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Watch A Knight in the Making Episode Season 1 Episode 2 online in HD on Dailymotion (2026).
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00:07Jousting at night by firelight.
00:11It was unbelievable.
00:13We wanted to shoot everything as real as possible.
00:19We didn't have a lot of acting to do because it was really cool to watch.
00:22It was a great opportunity to reshape our view of the story of becoming a knight.
00:42Episode 2, Hard Salt Beef. We open over black.
00:47Sir Arlan is standing akimbo, stark naked and pissing from the largest cock reasonably imaginable.
00:55There were lots of conversations about how big it could be.
00:58With the size of his knighthood.
01:02We were told it had to be 10 inches long.
01:05I knew we'd hit familiar ground.
01:07Oh, that's a big man.
01:08We did Hodor's piece in Game of Thrones.
01:11Making one as big as this that could also pee.
01:14It was the natural evolution of what we'd done previously, so never one to back away from a challenge.
01:19There was a slight obsession with weeing, I would say.
01:24But actually, it sort of works with the tone of the show because there's a not so serious but seriousness
01:31of it.
01:35We could hang him from the center.
01:41You are Florian the fool!
01:44When I initially read the script, I thought it was going to be small puppets.
01:47Like I was picturing Sound of Music like little marionettes, but I'm in this massive gown on this platform with
01:56these like little wooden hands, which is so fun to use.
02:00We have certain opportunities to create scale, and it felt like the puppet show needed to feel more of a
02:07spectacle, something to draw Dunk in.
02:10Tanzell, when she played Lady Jonquil, she is eight foot tall plus a headdress.
02:16Jonquil is a daffodil, so the shapes and the colors played on that.
02:21And the long dress was printed to have a shimmery effect.
02:25We wanted her to look like this angel that Dunk would be mesmerized by.
02:30For our puppets, we made sure to not use any materials that weren't available at the time.
02:38Florian is built effectively with timber, in fact, balsa wood underneath.
02:42And he's held together with rope and dowels of timber for joints.
02:47He's deliberately built so that joints mimic human joints.
02:52His arm is completely articulated in the way that your arm is articulated.
02:58From a production standpoint, it was far trickier than hopefully it looks on screen.
03:05Your axe is the dragon puppet.
03:07It needs to be made so that it can be broken up.
03:10Decision right at the beginning was to make it of cane and willow, and then cladded it to make it
03:15look like leather.
03:16Which we've used, but soft, but rigid plastic.
03:20And then it's molded with hot air and spoons, in fact.
03:25The dragon is incredibly light. It has to be light, because you can't operate it otherwise.
03:31This is a puppet show, but in Westeros.
03:33Even though there is no magic in this world at this moment, it should feel like it used to exist.
03:42It was amazing to see that fire. I was mind-blown. Like, how have they done that?
03:47We miniaturized a flamethrower and put it into a torch.
03:51A gas flamethrower was out of the window. It wouldn't have been safe enough to do it in a tent.
03:55So we opted for lycopodium.
03:57Is it pollen?
03:58Yeah, we collected on the way.
04:00Lycopodium is a spore from a plant. It's basically just like pollen.
04:05It's been around forever, and the fact that we're using it in a medieval environment added to the realness of
04:11it.
04:11Three, two, one, fire!
04:15For safety reasons, we needed to remove the crowd, so we shot them as a separate pass with no fire
04:20and just interactive light.
04:21Effect ready?
04:22Okay.
04:23Three, two, one, fire!
04:30And then we shot a pass with the real fire with nobody in there except the stunt actors.
04:35Fire!
04:36That's cut there!
04:38Me and all the other extras and essays, we didn't have a lot of acting to do because it was
04:43really cool to watch.
04:49The tug-of-war scene was absolutely mental.
04:57Action!
05:00I remember reading that scene and thinking, how do we make that fun?
05:05And it was about trying to stylize it and give it sort of its own, sudden, different energy.
05:12The whole shoot had this slightly more carnival, crazy mood to it.
05:17Looking good!
05:18It was fun.
05:20Walking around barking orders at everybody.
05:22Oh, you cunt-strap dandelions!
05:26Yeah, that was hard work.
05:2820 people pulling on a rope.
05:29Plenty of water and mug down on the floor.
