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December 26 2013

Back to the Battlefield

By Cat Taylor

Two years ago in a quarry just north of Belfast, the Battle of Blackwater came to life under the keen eye of director Neil Marshall. It was not an easy shoot, requiring nearly a month of night shoots in the unforgiving October weather. The red mud was so churned up by the trucks and the feet of the marauding hordes of extras and crew, that by the end, it was no longer possible to drive anything but the sturdiest of vehicles down to the castle set. Carrying kit out became a challenge of endurance.

Two years and two seasons on, we have returned to a location not far from the first and Neil is back at the helm once more. It’s still several weeks of night shoots, and being Belfast, there is still rain, but this time the fight Neil is navigating is not anywhere on the water. The planning of this battle has been taking place for months but unlike any other episode of Season 4, Neil’s will be filmed in a very concentrated burst. In fact, for many on the show – including most of the cast and the other directors, their work was complete before filming on this episode had even begun.

Throughout our shooting schedule, our crew and specialist departments are on their toes, but perhaps never more so than this season. This episode has kept the teams in stunts, armoury, prosthetics, SFX and VFX particularly busy, with camera tests and stunt rehearsals happening for several weeks beforehand.

As always, I can’t give too much away, but a little hint won’t hurt: Although this battle will not be laden with wildfire, I can say you’ve never seen an army like this on ‘Game of Thrones.’ 

Reposted bymuertowonkoThaodan

December 20 2013

Across the (Narrow) Sea

By Cat Taylor

For the ‘Game of Thrones’ crew, every year is a different type of adventure. This year, the Dragons took care of Iceland and the Wolves invaded Croatia for the better part of six weeks. Splitting filming time between Dubrovnik and the Dalmatian coastal town of Split, we caught up with Daenerys’ story in Slaver’s Bay after her spectacular victory at Yunkai, along with the new armies she commands. Then it was across the sea to the red-stone walls of King’s Landing and all the drama that continues to play out on the great stage that is Joffrey’s court.

While there are some specific locations we can’t confirm for security reasons, it was amazing to be able to see so many places in such a beautiful country in such a unique way. The back streets of Old Town and the coastal hotels redressed into fortresses were a sight to see… And it’s not every day you have to cut because someone is doing speedboat tricks in the background of your scene. (Seriously.)

While we did cut Morocco out of the schedule and reduce our country count to three, that hasn’t stopped us from establishing a new show record. Thanks to the splinter units, we actually managed to film four separate episodes simultaneously. That’s two directors, filming separate episodes in two different countries, all on the same day.

What’s it take to become such masters of efficiency? Caffeine, sugar … and every AD available in Northern Ireland. 

Reposted byredbeggarmanflickofthewristmuerto

December 04 2013

Overheard on Set: Into the Woods

By Cat Taylor

Photo by Helen Sloan

Ah, Craster’s Keep. Deep in the woods of a private estate north of Belfast, in at least six feet of mud (OK, inches), is the resilient set of the last wildling outpost before the Wall. It’s a strange set – with semi-permanent snow dressing, you do feel as if the temperature has dropped once you walk into the white-washed trees, even in the rare sun of late summer. 

We’re shooting nights again this year and sometimes that leads to unusual early-hour conversations.

"Just be aware there are two bodies in the car, yeah?"

"Careful where you step, you’ll rip the snow."

"They could really have their own show, ‘Chickens on Tour.’"

"Anyone seen the sword blood?"

Reposted bybonejanglessiekohaku

November 27 2013

Overheard on Set: The Pre-production Meeting

The pre-production meeting is a chance for all the department heads to get together with the producers and discuss what are likely to be the challenges and requirements for a particular episode. Generally lead by the 1st AD, the script will be broken down scene by scene and each one analysed for potential questions or difficulties. For example has the location be confirmed? Are there enough of a certain type of costume for the numbers in a scene, and will our cast need any training for a particular sequence. On a show like Game of Thrones, that tends to lead to some rather unusual conversations.

“We’re going to be killing the stuntmen 3 times each at least, so we’ll need to look at beards and hair.”

