( music playing ) duncan muggoch:although this is tv, it's tv in a scale thatis beyond anything else. peter welter soler:it's the most successful tvshow in the world right now. it is special.very, very special.
Game Of Thrones Character List, chris newman:today we're shootingin croatia, they're shootingin belfast, and they're preparingfor shooting in sevilledown in spain. whatever hand you're dealt,you have to go with it
because the showcan't stop. bernie caulfield:i think we're the only onesin the world that shootwith two units at the same timeall season long. if one of those spokesin the wheel are missing, it's gonna collapse. director:and, action! ( crowd cheering ) morning.
how are you all? my name is duncan muggochand i'm the uk line producer for croatia and spain,or what we also call the southern locationsfor "game of thrones"season five. this is my second season.i did croatia last year. and this year we've obviously got spainthrown into it as well. so i'm line producing both of them this year.
and even thoughlast year was big,this one's even bigger. my name is chris newman.i'm one of the producerson "game of thrones." i fulfill a function here of planning howthe two units work and drift in betweenthe sets, the locations,and the different countries. so how was yesterday?all right? - yes. yeah, it was good.it was really good, yeah.- yes? good. newman:we start shootingat the end of july. 99% of the crewhave been here before.
so when you start day one, it feels like day 301 in a good way. as this is going on here,over in spain we have peterwho runs fresco films. he's new to this year,so he doesn't know quitehow manic it can get. my name is peter welter soler. i'm the spanish line producer
on this show. the production booklets,are we getting them tonight? welter soler:we have two weeks leftbefore everybody arrives. and then two days later,we start shooting. i'd be lyingif i said the stress levelis not increasing, because obviouslythis is very importantfor all of us. doing it for the first time,we want to please everybody. we want to do a great job. this is actually maybe notthe calm before the storm.
it is the rehearsalbefore the show.( chuckles ) we're heading from ourunit base into dubrovnik,into the old town. filming hereis quite differentfrom filming in belfast 'cause the logistics over hereare very different. one of the logisticalproblems of dubrovnik is it's such a tight,small, old city that we can't getour big vehicles actuallyinto the town just 'cause the streetsare so narrow. it's just oneof the challengesthat we face
filming in a citylike this. you can't take vehicles within the old walls, so everything hasto get taken by sherpas up to a location todaywhich is probably one of the furthestand trickiest you couldget to in the whole city. a little rule that i havefor myself on location, and this is never go upempty-handed or come downempty-handed. now it's just a load of stairsall the way up to the top.
hello, gorgeous. good. good, good. muggoch: the principal actorsare just arriving on set to rehearse. they will do a rehearsalwith the director first, and then they'll doa full crew rehearsal, which is when they'll placewhere the cameras are gonna goand everything like that. man:okay, guys, give usthe set, please.
hey, joseph.how are you?nice to see you. newman:episode one and twohave been in croatia. they've done mostof their filming and they'reback here finishing up now that emiliahas finished in croatia. ( growling ) - do that.just growl at one point.- ( growls ) so this morning,episode one and twowith mike slovis directing are setting up to dotheir first scene this seasonin dany's penthouse. morning, everybody.hello.
newman:so it's right at the beginningof the-- season five and it's the first timedany gets an inkling of what's going on in meereenunder her new rule. and then do you want itto be a boom, i've decidedi will not have them? or do you want itto be kind of like-- - no, i thinkit's more gentle.- it's gentle? it is gentle?okay, lovely. yeah. i have shotmostly in belfast.
i have shot several days in croatia and i am going to shoot in seville. teach them a better way. it sounds like somethingjorah would have said. slovis:moving to a foreigncountry on this show is not as disruptiveas you might think because oneof the two crews
that you've alreadyworked with here goes there. so the first thing that happenswhen you walk on the set is that you seefamiliar faces. kay bilk:my priority todayis looking after emilia because she's come from croatia, so we're matching continuity to that country. they sendtheir photos to us
so that we can do the sameas they've been doing. rosalia culora:there's two departmentsfilming at the same time, so it's imperative that things like wigs, continuity photos all travel together and that every memberof the team is awareof what the look is, because if we dohave to take oversomeone's artist, we know exactlywhat we're doingand there's no mess-ups
when we're watchingthe show, hopefully. slovis:let's do onefor camera, please. okay. man:let's have it quietfor rehearsal, please. and that means everybodyin here, thank you. action. so the only thingthat gave him pride was knowingthere was someonelower than he was. - morning.- morning.