05:34It was an actual tug-of-war, and I was just putting my feet on the rope.
05:38He's not gonna make a lot of difference if he's pulling because of the size of him, so he hung
05:42on.
05:44It was so crazy.
05:47I was just, like, dangling for dear life, otherwise I would smack into the mud.
05:59The list field, it's a practical jousting ground.
06:03This set is one of the best jousting arena I've ever seen.
06:08The only way you can survive a set like that is by a huge amount of groundworks.
06:15Groundworks had to happen before you could even put the set on it.
06:18That was a good eight weeks of groundworks.
06:21We started the size, the tournament field, with directions from the horse master.
06:26That is a perfectly designed arena for horses.
06:29The tilts, the height of the tilts, the distance between the tilts.
06:33We've sampled so many different types of sand to get the right one that's suitable for the horses to run
06:38on.
06:38A starting point from the design was for a medieval period.
06:43The viewing stand, I just saw references to kind of ruined cathedrals covered in grass and ivy.
06:50Almost a folly that had fallen into disrepair.
06:54It had to be made and artistically covered to look like it had stood for centuries.
06:59We are blessed here with the most fantastic team of carpenters, plasters, painters, sculptors,
07:08who've done a great job of making it feel lived in.
07:12Those statues I'll never forget.
07:14They just reminded me of like the wizard's chest scene in Harry Potter.
07:19The whole atmosphere was incredible.
07:22Here we go, lots of energy, very excited.
07:25Three, two, one, action!
07:27The joust at night is quite a big area, so we had lots and lots of light.
07:32Lots of our conversations were about not wanting the lighting to feel artificial.
07:36A large part of the design was to incorporate huge bowls of flames.
07:40We built large towers that would fit in with the whole ancient feel of the place,
07:45with dishes that sit on top of them.
07:47The braziers were huge.
07:50I honestly thought Northern Ireland would run out of gas.
07:53We used 28,000 kilos of propane.
07:59Early on, Ira described the Listfields as Coachella.
08:04It was definitely a challenge because we could only have 200, 300 people at most on any given day.
08:10So we extended the crowd.
08:12We had to have this festival-like atmosphere of buzz and excitement
08:17that only visualizing thousands of people would bring.
08:21The background cast were fantastic.
08:25They understood the world, they understood the energy within it.
08:28Lord Ashford Fox's sheep!
08:31Never really been on a job where extras had created such a huge emotional atmosphere.
08:38And they all did it with a smile on their face.
08:40For the new gods, an owl!
08:43I spoke to the actor, Russell, and said,
08:46listen, we've got to do this biting the head off the fish.
08:48And we will have prop fish made.
08:50And he said, why are we not just going to use a real fish?
08:53It's like, yeah, come on, let's do it.
08:54It'll only be a couple of times.
08:56Definitely was more than a couple of times.
08:58One more with a real fish.
09:00Twenty-two apples take one, eh, Mark?
09:02For the new gods, an owl!
09:11He might have thrown up at one point, but he was just totally up for it.
09:17This is the big leagues.
09:19It should be taken in the way Dunk takes it,
09:22which is that it's overwhelming and it's impressive and it's fucking scary.
09:31Jousting's always just been one person against one person
09:34and the fact that we were jousting with multiple people
09:38was what made this sequence so exciting.
09:43All the horses charging together were so cool to see.
09:49This isn't just a game. It's real and dangerous.
09:54Nobody's ever done a joust at night before.
09:56We had an opportunity to blow people's minds a little bit.
10:02Jousting's all about movement.
10:03It's like a ballet of what's happening.
10:05So I think it's now about trying to find a new way of operating the camera
10:09and moving the camera with it.
10:11We had the camera on the crane quite a lot.
10:14Moving cameras, wire cams, all these kind of tools to make the action sequence more action-filled.
10:23It was quite a long journey for the action sequences.
10:26We did a lot of testing of how can we make this look different.
10:31We started the stunt viz in Thailand in a studio out there,
10:34testing and shooting all of the technical shots.
10:37Stunt viz becomes a road map of how to shoot it.
10:40I'll always have the viz up on a separate monitor and I'll pick the shot and we'll just be matching
10:45it on the day.
10:47When we do stunt viz, I operate the camera.
10:51I know I will be put into a more dangerous situation because of my stunt background.