“They do say an owl is twice as hard to do as the eagle, and you know what that was like.”

“There is no silent wind, only noise wind.”

“We can’t tube the silent wind across?”


November 14 2013

GOT Wedding Planners . . . for Your Unforgivably Memorable Event

By Cat Taylor

Photo by Helen Sloan

By now many of you will have seen the interview with George R.R. Martin that confirms this season of ‘Game of Thrones’ will include another wedding (you know, because the last one was a roaring success!). This time, King Joffrey and Margaery Tyrell will be joining hands and houses. I was delighted to be able to attend because as we have all now learnt – a Westerosi wedding is not to be missed.

While the ceremony itself was filmed in one of our semi-permanent sets in Belfast, the Sept of Baelor, the reception was filmed in a beautiful outdoor set located in Parc Gradac in Dubrovnik, Croatia. The park was transformed by our new Production Designer, Deb Riley, and her team into everything you might desire from a Royal Wedding carnival, with elaborate decorations, an epic feast and the most creative and unexpected forms of entertainment for the guests. 

Filmed over a five day stretch, we waited with bated breath each day for the clouds to roll in and dampen our fun. Weather reports suggested imminent downpours at the end of the week, and only a few days before, water funnels had formed off the coast in the height of a rain storm. Aside from one short and dramatic burst where Costume scrambled to get all the extras under cover and everyone rushed to protect props, we were spared the worst of the predictions.

In terms of principal cast members in attendance, the Royal Wedding was one of the largest scenes we’ve filmed since the premiere season, with 23 named parts appearing on any given day. In addition, we were delighted to welcome 218 extras as guests to the event, some of them travelling from the other side of Europe and the United States to be a part of the experience. Lookout for some familiar faces in the crowds – Pixie Le Knot is back this year, and one of our crew makes an appearance with the entertainers.


October 29 2013

A Fire Burns Bright in Belfast

By Cat Taylor

On a cloudy day in July, in a car park opposite the Paint Hall in Belfast, a group gathers by one lonely SFX truck. Tourists walking between the Titanic Museum and the Pump-House don’t even glance in our direction and a jogger runs down the road oblivious to our rag-tag bunch.

Then, on command, 15 feet of fire shoots through the air.

The first time, no one really notices the flame. SFX have a tight control on the rig and the fire is only coming in short bursts to give the camera crew and VFX team a chance to calibrate and get closer to the outlets.

Once the bursts come more regularly, a few begin people stop and point across the road and through the fencing. The flames, burning a hot bright orange are hard to miss – and that is what we want, because this is the dragon fire test for Season 4.

As the dragons grow and start to test their power, their fire breathing will get stronger and more powerful. The Dragons are legend for a reason and this season we will get a hint of why. The final tally, 22 canisters and 400 litres of gas – all for just one day in Essos.

October 10 2013

An Eyrie Comes to an End

By Cat Taylor

Photo by Neil Davidson

For the last two weeks, one of the oldest sets in the studio has slowly been pulled down. On a show as large as 'Game of Thrones,' which spans so many worlds and cities, it’s not unusual for our Art Department and construction team to create a set that may only last one season, or is designed specifically to be made over after the shooting of one or a small number of scenes. Some of our sets have been made over so many times, they are now in their fourth incarnation. 

From the very beginning, one of the strongest sets – one of the most instantly recognisable and unique builds, has been the Eyrie. Designed by Gemma Jackson and constructed in one of the large cells in the old Paint Hall building, the Eyrie set was a full set. No trick shots or VFX were necessary to create the walls that stood in the round. They were built that way, in sections similar to pie slices, on a towering timber frame built with a raised platform to accommodate space for the moon door. 

Because of this, the set has to be torn down section by section, effectively reversing the building process for each part. Overseen by our marvellous Tommy “Tucker” Spence, four riggers, four stage hands and two carpenters are all working to bring it down safely. Each and every tile and step is broken down and taken away. The scaffold shell seems larger now that the walls are down; the winding stairs, suspended 4-feet off the ground, now lead nowhere. The circular tiled floor has had its slabs pulled up, and the doors and pillars have been salvaged for other sets in the future. The work only pauses on days when the cells next door are being used for filming. 