- how are you?- good. - morning, duncan.morning, mr. muggoch.- morning. oh, i want to talk to peter todayor maybe you can. peter welter? yeah, no, i'm talkingwith him. about cã³rdoba bridgeand the drone. muggoch:as far as i'm concerned,bernie is "game of thrones." i've never met a producerthat cares for a crewas much as she does.
she's an incredible womanto work for, actually, and everybody loves her. and she keepseverything together. and do they wantto clear a placein that? so the bridgehas to be closed. that's--i'm checking on. along with david and dan,she's the executive producer. david and danare obviously-- you know,they're the creators of it. it's their baby.
bernie is the one that keepsthis show running. sometimes david and danwill be with us. sometimes they are separateso that they can bothbe on the set, dependingwhat the scene might be, will watch rehearsal,give their notes on the scene, and then a lot of times we're discussingwhat is in advance. as you can imagine, with 10 episodes,
that we're constantly prepping. much like our characters, we will gofrom the amazing daznak right intothe amazing hardhome. caulfield:i usually have a nice listfor them every day. they almost cringewhen they see me startingto come towards them and open my book to startasking my questions. but they're fantasticallycollaborative with all of us.
today, they're havinga big hardhome meetingup in belfast. - they got the notes?- yes. yeah. caulfield:when we're shootingin different countries, it's about a constantcommunication between the producersin each country. i'm gonna follow nutterover to spain early. you're staying herethrough illyrio's, right? are we doing a charterto sevilla? we are, yes,but i'm going toleave ahead of time.
yeah, which goeson the 8th. i'll go on the charterthis time. - hope there's a seat for me.- there'll be a seat for you. you can havebernie's seat.( laughs ) in a week, we will alltake off in a charter to go to spain and that is nowstarting to come very close. after they havetheir big scout today, then we'll havemore informationto go off of for that. ( birds chirping )
welter soler: we're in the royal palacesof seville called the real alcã¡zar,which are palaces built by peter the horriblein the 13th century. it's one of the most visitedmonuments in spain. the alcã¡zar will be, like,the water gardens of dorne. since dorne is a new worldthat's just come intothe show-- it was introducedin the fourth season, but we didn'treally see it--
now in the fifth season,they will finally get to see the kingdom of dorne. - ( speaking spanish ) - good morning once again. it is difficult to shootin a place like that because it was obviouslynot built as a set, but built for a purpose,a different purpose than ours. ( speaking spanish ) some of the places,as you see in the balcony,for instance,
i mean, you can't possiblyget some of the gear up there because the staircaseis too narrow. so we have to geta crane in-- genie booms, cranes,platforms-- in order to haulthat material up there. - it's tricky, you know?- okay. it's not likea back lot studio shoot. first and secondshooting day is up here. and then we move downto the garden.
we'll get controlof the garden,i'm assuming? as far as you told me,we have the entire gardenarea for us, correct? - yes, i have this note here.- it's pretty amazing. welter soler: they have,like, an average of 8,000tourists in here every day. to see it, like, emptyand have it just for usis just a privilege. wherever you go, there's always gonna be a challenge because you're in a new place both culturallyand logistically.
we'll have to finda compromise where we can worktogether with the palace. we're the foreignerscoming into their country, trying to putthis project together. i have to say they're beingextremely nice, which is-- so we needto make sure that our-- which they always are--but our crew are very careful in this delicate location. welter soler;and what they're doingfor us is unique as well.
it's never been locked offlike this for anybody. all right, so will you goand check the others? - sure.- because i think we'rerunning a bit late now. we're now driving upto a little villagecalled magheramorne in which there isa quarry that's been therefor a number of years now. and in season one we built the setof castle black there. because there's a lakein the quarry, in season twowe built the battlementsof king's landing
for the battleof blackwater with stannis's boatsattacking. it's still standing,although it's lookinga bit worn these days. now we're driving upto have a look at a setmid-construction of a fishing villageset north of the wall. we'll begin to seehow that's taking shapethis morning. the set that we see down here, it's a fishing village
that is a protectedfishing village. it's not a militaryestablishment. it was designed to besomewhere where people had a living off the sea. so we needed the water,which is why we put it on the edgeof the reservoir here. the fantastic thing about the hardhome set is we're building something
that is so far north this time that what we get to dois create a fishing village that is exactlyas the name describes. it's hardhome.what we've been doing both in conceptsand in models is looking at the locationout in magheramorne and created what we needfor the action, which is a longhousein which a lot of actiontakes place. and then we havethe landing area,
which we're able to usethe lake that existsin magheramorne. and so throughhaving those sort ofnecessary requirements, we can then buildthis sort of tent city that will be createdout there. so i had this good idea, which i needto pitch, i guess, which is to holdonto that shot. miguel sapochnik:the director can now seethe bones of the whole set, so he's gonna walk throughthe set and start mapping out
where all the things thathe's imagined will take place. if the plan to do that shot--it's the boater'spoint of view, so it's lookingthrough the fence. sapochnik:so anything at this point that the directorwould like to change, this is the time that he has to turn around and say, "well, could i put the door in the hut over here?"
