(INDISTINCT CHATTER)
Hey, oh!
Where are you going?
In there.
I live here.
(CHUCKLES) Fuck off.
I'm Arya Stark. This is my home.
MATT SHAKMAN: Walking into Winterfell for the first time,
seeing this extraordinary exterior set,
I feel a little bit like a neophyte
because I just assumed Winterfell was a real castle.
And so, I walk into this set and it's just extraordinary.
I know from the pilot, it was a real castle.
I guess I just kind of assumed that part of it was still shot.
And now, they've built this thing. And they've made it bigger this year.
The art department, this year, have done the most incredible job.
The Winterfell set that I'm in
at the moment is completely built from scaffolding.
Every year, we get to see a little bit more
because we add on courtyards, we add on catwalks,
we add on interior spaces that
give you a sense of what's going on inside these keeps
with the corridors and the hallways and the different rooms of the castle.
This is Winterfell gate.
That's the front entrance to Winterfell.
As you can see, there's quite a bit of damage
that has occurred over the past winter.
These sets were not designed initially to last seven seasons.
It's all plaster-work and timber,
at the end of the day, that we construct sets of.
They're not real.
As a result, there's always maintenance to be had.
Out here is mainly paintwork, but when you go inside,
you'll see there's a lot more to be done.
Obviously, we've had the Winterfell battle last season.
Wun Wun breaking through the gate.
These are kind of the remnants of that action.
We've put the original panels back
because we want to show that they are preparing for the coming winter
and for coming battles.
This is obviously completely bare. There are no props in here.
The Greens will have to come,
they will have to take a lot of the greenery out.
We'll need to relay the floor a little bit.
This is all weather. The floor's suddenly kind of quite uneven.
It's just rain damage.
So, now we're in the second courtyard.
Again, you know, quite a bit of damage.
The steps have all collapsed.
It's not that bad, actually.
It's still in very, very good condition.
The guys just need to replace a few of the boards on the walkway.
But, overall, it just needs a really good repaint.
In addition to the original courtyard from Season 1,
we built a second courtyard for last season,
to which we've added a third courtyard this season.
Deborah Riley, our designer, designs the sets.
We then take these designs
and work them into practical working drawings...
And then supervise the builders as well.
These are obviously not the kennels any more as such.
We are putting a window at the end here
in order to kind of ring the changes
that can bring us from the second courtyard
into our new build which is our new courtyard.
These are Mother and Father's chambers.
And?
RICHTER: This year, obviously, we have more characters in Winterfell,
Arya's coming back.
Sansa, and of course, Jon Snow.
As a result, each of them have a room. Bran has a room.
Suddenly, instead of having two rooms, you need four.
Then also, there's a lot of action in corridors.
There's a lot of intrigue going on where people are following people.
So, you know, all of that needed developing.
This is Jon Snow's room which used to be Ramsay's room.
We've kind of rebuilt this slightly. There's a window here now.
We've changed things around.
We've changed the fireplace to kind of do this a little bit differently.
As you kind of find your way through,
you'll find your way into Sansa's room.
And from there, kind of all the other rooms as well.
So this is Sansa's room here.
Everywhere still some construction to be done.
You know, the fireplace is still being built.
There are certain things that can probably do with a little bit more.
This hasn't been finished yet
whilst this has.
They started taking this down, aging this.
What's that?
Maester Wolkan built it for me so I can move around more easily.
That's a very good idea.
I have designed a lot of stuff for Bran Stark. (CHUCKLES)
He doesn't know it, but I am his personal transport designer.
There were a lot of opinions on how it should look and how it should feel,
and the concept artist went through numerous designs
before that was actually approved for us to then make.
Now he's the Three-Eyed Raven. He has quite an austere character.
So you had to not design any decoration on it.
And it had to be the Winterfell colors.
Quite pared down.
And then using the wood and the leather,
keeping it really simple. So, it reflected his character.
It has to be practical, but it has to look period.
So, the trick is to kind of disguise the mechanics of it at times.
Once it was done, everybody was happy with it,
and it was comfortable also,
for the actor, and was able to function properly.
The North needs to band together.
JONES: The Winterfell fire backplate,
it's the second one we've made over the last two years.
If it was something that you could just have
hanging at the back of a set,
there wouldn't be that much of a problem.
But because you want to light a real fire in front of it,
we have to use special fire-retardant materials.
We then have to generate a huge mold,
which is very expensive, very labor-intensive.
A prop like that is something that doesn't really get much camera time
but it's just all part of the process.