What is it making way for? That, my darlings, is a secret…for now. 

Reposted bylittleredridingtreepolaczettoTiffanys

September 25 2013

Get Ready for Season 4

By Cat Taylor

Photo by Helen Sloan

The cameras are now rolling for Season 4 of 'Game of Thrones'! There are some differences to filming this year. We’ll be sticking to two units, Wolf and Dragon (with the occasional splinter cell coming into play). We started in Iceland early this year, rather than in the depth of November’s six-hour shoot days. We're in Croatia and Ireland now, as you might have heard.

We are delighted to welcome new crew to the show, including Deb Riley of 'Moulin Rouge' as Production Designer and Jane Walker of ‘World’s End’ and 'Shaun of the Dead' fame as Make-up Designer. We'll also welcome back some of our favourite directors in Season 4, including Neil Marshall who worked on 'Blackwater' in Season 2.

It may seem forever until the new season will hit the screens, but we will be working every day to get it to you. Keep checking back for updates!

Reposted bybluedressiadorepoirotabsinthicofbitchesandbutterflies

May 29 2013

Leeches, Dragons and a Bear: Behind the Scenes of Episodes 307 and 308

By Cat Taylor

One of the things that I’m always amazed by when I watch the show is how easy it is to forget the amount of work that goes into creating each set. The tent in which Robb learns he’s about to be a father was actually built on ‘A’ Stage, one of two new sound stages at the Paint Hall Studio in Belfast. It was designed by Gemma Jackson and then decorated by Set Dec and the Props departments with fabrics and furniture brought in from as far away as India – each piece was specially chosen to reflect the feel and style of House Stark. The scroll Talisa is writing was actually written in the Valyrian language, translated by our wonderful language creator, David J. Peterson.

In the same way that so many departments are involved in a short scene, many locations are often used to tell a single storyline. By now you will have seen the spectacular Ice Wall climb in Episode 306 and so much of Iceland's stunning scenery in the wildlings' approach to it. But by the time we see Orell and Ygritte in the woods, we are back in Toome, Northern Ireland. The scene was filmed back in September, six weeks before we went north of the Wall.

Reposted byihuntyoursoulatrantaofbitchesandbutterfliestekwojLinnieamber

May 08 2013

Faking, Baking and Quaking: Behind the Scenes of Episode 304, 305 and 306

By Cat Taylor

Poor old Jaime, having to fight with only one hand. Don’t worry – those three men taunting him weren’t extras with vicious natures, but rather part of the stunt team.

As for Varys' special delivery, our man in the box required no stunts. The sorcerer was played by a local actor and the crate he arrives in was specially made – as so many of the props are – to a finish of appropriate roughness. One of a few designs, it was eventually chosen for its sturdiness.

On the other end of the scale is the perfect finish and grandeur of the Sept of Baelor. The Sept is actually a little over half a sept; the appearance of a full circle was created using camera angle tricks and VFX. The massive space where the Sept was built in is shared with something unexpected, that you don’t get to see until Episode 306: the huge ice wall that Jon and Ygritte must climb with the wildlings.

The ice wall was built by our amazing construction team and it took six weeks of testing and sampling to find a construction method and materials that worked. This was then tested by stunts for safety, and once filming of the climb began, we had crews working through the night to repair the damage done during the day's shooting.

In Westeros, the Wall and King's Landing are thousands of miles away from each other, but things are a little different in the real world. In Belfast, you’ll find the Wall sandwiched between the Throne Room and parts of the Red Keep, and more specifically Tywin’s new chamber, where Cersei confronts her father.

Reposted bywilcza wilcza

April 17 2013

Behind the Scenes of the First Three Episodes

By Cat Taylor

It’s here, it’s finally here! We are a few episodes into the third season of Game of Thrones, the season that David Benioff and Dan Weiss were determined to get to from the beginning. For those amongst you that have read the books, you know that Season 3 features some of the most game-changing, event-filled storylines to date. For those who haven’t…brace yourselves.