and, "could i have thisa bit higher?" or so on. good, so, yeah,we good with this? - yeah.- rock and roll, so... - shall we have a look...- look at this edge hereand see if that works. newman:"game of thrones"is a big event, and what you mustn't do is get put offby the bigness of it. the thing to dois to come in and say, "all i've got to worry aboutis the 16x9.
what's in that frame."it must be like parachuting. don't worry aboutthe height you're jumping, just make surethe parachute works. ( crew chatting ) it doesn't have to be a sparrow. muggoch:today we've got about128 extras out and then everythingthat goes with that, which is the extra hair people,makeup people,
costume people that haveto deal with all of that. nina ayres:crowds start dressingabout 5:00 this morning. and then just in conjunctionwith hair and makeup, we're just sort of working around each other. and then everybody travelled to set about 7:30 to be all set for 8:00. just need to take
your blankets off, guys, so we can look at your costumes, please. muggoch:mark mylod is the director, and he's now goingto select the extras that he wants to featurein the scene. yep, this gentleman. and one other lady. it changed a bit this morningbecause people had to look
a bit poorer thanwe'd originally intended. i'd just like to maybedarken a couple of teethor something. a bit of the teeth black,you know, just oneor two of those. and maybe-- okay,the skin's pretty good. just a littleless healthy. and so it was a bitof a scramble tryingto get everybody broken down enoughto look a bit poorerthan they had done. and it's still happening. people are stillgetting dirtied upas we speak.
- thank you, guys.well done.- brilliant. - thank you.see you soon.- thank you. we had more than86,000 applications to be a background extrain the show. people fromnot only all over spain, but all over europe,even from california, from argentina,from south africa, wanting to cometo the casting, wanting to be partof "game of thrones."
- hello. - how are you? - good. - peter. buenos dãas. - buenos dãas.- buenas tardes. - oh, buenas tardes.- buenas tardesis the afternoon. maybe you just got up. i just had a siesta. - okay, then it'sgood morning again.- thank you.
there's gonna beabout 1,000 costumesto do 600 extras. stephen o'rawe:because it's sucha major operation, we're doing somethinglike 50, 60 fittings a day,which normally we do 30. we fit everybody here,males, females, in and out. we do guards, slaves.there's a rogue slave. welter soler:there's a slave over there.hello, slave. o'rawe:they process down here and these guysput on the hair. jenny puts on makeupand they do their magic.
we're moving aroundvery quickly. we're shooting in three or four different places all straight after each other. but we, like, have to go in advance and prep600, 700 people all ready for a camerathat moves behind us. we're basically set here.
i like when thingsare just smooth. muggoch:we've got lena headeyand jonathan pryce today. we're shooting a scene herefrom episode three which is what we're callingthe soup kitchen, which is a kind ofrundown area behind the sept of baelor. and it's a scenewhere cersei is looking to have a conversationwith the high sparrow who is a whole newcharacter.
we've got a beautiful courtyard which is actually a former convent. and we are disguising it with a lot of awnings and a lot of ground coveron the floor. and it's supposed to bea really shocking place where cersei encountersthe poverty
that she has managed to ignorefor most of her time living in king's landing. i'm standing therelooking butch and macho. - i do a lot of that.- man: can you show us? - that's it. that's it.- there's no... - no jiggling?- no, that's it. if i jiggle, i soundlike "jingle bells." so i can't actually move.i'm not allowed to move. i have to stand still.
muggoch:from walking about,we're in every street there is. it's only starteda few days ago, so we haven't been herelong enough yet to really cause chaos,but it'll come. dubrovnik is understandablya big tourist attraction, so you're normally fightingthrough the crowds. that's been a difficultyon the sets. rolling!nice and quiet. ( speaks croatian )
- roll camera.- rolling! - rolling!- sound speed. 17, take one, c marker only. and, action! i don't think this isa good idea, your grace. nonsense, ser meryn.these are deeplyreligious people. where can i findthe high sparrow? ( man coughs )
- director: cut. cut.- man: cut! - why did you do that?- i don't believe you did that! are you all right? - wanker.- that's it,we're on strike. no, we're on strike.fuck you. go on. you get intothe fucking pelican.see how you like it. ( groans ) ( coughs )no? - cut.- you know what?