10:58We're at a massive advantage because our whole stunt team are also horsemen.
11:02So they know what is possible, what's not possible.
11:05Anything that's super fast and super dynamic, horses flipping through tilt rails, we'll have a mechanical horse.
11:13Jousting was a dangerous thing to do then, is a dangerous thing to do now.
11:16So when we're designing the lances and the shields, it's really important that we take that into consideration.
11:21All the shields have some form of protective lip and that helps stop the lance from travelling up towards his
11:27head.
11:28We've made about 130 lances, 300 breakaway sections of lances.
11:35We'll only make contact with breakaway lances, so the first two foot of that lance is soft.
11:42We've removed the front section from the lance and we're going to replace it with this breakaway section, which is
11:46a hollow tube.
11:47This is then packed full of balsa wood and vermiculite so that when it impacts on the shield, there's a
11:53big explosion.
11:55We had it all on a massive scale. It was quite challenging, but we had a great team behind the
12:00scenes.
12:03Episode three is one of the first times we're leaving Dunk's point of view. We're actually in Egg's point of
12:09view.
12:09The fact that suddenly you're following this character who's not your main character gave us a little bit of freedom.
12:14And I remember like saying like, well, I mean, that's a really good way to sort of like introduce movement.
12:19We wanted to keep the camera moving and flowing and very sort of responsive to performance.
12:24Take a quick start, Duncan!
12:26That was actually crazy to film.
12:28Sarah went to me, Dexter, are you okay with taking your shoes off?
12:32That kid literally went running through sheep's poop for us.
12:38It was really great because Dexter was also very much like his character Egg, so excited to prove to me
12:42that he was super fast and super capable.
12:46So he had really been training and running and getting ready for that.
12:50The scene with Egg and Thunder, it was very challenging because you see the horse, but there's a group of
12:56people just barely outside the edge of the frame helping the horse.
12:59So a scene like that, you have to be very fluid.
13:03I was also like so pleased when the horse pooped for me on camera and it just felt like a
13:09gift from the gods when the horse just like dead-eyed stared at camera and took a shit.
13:18Later, inside the ale tent, a shirtless Sir Lionel Baratheon wearing his antlered helm singing.
13:24Fucking hell, here we go.
13:26I cannot overstate just what a horrible singer I am.
13:30There was a number of times I kept forgetting the words and getting them in the wrong order.
13:34I just had to sort of start just shouting syllables.
13:42Oh, Alice was a special ass, more and more after them.
13:47She had a fucking shitty fart one more.
13:52Daniel's amazing, he definitely went for it, and I think he got more and more comfortable with each take.
13:57All right, all right, all right.
13:59One more time.
14:01Oh, Alice with three fingers, a copper in a glass.
14:06Have two fingers less than most, so shut them off your ass.
14:11I realized pretty quickly, shooting around Dexter, that I was going to have to get comfortable kind of swearing around
14:16him.
14:17But he was cool with everything.
14:18I don't like cursing at all, and I only do it because it is my job.
14:23Yeah.
14:30The tone of the Targaryen family is definitely different in this show to how perhaps we're expecting it to be.
14:36Okay, here we go. Let's roll.
14:38Rolling.
14:40And action.
14:41The great and honorable Baelor Targaryen and his brother, Myrka.
14:48Those silver, white, long locks don't make an appearance in our show.
14:54I like the idea that they have gone through different styles and phases just like we do.
15:03Baelor is written in the book to have the coloring of his Dornish mother, so he doesn't look like a
15:09Targaryen at all.
15:10He has brown hair.
15:13To connect father and son, the actor who plays Baelor has heterochromia in his eyes.
15:20So we gave Baelor a contact lens.
15:24No one's ever going to notice it, but it made us feel like passing on from one generation to another.
15:31With Myrka and Arian, we didn't go pure white.
15:35It's a more creamy white, which I think reads better on camera, and especially Myrka because he has the big
15:40beard.
15:42With Arian, I think they were quite keen to have him a bit edgier.
15:46We ended up going with a full wig with these kind of quite soft, flicky elements in them.
15:51What feels like a kind of dragon tails at the back or little dragon scales.
15:55It's a good fucking wig, isn't it? Hot wig.
15:59Prince Arian Bright Flame.