In Belfast, preparations have already begun on the next season, but before I get to that, let’s look back at some of the behind the scenes action for the three episodes that have aired so far. After every few episodes, I’ll be filling you in on some of what went on behind the camera and, hopefully, a few little extras you may have missed.

If you've been following the blog, the opening scene may have seemed a little familiar. An ending for us was the beginning for you—that opening was shot on the very last day of filming in Iceland.

Other travellers: The first time you see Daenerys, she is on the deck of a ship sailing over open water. In reality, the ship was built in Banbridge for a very different purpose. Because Production Designer Gemma Jackson and her team have super powers, you probably didn’t notice that ship spent a good deal of the Battle of Blackwater on fire. It was the only scene that Emilia Clarke shot in Belfast this season; everything else was on location in Croatia and Morocco. It took one day.

In the second episode, "Dark Wings, Dark Words," Bran has a dream in the woods. It was a two-splinter-units-in-one-location day, which always makes things crazy. That's a real raven Bran is chasing, brought in especially for the scene by our team at Birds and Animals. (From not quite as far as our white raven in Season 2— that bird had to be brought in all the way from Austria!) The main unit was just down the road in Gosford Castle, where we were filming a scene in Littlefinger’s brothel—one from this Sunday's episode. Daniel Portman (Pod) was having a very busy day indeed with several new friends, including the very bendy Pixie Le Knot. Two ends of the kingdom on a single driveway. What luck.

Season 3 introduces us to several new and important characters and I don’t mind admitting that one of my favourites is Lady Olenna, played by the incomparable Diana Rigg. There was palpable excitement in the office on the day she was confirmed, and more than a few extra people came to set on her first filming day. We also get to meet the Brotherhood Without Banners; we’ll see more of them as the series progresses. What I can tell you is this: The day we filmed that meeting between Arya, Gendry, Hot Pie and the BWB was not nearly so pastoral and spring-like as it appeared. It was just bloody wet.

Did you spot someone in a cameo? The soldier singing lead in "The Bear and Maiden Fair" is local boy Gary Lightbody, of Snow Patrol fame. He taught the song to the extras before they rode down the track, a song that we’ll certainly hear again. If you were wondering, Jamie and Brienne really were riding back to back on a single horse—the dismounting was something of a process.

Speaking of horses, did I mention the ring the White Walkers laid out got covered by a snowstorm the night before filming? The Art Department had to take an industrial blow torch (also known as a flame thrower) to the horse models to defrost the "flesh." The blood then had to be re-splattered onto the snow so that it was visible. That’s a fun day at work, but all our days are. If you're a regular reader, you’ll know what was happening the day Melisandre and Stannis said goodbye on the beach– and not a tractor track to be seen!

The Greens Department—the crew that insures the scenery is as it should be, adding trees and vines, or flowers and hedges— is also responsible for things like the beach. But the most amazing transformation I saw firsthand was the Master Torturer's chase of Theon through the woods. The chase was actually filmed over several locations, on the open grounds of Tollymore Park and in the woods of Shane’s Castle. When we first scouted the woods, the ground was thick with foliage that stood taller than our heads. There was no clear space for our tracking vehicle and the ground was unsafe. In days, the team had cleared it to a flat forest glade and placed our stunt branch. The difference was amazing. Almost as amazing as one of our stunt riders yelling, "WEEEEEEEEEEEE!!!" at the top of his lungs as they thundered over the steep open fields at the start of the chase… I’m not sure, but I don’t think he was at all scared of speed.

Reposted byrugiaczinokofbitchesandbutterflies

February 19 2013

Season 3 Wraps on a Frozen Mountain

By Cat Taylor

Photo Credit: Helen SloanAfter months of working long hours, in multiple countries and on different units, sometimes things blur together. The start of shooting feels like years ago, the end of last season even further back, but it’s all come rushing back because here we are, on the very last day of shooting, and the scene we are filming is from the very beginning of the first episode, directed by Dan Minahan. We have come completely full circle in 6 months.

We are filming by special permission at the power station in Krafla, high on the top of a mountain with steam plumes from a geothermal spa nearby twisting into the sky. Every so often a waft of the sulphurous waters blows by. It’s not really a welcome visit.