DAVID BENIOFF: One of the great things about having a show
that's gone on for many years,
for all the departments, there's a degree of creation
where you just keep adding layer and layer and layer
and things become more rich and complicated and lived-in.
And that all adds to the realism of the world.
They have done such an extraordinary job.
All of these sets are bigger than you can imagine,
and more detailed than you can really even experience
frame by frame in a show. It's quite an adventure.
DANNY O'REGAN: Silence was one of the early sets
and it had to be one of the "wow" sets, which it was.
We had to create that in about seven weeks.
'Cause we didn't have a lot of time,
everything just had to go perfect on that.
RICHTER: We're in Banbridge doing the boats for the sea battle.
Yara's ship and Euron's boat, The Silence.
Hauke Richter was the art director of that set,
and he was working with a concept artist named Philipp Scherer.
PHILIPP SCHERER: The Silence was my favorite
and least favorite set at the same time.
It was quite obvious that everyone's vision was very different.
Someone imagined the ship to be Chinese influenced,
but these are also ironborn.
So some of us were looking more in a Viking direction.
To bring all of this together was like the big challenge.
Through research, we started to look at Roman biremes,
triremes, we were looking at medieval ships.
The boat's an amalgam of a lot of different great warcraft
that were built over the different centuries
so it's not quite like any one in particular
but it's a lot of different ones mushed together.
As we plan the battle out, we realize
the boat itself doesn't really come in to play as a real thing
that people need to interact with until it's connected to Yara's ship.
So we decided that the best way to put across the true size of this boat
and still make it possible and functional was to build
a section of it, the bow section, that rams into Yara's boat.
(LOUD COLLISION)
MARK MYLOD: The art department designed and built
the first 50 feet of The Silence
with the idea that visual effects would then extend that.
The great thing was, because Philipp had worked in 3D
on the computer when he was designing it,
it meant that these ribs could then be farmed out,
and cut and perfectly delivered
so that the boat would go together like it was out of a kit.
GHIRARDANI: When the thing is then assembled,
you get a skeletal structure of the ship
and then we just start to clad it.
So it was very much a carpentry-heavy set.
We have marine guys who will come over and help us on these things.
All the rigging came through them.
They'll splice the ropes, they'll hang the ropes,
put the sails up,
do whatever they can to get this car-park ship ready for battle.
CHRIS LEWRY: I work out the drawing,
to scale the thing down to make the sail the shape it is.
Then we ordered the fabric which now
is a black, acrylic canvas 'cause it's gotta be strong.
There's also a special effects sail.
Then that's put up on the ship as well,
so they can work out all the details in special effects.
RICHTER: If you look at Roman or Greek ships,
they often had animal designs in the front.
Euron, obviously, has a kraken as a sigil.
And it kind of befits the character,
and it makes the ship look so much different from
any of the other ships that we've had before.
Being on that boat, my boat,
they only built the front of my ship and the side of it.
It was, like, five times bigger than their little, tiny boat.
GEMMA WHELAN: Looking at it from the outside, it's quite extraordinary.
It's so exciting to just be in the presence of something
that's so well-designed and perfect.
BENIOFF: The Silence is Euron's mothership,
and it's supposed to intimidate people when they see it,
and it's supposed to strike fear into the hearts of his enemies.
Euron...
We are on the top deck.
We wanted to make it look more like a fighting deck
you know, that's why the castellations,
the idea that it's almost like a mini-castle on a deck.
We fell in love with this idea of a thing called the corvus
which is kind of like a bridge.
RICHTER: It was a device that the Romans used to enter an enemy ship.
So they would lower the corvus
which had a spike that looked a little bit like the beak of a raven.
That's why it was called corvus. Corvus is Latin for raven.
It would literally sink itself into the deck of the enemy ship.
(YELLING)
And the guys come streaming down
and run onto the ships to murder everybody.
(ALL YELLING)
We have such a great, humongous, mean-looking thing.
So it just seemed like the personality matched
with Pilou's rendition of Euron.
(LAUGHING MANIACALLY)
It is quite clearly a warship.
It doesn't transport people. It transports death and destruction.
The Loot Train is our biggest scene this year, by far.
The Loot Train involves a lot of different departments
all sort of working at the very extremes of their abilities.
DUNCAN MUGGOCH: We're in a park called Los Barruecos
which is a natural park
here in the Extremadura region of Spain.
What drew us here originally was the strange rock formations
which are quite unusual.
PETER WELTER SOLER: Barruecos was probably the last location we found
because it was at the end of our two-week tour.
