DEBORAH RILEY: A day in the life of the art department.
...you arrive with a camera over your shoulders.
RILEY: I was thrilled when I read the outline
and realized there were so many new locations
and so many big builds this year.
As a member of the art department, you just want to build everything.
That's what we do, that's what we love.
D.B. WEISS: One of the things that separates Game of Thrones
from most other shows is the way it looks.
And the way it looks is almost entirely
the primary responsibility of Deb
and her insanely talented art department.
RILEY: I'm the first in, apart from the producers themselves.
Debs and myself, we lead a team of art directors,
concept artists, assistant art directors, graphic artists.
That is the fuel that feeds the construction shop.
RILEY: The two other art directors that we have,
they are always first on the ground.
Whatever they throw at us,
you have to come up with a creative answer.
You create worlds, you create something
that is different from reality.
It's best also to start the concept artists at this point as well.
The construction department will break down into
carpentry, plasterers, painters, sculptors, metal work,
rigging department.
And then, over the following weeks, everyone else filters back through.
Twelve beds headed for the infirmary.
RILEY: Beautiful.
PAUL GHIRARDANI: Props will break down into furniture, drapes department,
and a painting department.
Beautiful. And this is as it was in the previous seasons, isn't it?
We also have the greens department who makes sure
that all the ground surfaces have been taken care of.
It's a lot of cajoling of a lot of people
to make sure that they can kind of do what we want them to do.
RILEY: This year we are absolutely filled to the gills
with people on computers,
people on drawing boards, people drafting graphics.
It's all happening in a very small space.
You just can never let the machine stop.
Don't stop the machine for anything.
(DRAGON ROARING)
Dragonstone is certainly the piece that I'm most proud of.
<i>It's probably the most original work</i>
we've managed to achieve on the show so far.
JEREMY PODESWA: Dany coming home was a really interesting sequence.
What was really lovely about doing it was that doing it
for Game of Thrones, you're doing a sequence like that,
you can really do it properly, you can really take your time with it,
you can really give it its due as a real moment.
(DRAGONS ROARING)
DAVID BENIOFF: It's about five minutes of screen time where no one's talking.
It's not like an action sequence where you've got
the excitement of people fighting, it's just people walking.
WEISS: The place itself is really the other main character.
It puts a lot of weight on the art department.
We had so many elements that we had to somehow knit together
to create the whole Dragonstone world.
Dragonstone this year was a combination of some of the most
beautiful locations in Spain you've ever seen.
RILEY: The arrival is shot in Zumaia.
You then get up onto the platform, go up a set of stairs,
turn around, and then we are on stage here in Belfast.
And those are the massive dragon gates.
And then once she goes through those doors here,
then you pick her up again in San Juan,
where she goes up the steps to the castle.
It's like a whole tapestry of locations
that we had to knit together to work for Dragonstone.
Looking for the space where Dany would land
when she would first arrive home,
we had to find somewhere that was very special for her.
And when we arrived at Zumaia Beach,
the geological formations there are so unique,
and so special and so interesting, that they have a weight to them
that none of us could ignore.
That leads to these dragon gates that Deb designed
that are massive and spectacular.
Our main job for Dragonstone this year has been
the exterior of the entrance gate
which is flanked by two big dragon head gate guardians
that we've carved.
They started sculpting very early just because something like that
is a very time-consuming article to get ready.
The Dragonstone gates, which they built for about 10 seconds of footage.
They're huge. Like twice the size of double-decker buses on end.
That leads to this raised stairwell that goes over the water,
and leads all the way up to this monastery
where we put Dragonstone.
That is such an unusual and incredibly beautiful place.
Here were are. We're on Stage B at Titanic Studios.
And this is gonna become Dragonstone.
Previously it was Meereen. All the big Meereen sets were here.
Now we're Dragonstone.
I think we are three-quarters of the way through construction
but we are doing pretty well, it's ambitious.
So, it was always going to be tight.
Zumaia Beach ended up influencing the design of the interior sets.
GHIRARDANI: We sent a couple of plasterers out to Spain,
and we call it a squeeze.
What it is, they take an imprint of rock wall,
and they will make a huge rubber impression of that texture.
They can bring that back here.
And then we can make our own plaster versions.
So basically we are bringing a bit of Spain back with us.
We're at the back of the set, and this is one of the corridors
that is running down one side of the main set.
We are just building up in various stages here.
So, we are fixing the set to the location.