We have lost 7 minutes of light per day since arriving in Iceland. Winter is coming – and seems to be on a tight schedule – so every moment counts. It’s always hard to keep to time when you are also shooting a big stunt, something that has to be done right the first time, as there is no time to reset the scene (or in this case, the stunt). When that stunt also involves VFX, it’s even more important to get it right. Added to that, on the other side of base camp a small splinter unit with a single camera is filming some insert shots, so cast members are running between the two areas to make the best use of the day.

Finally, it’s time to film the big scene. Anything involving fire is always going to be one of the most dangerous things to shoot, and when it’s fire and a person everyone is on high alert. The stunt and safety teams are close at hand, and all non-essential crew are moved back to base. When the flame drops, there is only a short window of maybe 20 seconds to get the shot, and once the stunt man is lit, that’s all the time you have, whether you get it or not. Let me just say this: We got it.

It’s then a race against time as the sun begins to set over the mountains, and the very last shot of the season is a tough one. Our extras are knee deep in the heavy snow and must trudge through it repeatedly, with the light dwindling overhead. It’s an epically beautiful, haunting shot, and for me, it will be how I remember Iceland this year. Well, that and the Hakka-like chant of the Night's Watch extras when the final cut was called.

February 05 2013

Mance Rayder’s Camp

By Cat Taylor

Photo Credit: Helen SloanSome of you may have read a previous post where I talked about our first meeting with Mance Rayder and how hot his tent became with all the SFX fires and torches burning throughout the day.

Even if we are filming on a Lava field here in Iceland, it’s not hot anymore – the car display indicates the temperature is minus 11 degrees. It’s day five, and all of Mance’s camp, not just the inside of his tent, is laid out before us. The camp is the product of months of work from the art department and weeks of construction by the local crew. It is spectacular.

Walking from base, the edge of the camp is only a few feet away, but the site is like a fantasy. If you can ignore the cameras and crew, you might believe you were actually inside a wilding village. Our extras (the men all with fabulous beards of course) work in between the huts or huddle around fires, and even children run through the snow to greet a visitor from the Wall, in their own special way.

It’s also a day when our friend Ian Whyte, who plays the White Walker, is back in a different role, one we haven’t seen before. He’s got some awfully big shoes to fill for this particular scene.

A few behind-the-scenes moments from today: How about our fantastic SFX boys setting up a grill behind one of the huts at the edge of camp and handing out hotdogs to anyone who wanted them? Or the fact that in the magnificent wide shot up and over the camp there were certain crew who couldn’t clear the shot fast enough after setting a prop, weapon or flame and had to curl up inside the tents, waiting for the cut?

May 04 2012

Behind the Scenes of the First Five Episodes

By Cat Taylor

By now you’re well into Season 2 – and you’ll be reaching the end right around the time that things will get insanely manic as we gear up for filming series 3. I’ve read the first 5 episodes, you can’t wait. Trust me. But before I start telling you about that, let’s look back on just some of the things happened during the filming of the episodes you have been watching:

When Theon Greyjoy arrives home, the harbour shots were filmed at Ballintoy Harbour. When he first gets off the boat you can see a house in the background – it’s actually a fishing shed. When they were filming the close up of the dialogue scenes the director, DOP, half the crew and I were crammed inside next to broken lobster traps and musty furniture so we were never in shot. Later, someone who shall remain nameless (because I like my job) used the opportunity of Alfie being filmed to email Kit Harrington love letters from his phone.

You know how Craster’s Keep looks dark and miserable and just a bit desperate? It really was. It rained heavily for days and the ground was so churned up by the crew and cast that your feet sank deep into the mud, all the way past your ankles. It was a cramped set too, so you often had to stand in the muddy bits just to be out of the way. We filmed there for several days, by the end we all had he silkiest ankles in all the land. Little secret: one of those baskets outside had a bag of chocolate bars in it.

