00:18La scena di SILENCESI
00:21Il SILENCESI
00:22è una scena molto elaborata per filmare.
00:26E' stato così benvenuto da Mark.
00:28Il tutto ciò era molto vicino, centrati per Pilu's performance,
00:33Gemma's performance, e Alfie's performance.
00:36Ho cercato di rimanere con le individuos
00:39within il caos della battaglia.
00:42E poi è stata la decisione di chi seguire.
00:44Inizialmente, era tutto per Gemma's cari di Yara,
00:47ma in giro, Pilu's Euron era così divertente.
00:51Pilu è un'incredibile charismatica,
00:54è un'incredibile heir apparente per Ramzi,
00:57è un'incredibile baddia per questa season,
00:59e così fantasticamente fisico.
01:05Euron era proprio analizzando,
01:08come quanti persone dobbiamo fare,
01:10e cosa dobbiamo fare ora.
01:15Ma il primo hit, l'acqua è venuta.
01:19E io ero, sì, questo è incredibile.
01:24Non so se si può dire «f***ing»,
01:25ma è stato un'incredibile giorno.
01:30«f***ing»
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03:36«f***ing»
03:37so that when they hit the deck of the enemy ship
03:40they would stay there.
03:42We built the Corvist so that it became lightweight
03:45and very strong.
03:46The trouble we had was the fact that we had a stuntman
03:49standing on the end,
03:50which meant that we had to control it with a winch system.
03:52But the winch system obviously controlled full,
03:55so we ended up managing to double the speed in the end,
03:58which made it more dramatic.
04:08Fire is one of the hardest things for VFX to replicate,
04:11and so they'd always rather have real fire on set.
04:14Even now, with all the advances in visual effects technology,
04:18real fire just looks better.
04:19We created Ember guns.
04:22We had a couple of moments where a projectile
04:26would go crashing through a mast,
04:27and the whole section of the mast would come collapsing down.
04:31So we had big drop rigs up in the rigging.
04:34During the battle, they fired the burning projectiles
04:36at the Yara's crew.
04:39Our effect there is really flares fired down wires.
04:43Archer.
04:45One of the major challenges in the boat sequence
04:47was how to, you know, sell the idea
04:50that this was happening at sea,
04:52that they were floating on water,
04:54and yet we're in a car park in Northern Ireland.
04:58The visual effects process and bringing a scene to life
05:02that doesn't really exist in a real practical world
05:07takes a lot of creativity and imagination.
05:10The most challenging aspect of the sea battle
05:13is the number of shots.
05:14It's a very quick cut scene,
05:16and it's about the pacing, and it's fast.
05:19I mean, it's like a machine gun.
05:21We had green screens 60 feet high,
05:23all the way around the ship.
05:26So there isn't really a direction that the camera can face
05:29that we don't have to do something.
05:39The boat at Banbridge is quite restrictive.
05:41You know, we had 40 stunt guys on there,
05:43six cast members and the crew.
05:46So that was quite a challenge, you know,
05:47and it was very wet and it was very cold.
05:50The set itself became almost comically crowded
05:53with everybody doing this dance.
05:56We agreed that the violence should be brutal
06:00and feel unchoreographed,
06:02that it shouldn't feel structured.
06:05I wanted it to feel like the violence of a riot
06:09or football terraces when there's a flash of violence
06:13and it just kicks off.
06:14You get a lot of fight choreography,
06:16it's challenging to achieve that
06:19if you're trying to do specific fight beats.
06:22And also long takes, by their nature,
06:25make people exhausted.
06:26So one of the things that we did to achieve that
06:29was no take was more than 10 seconds long.
06:32So all we were asking the cast and the stunts to do
06:35was to go nuts for 10 seconds.
06:38Three, two, one, go!
06:44Hugely challenging for everybody.
06:46Difficulties of filming on a wooden boat in the rain
06:49because it gets so slippy.
06:51Chicken wire was stapled to the floor
06:52to stop us from slipping over
06:54and, like, you know, there's so much going on out of shot.
06:56Everyone okay?
06:57That was just insane because there's so many people.
07:00You know, like, I mean, it's very different
07:01when you're practicing, like, one-on-one with, like,
07:04with a stunt double or with, like, another actor
07:06the day before in a stunt tent
07:08to when you, like, get there on the day
07:10and they're like, oh, by the way,
07:12we didn't mention, like, you can't stand here
07:14because this is on fire
07:15and, like, we're going to flood the boat
07:16and, like, don't slip over
07:17and you're on a deck.
07:19You're like, oh, okay.
07:20So there's, like, a lot of things to consider.
07:27The key moment, I suppose, for me at least,
07:29in the sequence is Yara coming up onto the poop deck area
07:33and really that moment of looking out of the stern of her ship
07:37and seeing the enormity of the attack
07:41and knowing that all is lost, really,
07:43and that the only thing to do is to, you know, fight to the last,
07:47like a good Iron Islander.
07:50When Yara gets taken by Euron on the boat
07:54and it has the axe to her throat,
07:56initially she feels like Theon's back.
07:58It's okay. He'll do something.
07:59He'll do the right thing.
08:00And then the change that happens in his eyes,
08:03she realizes that he's not going to stay.
08:05I think she's heartbroken at that point.
08:08And it really all comes down to close-ups on three people
08:13and they're where they're at at the end of this experience.
08:19We'd maybe fooled ourselves into thinking
08:21that Deon was out of the woods on his whole Reek experience.
08:25And as we were writing it,
08:27we realized that you don't just get over what happened to him.
08:30That's something that's, like,
08:31that's going to be a part of him for the rest of his life.
08:35And this is a place that triggers the worst of that experience
08:40as he sees people around him doing the kinds of things
08:43that Ramsay used to do to him.
08:46And you see Euron's pure psycho glee about the whole thing.
08:53And when Theon jumps overboard, that laugh is,
08:55that's the character's encapsulation,
08:57is that shot that, you know,
08:59that's why this is somebody you should be worried about.
09:11And the one who's the one who's the one who's the one who's the one who's the one who's the
09:15one who's the one who's the one who's the one who's the one who's the one who's the one who's
09:15the one who's the one who's the one who's the one who's the one who's the one who's the one
09:15who's the one who's the one who's the one who's the one who's the one who's the one who's the
09:15one who's the one who's the one who's the one who's the one who's the one who's the one who's
09:15the one who's the one who's the one who's the one who's the one who's the one who's the one
09:15who's the one who's the one who's the one who's the one who's the one who's the one who's the
09:15one who's the one who's the one who's the one who's the one who's the one who's the one who's
09:15the one who's the one who's
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