The end of 6,000 kilometers in a van. (CHUCKLES)
We finally found it.
BENIOFF: What we were looking for location-wise
was just basically the biggest field we could find.
It had to have some water on it
because there's the river that comes into play.
But, really, we just needed a massive field because
we were gonna have the Dothraki galloping in,
we've got a massive Lannister wagon train,
we've got the dragon flying. You'd need a ton of space.
When I first read the outline,
I did think it'll be exciting to be doing a battle
but there'll obviously be nothing for the art department to do
because we have an amazing location,
and we'll put some wagons in and we'll set fire to them.
And how wrong I was.
We initially received concepts
of about five medieval-style armored vehicles
in horse-and-cart form.
Then we hired five carts from England.
We then had to sort of dismantle those carts,
modify them in a way to work precisely with the concepts.
Everybody in Spain then did the actual set dressing
that was associated with them.
One cart in particular, which we would call the "Hero Cart,"
we had to work very closely
with the director of photography along with the set decorator
as this cart needed to be lengthened
so that certain camera angles could be established.
From a greens' point of view,
I think it's possibly one of the biggest sets that we've tackled.
KHI GREGORY: It needed to look very lush and green
before the battle actually commenced
so we sort of looked after that, we did a lot of clearing,
we've got lots of rock piles.
Artificial rocks that look very, very much like
the ones you see around you now.
TOBIN HUGHES: You have horses charging down the side of the hill.
So we have to take everything out.
Stones, bushes, anything that could hurt the horses or the riders.
Usually, on a sequence of this scale, we would take the back foot.
Mightjust be blood puddles or a handful of things,
but because the entire sequence is a wagon train,
and involves 27 wagons and their various bits and dressings,
we have to reshuffle the entire set constantly
which means dressing 180 degrees, or 360,
depending on the camera movement.
We are providing all of the objects that are dressing the set.
So the wagons, the things in the wagons,
the urns, the pots, the dead animals.
As a painter, we sort of age them
and make them feel like they fit into the environment.
And I think it's good that
maybe when you're watching it, it doesn't necessarily stand out.
And that means we've done ourjob.
It started off a big loot train,
and everything was intact,
and then, the dragon comes along and blows it all to smithereens.
(SOLDIERS SCREAMING)
There's different stages to write the three weeks that we're shooting
so we have a whole team of dressers that come and do the changes.
GREGORY: As this set's gone further and further into the battle
and dragons have been and fires happened
and now what we're doing is
we're making it look very charred and burnt
and lots of crispy critters hiding everywhere.
There's a lot of continuity to make sure that we're in the right space,
in the right part of the process,
reflecting the right amount of burn, the right amount of damage.
How you keep that going takes an awful lot of effort.
GREGORY: We have an eco-friendly dye
which dyes things black to make it look very charred and burnt.
And we're using several forms of ash, as well,
to dress-in and make it all look authentic
along with charcoal and stuff like that.
GHIRARDANI: It's a big special effects bonanza.
Everything that we provide will then have to be burnt
over a matter of three weeks.
So we're building carriages, we're building wagons,
knowing that everything is going to end up as ash by the end of it.
GREGORY: This is gonna be crazy.
There's a big battle, there's lots going on.
We've got crew doing lots of different things here.
There's hundreds of extras and horses and fire.
I knew it was gonna be crazy. And fun, too.
- Run! - Run!
Run!
(ICE CRACKING)
Stop!
RILEY: The frozen lake sequence is so ambitious
that I don't think any of us really understood
what we were getting ourselves into.
Bernie Caulfield and Chris Newman pushed to have it in this quarry
which is half an hour outside of Belfast.
It's called Wolf Hill Quarry.
I remember we went there and it was actually a nice day.
What we didn't realize was how bad the weather was gonna get.
MAN: Start clearing out, please.
Let's go, before the rain becomes heavy again.
WEISS: Wolf Hill Quarry can be a very unforgiving environment.
Weather-wise a lot more brutal.
Especially, in November, December, than the places we shot in Iceland.
It's worth it to get those characters out there
where it really is freezing cold.
What you'll see on camera is exactly what it is.
It will be a very raw, cold, freezing environment
where these characters are utterly exposed to the elements.
O'REGAN: We looked at the location
and then it was like figuring out how you can create a frozen lake.
GHIRARDANI: We worked with some engineering contractors.
These guys came in with big machinery.
We've done a lot of quarry work
and I know that one man with some of those big machines
can shift an awful lot of earth in a day.