Some of you who follow the news will know that we had some bad luck – one of our locations was shut down by a hurricane hitting the north coast. That was the day we first shot Catelyn’s arrival at Renly’s camp, when we meet two of our new, amazing female characters in Brienne and Margery Tyrell. Margery’s outfit didn’t have sleeves to start with – winds strong enough to blow away a marque, and poor Natalie in nothing but her skin. That’s poise.

When we later reshot the entrance it was a much calmer day, Brienne of Tarth still managed some epic ass kicking. First the stunt guys had to fight over and over – there were particular marks to hit and it’s hard to get it right when you are wearing a helmet and are being thrown through the air. All credit to extras – they kept right on cheering for the same fight, from different angles, for hours.

Who read this post about a death? If you guessed Lommy, you get 15 points. I have to say, after all that the blood did look good, but Yoren’s death looked even better. Those of you with keen eyes will also have spotted that a couple of Helen Sloan’s fabulous shots were indeed from the battlefield after Robb’s victory in Ep. 4 and that’s where the “overheard” quotes were from - and yes, we found the director in the end.

Until next time folks, when I’ll be filling you in on what’s been happening in the last few months while we’ve been away.

January 12 2012

On Our Way to Iceland

By Cat Taylor

As I type this, I am on a late-night plane from Heathrow to Reykjavik, and I could not be more excited. For me, the last few days have been endless packing and sorting as I close down the office for the guys until we find out about Season 3, but suddenly I am on the plane and flying over the UK, Scotland and then north.

North of the Wall. Multiple locations, 18 days. The wildlings, the wolves and worse all await us. For Jon and the Watch, it’s a journey of discovery. For me it’s a journey of 4x4s and quad bikes.

There is no doubt that shooting will be a challenge. Remote locations, only four or five hours of light each day and challenging weather, but I cannot wait for the chance to see a country I have always wanted to visit in the way we will. The Icelandic government has given the show access to locations that you could not go as a regular visitor. We are going at the perfect time for snow and possibly the Northern Lights.

What more could you possibly ask for (other than extra gloves)?

December 29 2011

The Last Week in Belfast

By Cat Taylor

It’s the last week of filming the second season of Game of Thrones in Belfast. Everyday, someone else from the cast and crew wraps for the year, and “goodbye” is probably one of the most spoken words of each day. For most people the last week is a combination of desperate tiredness and already looking forward to the possibility of Season 3.

The last scene shot of the whole series is one with Bran, Hodor, Rickon and Osha. Of course, the weather in Northern Ireland has chosen to bid us farewell in its usual schizophrenic way. When I arrive in the late afternoon, just in time for the final few shoots, we are at the top of a hill overlooking rolling green fields that could be right off of a postcard. Soon though, the sky darkens and clouds roll in on strong winds, and in minutes we are being battered by pounding, freezing rain.

The final cut is called and everyone claps and cheers. We start to hug when our first AD calls for one more shot and, giddy with the false high, we all stand back to clear the frame. This time it is a wrap and we all have a glass of champagne (or for those of us driving, just a sip). It’s completely surreal – six months have passed in an instant.

The production office is becoming deserted. Desks that were stacked with files and the latest script revisions are now pushed into corners and stacked high with boxes.  For those of us who will be staying on to go North of the Wall, we have a few manic days to close off things in Belfast before packing all the socks in the world and heading to Iceland.

For a super nerd like me, what happened to Jon Snow and his crew is some of the most exciting and intriguing occurrences in the series. That, and the scope for creating new yo’momma jokes is just endless. We’ll be filming in three locations on the island, in some remote locations.

Can anyone say quad bike to work?

December 15 2011

Why Working on Set in November Feels Like Going to a Rock Festival

By Cat Taylor

Anyone who has lived through the festival season knows that the key to surviving in style is preparation. And while there is no need for a stash of Valyrian steel in the tents of Glastonbury, there are certainly things that make the rules of surviving festivals the same as surviving filming.