And these corridors are going to be
the areas where Daenerys and Tyrion and everyone will be walking
up and down to get from A to B
once they are in the Dragonstone castle.
So, here we go, we're going down the tunnel,
and we're approaching the entrance to the main hall.
And we're gonna have a beautiful pair of elaborate gates here.
Push them open,
and bang straight into the main audience chamber of Dragonstone.
(DOOR CREAKING OPEN)
Which is something that is completely different
to anything we've seen on Game of Thrones before.
David and Dan were very clear with
what they wanted the audience chamber to look like.
A lot of research was done into how the audience chamber would work
for the script, how it would look in reality.
I wanted this set to sort of start in the cave
and grow out of it.
And then we were able to bring in those beautiful geological formations
in those side corridors.
That seems so appropriate for Dragonstone,
since the castle itself was meant to look a bit like a dragon, you know.
And have those sharp edges and scales.
FRANK DOELGER: What was really key about the audience chamber,
you wanted to come in, and you wanted to be impressed
and I also think you wanted to be a little bit terrified.
There is something about the entire architecture which is unsettling.
It doesn't really seem to be able to support itself.
So, you're always a little bit anxious and nervous.
I wanted a huge floor space and there was going to be a few top shots.
So, the floor had to be interesting, of course.
So, we tried different shapes of the floor and we just found
the hexagon shape worked really well.
DANNY O'REGAN: I think there were almost 850 floor tiles
to make and create and texture and paint.
FITZSIMONS: We did a seal in the floor as you enter the chamber
with a three-headed dragon.
WEISS: It's probably my single favorite set we've ever built.
Without a single visual effect in play, it looked so epic
and grandiose and Gothic and broody
and slightly off-putting in the best way.
This is a former, a basic throne shape.
(CHUCKLES)
This afternoon, or in the next hour or so, this will go right up here.
That will sit right here, dead center.
So, Daenerys will be framed with this window.
And then behind her, massive great rock formation.
It goes all the way up into that corner.
- It's gonna be dramatic. - Yeah, it's really dramatic.
The angles are fantastic.
The way it was designed, the way the light flows into that room,
the throne built out of the rock.
It has such a visual impact, that room.
I think it's a really special set.
RILEY: By carving the throne into that rock work itself,
I think makes a very strong statement.
It's not a piece of movable furniture.
It's something that's tied to the building.
It's something that the building was actually built around.
And that was something that was really exciting to me.
I'm just so thankful that I have a throne with arm rests.
Oh, and a back. It's very exciting.
RILEY: It felt like we were doing something special
right from the beginning.
So, when you watch the crew walk in, and when you see their faces,
it's enormously satisfying to realize that we got there and it worked.
TYRION: For decades, House Lannister has been the true power in Westeros.
And the seat of that power is Casterly Rock.
Grey Worm and the Unsullied will sail for the Rock
and take it.
So here we are, in the Dragonstone map room.
It's slightly changed from the original.
A few new improvements.
We've made it higher, we put this header through there
so you can shoot up.
And we've got a tunnel out the back now, so we've got a direct access out
to the castle.
There's going to be a lot of dialogue in here this season.
So, they wanted it to be lived in.
So, we've got a fireplace to get a bit of ambient light at nighttime.
But I think the big change is that
we've designed a new dragon as a logo for the new audience hall.
But they liked it so much, they wanted to do the new design on the wall here.
So, we've taken the old dragon out,
and we are now sculpting a new design of the dragon in.
BENIOFF: Dany has her map table.
It's been established from going way back to Season 2,
that's Stannis' map table, that was originally built by Aegon Targaryen.
JESSICA SINCLAIR: This season, the map markers were made
slightly larger than normal.
We had this quite cool idea of thinking
about World War ll maps
and how there was the air force and how you'd often have planes.
And so, the idea was that the dragons would be higher
and have three dragons on the table that would be like your air force,
your Game of Thrones air force.
And then you'd have your foot soldiers which would be the Unsullied.
And they were designed a bit like pawns.
So it became like a cross between a chess set and a war table.
Each map marker was individually thought of.
And what would visually, for the audience, be represented.
So, it was like a clear indication of who was what, what was where.
We initially would start with a sculpt out of clay,
and then there would be a molding process
and then a clean-up process to refine all of the details.
It would then go through to our props painting department
and then it'd be delivered safely onto set and locked in a cage
until they were allowed on to the map table.
SINCLAIR: Gavin makes all the props, he improved them, really.
He'd have to carve them in 3D and I'd done them in 2D.
So, it's great, it's like a partnership working together.