CHRIS NEWMAN: It has to have a flat surface.
Ice forms in flat pools. It doesn't have a hill.
So we had to concrete it so it was a hard surface
so no mud could leach into the fake snow and so on.
O'REGAN: In the end, we put down 11,000 square meters
in area of concrete which is nearly three acres
to create that vast area of frozen lake.
RILEY: When you stand up on the top and look down,
it was like we were building an airport or something.
It looked amazing.
And I'm sure the people up in the International Space Station
must have been thinking, "What on earth are they doing there?"
The scale of it is enormous.
We built the island in the middle like we would build a set.
O'REGAN: The island was built out of mixture of real rock
and then plaster work to actually get the shape correct.
The island in the middle had to be very specific to contain the action.
So we had the area where Tormund is, where the Hound is,
where Jon Snow is.
Those areas all had to be worked out.
Where we need a place for Jon Snow to fall down
so we need a little step in the rock structure.
And the same, really, for the Night King area,
Deb wanted it to have a real dynamic to it.
So we used our own plaster, fiberglass-sheeted rocks,
but they were done in such a way to give the thing a drive.
It's moving forward, this thing, it feels present.
When I came to set for the first time and saw this lake,
understood it was concrete, and that they actually made it,
that blew my mind.
The island that they built in the middle of the lake,
it looks like a real island.
The way they've made the lake look iced over.
Yeah, it's incredible.
And then, of course, you can't talk about that set
without acknowledging the snow team.
They've been there for an inordinate amount of time
just snowing piece by piece by piece
so that what you end up with is very nearly a 360-degree set.
We tried to shoot in quarries whenever possible
'cause they are just massive open spaces
that we can turn into our playgrounds for whatever we need.
ALAN TAYLOR: We built some wall to take us from Iceland into this lake
to make-believe we are in the same environment.
RILEY: When you film something in another location
and then you're responsible
for finishing that location off somewhere else,
you have to really do your homework
and try and make sure that you match it as best as you can.
And so, all I can hope now is that
the conditions that they have in Iceland when they shoot the first part
match the conditions that we had when we shot in the quarry.
For the frozen lake, we initially received a concept
where numerous White Walkers were pulling a huge dragon out of the lake.
This was gonna be a very visual effect-heavy scene.
But still, we knew that the actors required
to appear to be pulling something heavy.
We created quite a large chain.
It was all about figuring out the size of the links
and how we'd get enough tension on it.
JONES: We needed to manufacture almost 400 feet of chain
which, I think, was about 1,000 links in total.
And then, they were all painted with a rust finish.
And they'll actually get snow on the day up there.
I can't believe the scale of this thing.
This is an hour of television, I started in September,
I won't be done till February.
That's nuts.
Game of Thrones.
GHIRARDANI: When I go up there now, and I see them filming,
It's like, "Wow. Did we really do that?"
You know, I still sometimes have to pinch myself.
MAN 1: Okay, let's go for it. Here we go. We're rolling.
MAN 2: Set? MAN 1: We're set.
MAN 3: And action!
GWENDOLINE CHRISTIE: We have a fantastical story line,
which requires us to suspend our disbelief.
And what the art department does in these sets is it makes it real.
The art department is this show.
It's just such a major factor in why this show has worked.
Nothing happens here without us taking the time to discuss it,
and to really think about it.
I hope the audience understand and enjoy that.
Because it's something that we take great pride in.
That's why we do win Emmys,
because we obsess over a scroll that's in the back of shot
and is totally out of focus.
Pretty much everything that you see on set,
is created by the art department.
It's great to see your work being appreciated.
But I would say conversely, that a lot of our work is invisible
and it should be invisible.
If I was the five-year-old version of me,
and I found out what I'd be gonna be doing, I'd be like over the moon.
This is cool, it's like playing.
RICHTER: We're just creating worlds, it's great.
Can't really get anything better than that.
The sets are so authentic
that you feel yourself step into another world.
When you walk on a set that you've concepted,
it's a very surreal, exciting experience.
I actually can't believe I have the job I have. It's fantastic.
It's all so real. Everything from the weapons to the dressing of the set.
It's absolute nuts.
If I wasn't an actor, I'd work in the art department.
Working in the art department is like an extreme sport.
It's a very intense environment.
There are a lot of things that are happening very, very quickly.
I don't know how Deb sleeps
because she had so much work to do this season
and she'll have so much work for the final season
that it's kind of incredible she's still cheerful when we see her.
(LAUGHING)
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