  1. The field is full of tents, and positioning is everything. Avoiding horse dung, flooding, high winds and steep slopes is the ideal.
  2. Wellingtons or hiking boots are a must to avoid swamp foot. There is high risk that your foot will get stuck in the inches of thick and churned up mud. Socks will be the most important thing about your day.
  3. A smart crew member will avoid the portaloos at all costs, using honey wagons at base, or bushes if no lights are shining (and they happen to be male).
  4. By the third day, wet wipes become a human rights issue.
  5. Phone signal will drop in and out intermittently, usually just before you’re supposed to meet or call someone.
  6. Sun on the field will make it all seem worthwhile, even if you are helping push a 4x4 out of the muck.
  7. Security will spend a good deal of time explaining what is happening and why, sadly, passers-by aren’t allowed behind the scenes without a pass.
  8. The traffic to and from location will be dreadful as everyone tries to arrive at the same time.
  9. Finding the coffee hut and biscuits is like finding the Lost Treasure of the Sierra Madre.
  10. Occasionally, Snow Patrol swing by. It’s a lovely surprise to reveal that the producer’s guests for the evening are some of Belfast’s finest home grown talent. 

    December 11 2011

    Meet the Guy Who Sees What Isn’t There (Yet)

    By Cat Taylor

    Naill McEvoyVFX Data Wrangler
    Dragon & Wolf units
    N. Ireland/Iceland

    Job description:
    “We gather as much information as we can from a shooting day, be it lighting information, camera information, lens tilt, height…anything that helps us integrate non-existing elements into the final frame. The only way to make these look real is to light them correctly, and shoot them correctly so they fit into the original plate. If you’ve ever seen poor visual effects, I guarantee that it’s because it wasn’t lit right. So we take all the references, categorizing them all, so when we go back at a later date and shoot an element, we can recreate everything accurately.”

    Biggest Challenge working on GOT:
    “Well, essentially, GOT is a 10-hour-long feature film. It’s a TV show, yes, but HBO demands excellence. To film something of this scale, in our timeframe, everyone has to be on the top of their game, and every detail is important. And the mud. So many of our locations are muddy fields, or muddy quarries. I’ve woken up from dreams where I’m choking on mud. Look at where we are (in a very muddy field at Audley Tower, which is serving as one of Robb’s camps) everything is ridiculous! Every so often you take a step back and think this is crazy, but then it’s amazing. I can't think of anything else I'd rather be doing.”

    VFX elements he’s most looking forward to in Season 2:
    “I would like to see how the dragons have grown, progressed and improved. They appeared late in Season 1, right at the end of episode10. In the upcoming season, we see a lot more of them, and that’s really exciting. And the direwolves. We’ve been involved in creating them this season, and we’ve shot a lot of elements with them. These things are big, the size of small horses, and I can’t wait to see how they look.”

    Favorite Character:
    “I like the really evil guys. Viserys was so good. So evil. I think he was underrated in a lot of respects, but I thought he was great. And Joffrey. Joffrey was fantastic. I mean what a little bastard. Jack Gleeson is such an amazing kid in real life, all the kids have been amazing, but Jack in particular, being such a nice guy in real life and such a bastard on screen.”

    Reposted byRat-Inc Rat-Inc

    December 04 2011

    Lesson Two: Looking Good vs. Staying Alive

    By Cat Taylor

    Fashion is not Dior verses Chanel. It’s North Face verses Jack Wolfskin. It’s wet weather gear verses gaiters. It’s wellingtons verses hiking boots. It’s merino wool verses hi-tech fabrics and very occasionally, it’s brushing your hair before you leave your house.

    November 17 2011

    Extras Say the Darnedest Things . . .

    By Cat Taylor

    We couldn’t possibly have our show without the extras. They are the handmaidens, the guards, the peasants and the men of the Wall. Sometimes more than one. They can be both Lannister Guards and Stark Bannermen, or sailors from the Iron Islands and merchants in King’s Landing. They stand for hours in the cold, spend days running through the same field over and over again, dying on command and acting hilarious. To our extras, I salute you!

    One extra to another: “I will sword you.”

    In the tea tent: “Forget the Baratheons! We must guard the cake. We ARE the chocolate cake guard.”

    During a fight: AD: “Can you move to your left?” Soldier: “I can’t. I haven’t got my glasses on.”

    Reposted bycypherKanisterrainstormdragonMitreSquareMurdersiriusminerva
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