My favorite thing might have been that dragon map marker.
(LAUGHING) I'm really attached to it.
Enemies to the north.
Ned Stark's bastard has been named King in the North.
And that murdering whore Sansa stands beside him.
Enemies everywhere. We are surrounded by traitors.
You're in command of the Lannister Army now, how do we proceed?
BENIOFF: We are talking about places that don't exist.
And so, we've been trying to educate the audience from the very beginning
because it's so important to know where is King's Landing
in relation to Winterfell and so forth.
And so much of this season is the strategizing between
two opposing queens, Daenerys and Cersei.
We knew that Dany was going to have her map table.
And we wanted Cersei to have her equivalent.
WEISS: We thought that a painted map on the ground
next to her council chamber,
that seemed like a good idea.
Jim Stanes and Rhiannon Fraser, they created a beautiful map
for the King's Landing map room.
That was a wonderful piece.
The art department, they create this world.
And it's extraordinary to play in it.
The first thing I heard about it was, before I even started this year was,
there's a map on the floor.
And I knew where it's going to be.
So, I said, "Okay. Big."
And then doing a lot of drawing and painting
and feeding those into the computer.
We had a large print made first,
and then two guys come in, Dave Packard and Greg Winter,
they came in to actually paint the image
that I designed on to the floor.
WEISS: We knew that Jim Stanes, the graphic designer,
would create something amazing and he worked so hard on it,
through many, many different iterations of it.
We decided that it was only right that the person finishing up the map
at the end of the sequence would be Jim Stanes, so...
The man who was firmly but politely dismissed
at the beginning of the scene by Jaime Lannister is indeed Jim Stanes,
who designed and created the map to begin with.
QYBURN: Have you ever been down here, Your Grace?
CERSEI: No, I can't say I have.
SHAKMAN: We have this incredible location,
the old ship yards in Seville.
We created a dragon skull room in the basement of King's Landing.
We have to create a feeling that dragon skulls have been stored there.
Semi-abandoned, it isn't a ritualistic space.
The process of creating the dragon skulls
was initially receiving a concept.
Which revealed several dragon skulls of different shapes and sizes.
All in relic form.
It was wanting it to look as much like real skulls as possible.
So, it was a lot of research that they did
into lizard skulls and dinosaur skulls.
Trying to get all the bone structure just right.
We'll use any artwork that the art department have generated.
And we'll use a whole bunch of real world references as well.
For textures, we have a sheep's skull to look at
and how the surface texture looks.
We try to, basically, bring everything back into reality
and using references from the real world.
The large dragon skull,
that had a digital 3D sculpture done at the art department
and then we took on the task of translating that into
a pretty large polystyrene carving.
The sculptors, without a doubt,
the best thing that they did this year was that giant dragon's head.
To watch that take shape, to see them draw it first,
a massive drawing, and then to watch a team of sculptors
create that giant thing was really thrilling.
It's about 30-foot long and 11-foot high
and about 16-foot wide.
QYBURN: Balerion the Dread.
The beast that Aegon rode across the sea.
His flames forged the Iron Throne
and brought the Seven Kingdoms to heel.
FITZSIMONS: There's a lot of work that goes into it.
For all you know, there's gonna be at least two months work.
More if you consider how much the drawing and idea
and the conceptual detailed sculpting would have been.
One of the main issues we had was
each skull had at least 20, maybe even 30 horns
and up to about 70 individual teeth.
The workload was quite intense, really.
We'd cut it up and send it on lorries to Spain
and reassemble it on the location.
The sculptors who made them here in Belfast would travel out to Seville
and get to fix them back together again.
The finishing work, attaching the horns
which were sent separately.
They were all attached within the skull room.
There must have been 50 dragon skulls down there
of all different sizes and different states of disrepair.
The scale was from sort of handheld-size skulls up to,
with the horns on, up to about 10 feet in length.
ORR: While they were making the skulls,
we ordered crates up from construction and we orated them up
but the crates were quite useful as well
'cause we needed more dressing for the skull room than we thought.
So, the crates which were intended just for shipping
ended up broken down, repainted, stenciled, and dressed.
So that was quite handy.
I think many people when they watch it will think
it's a visual effect but it wasn't.
We literally had that big a place with that many skulls.
RILEY: I think it's one of the most successful spaces
that we've ever worked in.
One of the biggest sequences in this show to grapple with
was the sequence in the Dragonpit.
With the Dragonpit, it started with the location that they had found.
It was the ltalica Coliseum.