i can't even lift--i can't lift my arm - 'cause it's like a t-rex.- hit me, come on. you think you'refucking tough?come on. come on, harder.come on, harder. ( bell tolling ) newman:belfast remains the heartof the whole thing. it's a major city,so we have all the things that a big film crew need. but, you know, you drive20 minutes out of the city
and you're in the heartof the countryside. it helps with the ancientfeel of the show that the landscape hasa feeling of being old. it's been worn downand eroded. and everything hasthat ancient feel to itno matter where you go. you know, the woods feel old,the cliff tops feel old, and the moorlandscertainly look old,you know. i always like to goto the set every day because that's beenmy heart.
this is my 40th yearin the film business and my heart has alwaysbeen in making a film. i've always loved the set. you can always kind of tell how the day is going by the way chris is standing and lookingat everyone around set. ( laughing ) newman:i have no idea.some of them look at my face
and think if it's lookingvery long, we must bein trouble, but that's not the case. i might be thinking aboutsomething entirely different. i always find himvery calm and very relaxed given that he's producingthis massive, epic show. newman:we shoot this year120 days. but in those 120 days,we do shoot two units, so you double it. you're effectively shooting240 days of screen time.
( speaking valyrian ) today on seti'm mostly concernedwith the valyrian. we have a scenewith the valyrian language in, so i'm looking afterthe actors and making surethat they feel comfortablewith their lines. 'cause someof the sounds are quitetricky to get through. director:all right, guys.here we go. shooting. let's have it quiet. let's roll cameras, please.
man:rolling. director:action. i didn't conquer them.their own people did. ( man speaking valyrian ) find the men who did thisand bring them to me. - your grace.- and cut it. let's go one more time.hey, sean, i think... welter soler:right now, we arein a town called osuna. and it has thisbeautiful old bull ring
and it's a nationalmonument as well. when we walkedinto this bull ring, it was just the placethey were looking for. the stone is quite similarto the stone they haveshot in croatia. - made some great progress.- yes. welter soler:this does not haveto be a bull ring. it needs to be somethingcompletely different, and that's why we needto transform it intothat place. building the balconywhere the actors are goingto go to the ground.
we had to cover upall the pillars. there will be a lotof things added to that. we're shooting just onesingle scene in here and it's 12 days.it's quite complex. there's a lotof action happeningand we need that time. the pressure is so highto meet the expectancies of what is involvedin there. it was just incredible. all right, ladies and gents,
thank you very much. - that's a wrap for today. - ( bell rings ) quiet down, people.listen, clear the cameras, clear the lights,the equipment. newman:here was a very stable, interesting dayfor the character daenerys. and then, of course,we had the big trip outto see the set of hardhome and it did open upa lot of questions
which will continue to belooked at in weeks to come. you do the best you can,get everything as readyas you can, and then you crossyour fingers. caulfield: today went very well. we finished our work.david and dan were happy, which is alwaysmy goal of the day when they come outwith a smile. chris and i will talkand compare notes.
another two days down.that's the beauty of shootingtwo units every day. it's the only jobthat can live twodays in one. ( laughs ) at the moment, the main thingi'm thinking about is getting out of croatia. we've got a lot of stuffto move to spain, so that's where allmy thought is goingat the moment. and obviously trying to set upspain at the same time. yeah.
and getting throughevery day of filming. ( chuckles )and knowing that there'sbig scenes coming up. - yeah.- man: so it doesn't stop? no, it doesn't stop, no. every day there are thingsthat you don't expect. not having shot with any of the crew before obviously increasesthe stress level. - hello, croatia.- muggoch: hello, spain.
so, how is itall going? welter soler:as much as the shooting dateis moving closer and everybody is awaremore and more of the fact that we have less time, yeah, stress levelis increasing. definitely.definitely. welter soler:production arrivingin the past 10 days was actually very good. there was a lotof people rolling up.
there's probably 450 peopleworking behind the camera. director:all right, let's rollcameras, please. - man: rolling!- man #2: let's roll camera! - ( clapper snaps )- director: and backgroundaction. welter soler:the first day of shootingis always crucial to us because it shows usif everything we did in order to prepare itwas the right thing. ( shouting ) director:okay, here we go.
this year, belfast has gotsome big sets like hardhome and the art departmentand construction have donea really great job of turning what was a notioninto reality.
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