16:02The look for Arian's armor is perfect. It's cold and intimidating and dragon-like.
16:08Come out, come out, little knight. Time you face the dragon.
16:10It's the coolest I've ever looked in anything.
16:14In terms of look, it's quite rooted in historical referencing.
16:20Lorna was looking at lamella armor, so what we made for her was a plate armor take on a lamella.
16:26We were on something like 400 individually patterned and cut lamella panels.
16:31Then his helmet. We played with drawing every type of dragon head and find that actually the most terrifying thing
16:39is a human face.
16:40The helmet is a mold of Finn Bennett's own face.
16:44It was quite involved. The helmet alone was probably something like a 12-week build.
16:49The flaming hair crest, really that was a reflection of Arian's personality.
16:54Very dragon-like with the red detailing, like lava flowing.
16:59So it's very much this feeling and unrest just below the surface.
17:07The Targaryens came to Ashford as like a diplomatic mission.
17:14And then it goes completely awry when Arian slaughters this horse.
17:24At first you think when you're breaking down this script, that has to be a fully CG horse.
17:30To augment this horse, it's incredibly difficult to get correct.
17:34We were relieved to find that speaking with the horse team and the stunt team, that there was every intention
17:38to do this for real.
17:40Ultimately our role became adding in the lance that pierces through the horse's neck.
17:46The horse crashing through the tilt, that's all real.
17:50We've had a foam tilt made up, so it's safe on the horses.
17:54We do train our horses to lie down.
17:57And then just using the horse's natural desire to try and get up, which will look like the horse is
18:03dying.
18:04So then we'll cut to an actor or a double with a prosthetic horse.
18:08Action!
18:11Thank you, moving on, well done.
18:15It's an important scene in the sense that you're establishing a villain.
18:18Arian believes himself to be blood of the dragon, to actually be the dragon incarnate in human form.
18:26And so he feels entitled to that kind of brutality.
18:32Sir Duncan, you have to come.
18:34Arian's hurting her.
18:35Hurting who?
18:37I really loved the idea that Dunk springs into action.
18:41We're seeing the birth of his own knighthood.
18:44It was just such a cool scene.
18:46And we got one take where the heat was like definitely really close.
18:52But it was nobody's fault but me, because I wanted to get in as close as I could.
18:56It felt like a real Tom Cruise moment.
18:59I love Sara for this.
19:01She said to me, every day I want to do one cool shot.
19:03Well, that happened to be the special shot that day.
19:08Shooting that scene, it was a little bit complicated because the shot starts with like a couple grips carrying the
19:13camera.
19:13And then they pass it and they clip it on the crane and the crane goes past to the finger
19:17snap.
19:21We did the slight dolly zoom effect on Dunk as he's taking it in.
19:25It's like we see something change in him.
19:27Almost the beast inside him is awoken.
19:28Ah!
19:33Cut! Nailed it!
19:34Huge credit to Zach, who was stunt doubling for me.
19:40Everybody's very safe and set but, you know, Pete's like a big guy.
19:43Cover set.
19:44Peter just went full beast mode.
19:46I remember at one point, I actually couldn't even believe what I was seeing on the monitor because it was
19:50so intense.
19:52No!
19:54Don't hurt him!
19:55For those who were already fans of the novellas.
19:57Let go of him.
19:58They'll know that this reveal is coming.
20:00For everyone else, hopefully it's a surprise.
20:02And we wanted to do service to both audiences.
20:05If you were to go back, that you would see all those little breadcrumbs.
20:08You're from Flea Bottom?
20:09No.
20:12Perhaps I should go back, sir.
20:14Sir Donald of the Kingsguard is but the son of a crabber.
20:17His father owns half the crabbing fleets in Westeros.
20:19How would you know?
20:20Bike fishing.
20:22Kill him!
20:23Kill him!
20:24And at the same time, not give it away.
20:27The only way he can save Dunk at this point is to reveal his secret.
20:32What happened to your hair?
20:33I cut it off, brother.
20:34I didn't want to look like you.
20:35We are about to shift the dynamic between Dunk and Egg where you can't put it back in the box.
20:41We wonder whether that's going to be the end for them.
20:47I mean I don't know if you're not.
20:49That's a mistake.
20:49That's true.
20:50The End
20:50The End
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