PETER WELTER SOLER: ltalica was a city built, I believe,
as of the beginning of the second century.
And this amphitheater held up to 40,000 people for games.
Right now what we see is the ruins of it.
I think it's more or less 25% of what it used to be.
RILEY: It's not often you would ever get permission to shoot somewhere
where the Romans built that still has Roman concrete.
It's unbelievable.
The fact that they managed to find it,
get access to it, and then dress it in a way that it serves the story,
that's remarkable.
When you read the scene, you try and imagine a place for it
and then you see the photos of the location,
you think, "Gosh, this place exists?"
It really felt like dragons had been there.
We had a lot to work with.
We were really adding in small sections of construction
to tell our story that it was an abandoned space
and that it had served a different purpose in the past.
We built a platform and a podium for this very powerful scene
that was going to take place there.
SMITH: We were very much involved in the canopies
and then the choice of fabric that we used.
Because it was King's Landing,
we wanted to use the deep burgundy red of the Lannisters.
So we created in three different platforms
and the Hero platform had a fabulous damask pattern
and had more detailing on the columns.
The chairs that Cersei actually sat on
were lovely leather-embossed chairs with arms that had a bit more stature.
We had to fill in the pits where the animals were kept
and the gladiators would wait before the fights in Roman times.
The existing Roman architecture,
we weren't allowed to touch it at all with our set.
So, logistically building a structure on top of that,
it took quite a lot of time and it was very closely supervised
by archaeologists that worked at the site.
What I loved about the space and what I fought really hard for
was to be able to have the Hound with the wight come up from below.
Cersei enters at ground level.
And Dany enters on her dragon from above.
So that you understand the way the space works very clearly.
When she arrives on that dragon,
that's an amazing moment in the history of the show...
(ROARING)
...that needed the appropriate space for that to happen.
(MAN SHOUTING ORDERS INDISTINCTLY)
Bernie and our location gang in Spain had found Almodévar Castle
which seemed like a perfect match for Highgarden.
This year we've had quite a variety of amazing locations.
We've had two different castles.
One which was standing in for King's Landing at Trujillo,
and then the one that was Highgarden which was Almodévar.
We knew it before we even arrived that this was Highgarden.
We arrived at the gates of Highgarden that day.
We've been hearing about Highgarden for quite a few seasons now
and you try and imagine where you'll find a place
that will fulfill those expectations
and here was this really beautiful castle,
literally with a garden that was high up.
An amazing, amazing setting.
The morning that we shot there, we came up at sunrise
and there was a mist across the fields there that was just magical.
It was Tolkien-esque. It was extraordinary.
There were things to do there.
A lot of our work has generally been taking away anything that's modern
and build things to disguise
the things that we couldn't safely remove.
RILEY: From an art department point of view,
there was a lot of handrails that needed to be removed.
Greens did a lot of work.
Hopefully, it's largely invisible work from the construction point of view.
And then the set dressing, adding in all of the chests and gold.
Telling the story that way.
A lot of things that went into that location.
RILEY: You have the big courtyard scene,
where you see the Lannisters going through and looting the place.
And so we had some bullion
that was made here by our modeling department
with the Tyrell roses on them.
JONES: Manufacturing the ingots individually was a process in itself.
And getting those gold plated was quite labor intensive.
We wanted to establish a certain amount of wealth that they had,
that there was obviously something that Jaime would be interested in,
that the Lannisters would be removing and taking for themselves.
So when you see that wagon train heading out of there,
you know that they've completely cleaned the place out.
The chamber where Jaime finds Olenna waiting for him,
that was built in Belfast.
There wasn't a room that was big enough to be shot in,
that had enough crew access
that allowed the camera the space that we needed there on location.
Will there be pain?
No, I made sure of that.
That's good.
My name is Samwell Tarly, sworn brother of the Night's Watch,
training to serve as maester at Castle Black.
I knew your father.
I was with him when he died.
You are not dying today, Ser Jorah.
Not many things can get hired anymore from prop stores for this show.
Everything is designed very bespoke.
Whether it be a surgical instrument or a piece of furniture.
SMITH: If we need to make 12 beds, for instance,
for an infirmary in the Citadel,
they'll get concepted and then they'll get made
and everything gets researched.
What fabrics we use and materials.
Within the Citadel,
we also had a lot of surgical instruments to make from scratch.
Something like Sam's medical instruments,
David and Dan were very specific about what they wanted.
And then it started with Jess Sinclair
and she was there doing the concept art for these instruments.
