but he says,"l need you here, sam." as in, "l need your support." but again, unselfishly he says, "you need to saî½e your girlfriend and child.who am l to stop you from going?" murray: lt's definitelyan unconî½entional loî½e story. lt's the idea that these are two people who absolutely neî½er expectedthat romance of any kind, loî½e of any kind, was going to come into their liî½es.
throughout fiî½e seasons,there's been a lot of times when they'î½e said goodbye to each other,potentially to neî½er see each other again. but there's something about this one, the way it's written and the kind of graî½itasthat it's giî½en and the language, that you may think thatthis feels like more of a goodbye. the problem jon is he's not a cautious man. heroes are inherently incautious. there's going to be a huge war,he's seen that from hardhome now. and it's going to take all of our strengthto haî½e any chance.
and eî½en peoplewho haî½e been fighting each other and killing each other for generations. so, jon's conî½incedthat this is the only way forward and his opponents are equally conî½incedthat this is a betrayal. ultimately, it's not just aboutgood î½ersus eî½il, it's about people of good intentions who come into conflict with each other because they haî½e î½ery different î½iewsof the world. and unfortunately, it did not work out wellfor jon snow.
for the watch. l knew it was happening when l got to the endof episode 1 0, and l see that l'î½e got, like, three pages left, and l'm the last scene, and l'm going, "okay, yup, this is it." and it was so wonderful,this julius caesar-style moment, so perfectly executed with olly. you know, it's not olly in the books. and l think in our story, anyway,it works better with him.
lt's a horrible last moment for jon,that betrayal. benloff: this is obî½iously a big deal. the death of jon snowwas something we'î½e been thinking about for a long, long time. and ifalliser kills him, it's kind of likeit's a bad guy killing a good guy. but when it's olly holding the knife...you know, olly's not a bad guy. he is a kid who has seenjust way too much horror, way too early. and he makes a decisionthat's a really hard decision for him, but you understand where he's coming from.
l don't think it's the right decision.l think jon's the right person to lead and l think he's doing morally the right thing. and l think, giî½en more of a chance,he would get to where he needs to be. but he wasn't giî½en that chance. action! benloff: well, with a lotof talks with daî½id nutter, what that last shot's going to look like, we didn't want to do the pulling away thing because we felt likethat had become a bit of a clichã©.
you know, a character diesand you pull away at the last shot. and we really wanted to see the bloodflowing in the snow. just felt right for a lot of reasons. and fluid dynamicsis a pretty complicated process and we only had a couple of shots at it. and it ended up looking really beautiful. l know it's a strange thing to sayabout a tragic shot, but we wanted it to look right. kullback: anytime somebody dies,
we usually haî½e a hand in itin some small way. when jon dies, he gets stabbed with a bladeby a number of people, so we'll do a blade extension there. but the real key to jon's deathis seeing him lying in the snow and seeing that blood pool spread out. and we talked abouta couple of different ways of handling that, whether that would be cgor whether it could be in-camera. and stuart brisdon,our special effects supervisor, came up with a really cool idea.
for kit's death, we haî½e his leatherjerkinthat he's wearing, is rigged with blood tubes,so that we haî½e blood welling out of that. the snow mound that he's lying onis made of polystyrene with blood tubes built into that as well, so that you get bloodrunning out on either side. welss: lt just workedso beautifully, horribly well in the way that it creeped upand soaked its way into the snow and tracked up next to his head.lt was a î½ery lucky situation. so, thank you, stuart.
benloff: how can you not loî½e jon snow? and it's kit,and also how can you not loî½e kit? he's been a good man to work withand a good friend for a long time. but nothing really trumps jon snowgetting a knife in the heart. harlngton: thrones alwaysfelt massiî½e to me from the start l haî½e yet to do a film that feels biggerin scale than this tv show. lt's bizarre, but l still loî½e it.l loî½e it more than anything. dlnklage: the joyof daî½id and dan's writing is you can be in these massiî½e settingsand it's still so intimate.
they keep it really groundedwith these characters. cunnlngham: that's whatl loî½e about this show, is that it's about the corruptiî½e qualitiesof power and legacy and family and all those kind of extraordinarilycomplicated philosophical arguments that people put up with. l was sent the script, read it,and thought it was incredibly well written and something l could enjoy doing. caulfleld: this year,we got a lot of exciting things. when you see the smileon the production designer's face
or you see a director who's excited.you know, that smile makes me happy. people loî½e this show. loî½e it. slddlg: lt's a phenomenonthat l can't put my finger on, but l guess all the best phenomenonscan't be assessed in any rational way. nutter: what's so great about this series, each of these charactersget closer to their destiny. this season has been onethat has kind of cranked up the scope, cranked up the intensity, and l can't eî½en fathomwhat's going to happen next season.
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