SINCLAIR: First, you do quite a lot of research
to look at most early forms of surgery.
Looking at a lot of things from the plague was useful.
And also bearing in mind that Game of Thrones is often quite bloody.
And David and Dan like gory things. (CHUCKLING)
So then you might up the drama to make it more, so it will fit.
It's that cross between medieval sort of...
We're in that medievalish world,
but at the same time we're in the Citadel
and what does that mean?
And what sort of instruments would Sam use to operate on Jorah?
Gavin, our props maker,
he made all of those beautiful instruments
that then get handed on to Kevin and he ages them all.
They then all get handed to Gordy,
and he keeps them all and is responsible for them.
And he's made a lovely little pouch for them
that is also a part of the scene.
GHIRARDANI: We wanted a look on them.
I mean, they wanted it to look nasty.
It's like, you don't want anyone coming near you with those objects.
They have to look appropriate to that period,
but yet, at the same time, look real and convincing
as if you could perform an operation with them.
So those all had to be designed, all had to be made in-house.
Purely because they didn't exist.
The things you would have found wouldn't have been nearly
as interesting as the things we were able to dream up.
(MUFFLED GROANING)
For more infomation >> Are Avocados Good for Your Cholesterol? - Duration: 4:17. 
For more infomation >> 3D Sculpted Acrylic Unicorn - Kirsty's Christmas Tree Decoration Nail Design - - Duration: 19:06. 
For more infomation >> лайфхаки на все случаи жизни поделки своими руками для дома - Duration: 25:23. 
For more infomation >> VIDEOMU NDI ?? (VIDEOMU MANA??) - Duration: 2:49. 
For more infomation >> 阿滴英文｜10個常用的英文句子【屁孩篇】feat. 放火 - Duration: 7:09. 
For more infomation >> Короткометражный фильм «РЫБАК» | Дубляж DeeAFilm - Duration: 20:01. 
For more infomation >> А.И. Соколов про квантовую механику, часть первая - Duration: 1:57:06. 
For more infomation >> 게임 속 이스터에그는 어디서 시작되었을까? - Duration: 2:14. 
For more infomation >> Does the GOP need to do a better job of selling tax reform to Americans? - Duration: 8:06. 
For more infomation >> I'M DREAMING OF A WHITE CHRISTMAS, by Erik Spiermann's Quartet - Duration: 2:40. 
For more infomation >> 그 사랑(마커스 라이브워십 4집)-내가 버린 십자가 다시 지고(어노인팅 예배캠프2017)-예수 늘 함께 하시네(마커스워십2017)주일찬양ccm kim's - Duration: 22:26. 
For more infomation >> 🔴 CÓMO LIMPIAR TU HÍGADO PARA PERDER PESO - COMO LIMPIAR EL HIGADO GRASO RAPIDAMENTE - Duration: 7:09. 
For more infomation >> This Guy Makes How Much?
For more infomation >> Black Clover - Opening Full [Lyrics] - Duration: 3:10. 
For more infomation >> Des recettes pour vous permettre de rester toujours « vierge » - c0ns3ils - Duration: 5:42. 
For more infomation >> Au-delà des faits - les renseignements utiles - Duration: 1:25. 
For more infomation >> [#68] | Cystic Acne, Pimples And Blackheads Extraction Acne Treatment On FACE | Health & Beauty - HT - Duration: 29:10. 
For more infomation >> Vasile Mardare - Dacă vei veni - Duration: 4:27. 
For more infomation >> LA BAMBA - RITCHIE VALENS/LOS LOBOS zespół (teksty/lyrics) Sala Restauracja Manhattan Konin Brzeźno - Duration: 3:39. 
For more infomation >> 范冰冰打压张馨予？刚当上戛纳评委的她却第N次被分走了头条！ ✔ - Duration: 6:00. 
For more infomation >> Succès de la vente RM Auctions à Hershey - Duration: 3:01. 
For more infomation >> Homeless Man Beaten, Killed In Ukrainian Village - Duration: 1:38. 
For more infomation >> GOP Senators Laud Tax Reform Bill Ahead Of Vote - Duration: 1:49. 
For more infomation >> Interview HGC 2018: Benny / FNATIC - Duration: 7:33. 
For more infomation >> Facebook tackles engagement clickbait downgrading posts and pages - Duration: 10:04. 
For more infomation >> 12 000 lumenów - latarka Olight X7R Marauder XHP70 - Duration: 2:38. 
Không có nhận xét nào:
Đăng nhận xét