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  • (WARRIORS ROARING)

  • -WARRIOR: Ahh! -(BLADES RESONATE)

  • ♪ (ENTICING MUSIC) ♪

  • (WARRIORS YELLING)

  • (STRIKING)

  • (CRASHES)

  • As soon as we wrote up episode nine,

  • we knew that it was gonna have to operate on a scale

  • that we never operated before.

  • DAVID: We had a number of night time battles,

  • we had a number of sieges but this is the first

  • pitched battle, or at least the first large pitched battle.

  • And so, something different for us.

  • All of it is action with almost no dialogue and lots of horses

  • and many extras and the giants...

  • The amount of supporting artists and the size of the crew,

  • how many cameras they got going.

  • IWAN: The magnitude of all the sets and everything,

  • it's unbelievable.

  • It was hard, it was a long, long slog.

  • DAVID: Luckily we got Miguel Sapochnik back

  • who is our meister from Heart home in Season five.

  • That was basically a massacre.

  • D.B: This is a battle, this is the story of a battle.

  • We never done that before.

  • They really wanted to kind of get into the mindset of what

  • it would be like to be in a battle like that.

  • KIT: It was fluid all the way through.

  • It morphed, it changed

  • but the most important thing all the way through is...

  • it can't just be a battle. If it's just a battle...

  • the audience don't have stakes in it, you know?

  • KIT: You have to be following someone

  • so we decide to follow to Jon.

  • ♪ (ENTICING MUSIC) ♪

  • Ramsay...

  • weapon all the way through is antagonizing people.

  • -(BLADE RESONATES) -KIT: Drawing them into a trap,

  • and Jon completely falls for it.

  • D.B: He doesn't account for Ramsay's...

  • ...gift sets-- psychological manipulation,

  • which Sansa warns him about!

  • He's kind of thought, ah, this guy gonna do some

  • stupid and honorable... because he's not gonna be able

  • to control himself, so I'll shoot his brother with

  • a bow and arrow.

  • KIT: There's no way he can't gallop towards

  • his brother, who is-- been shot up with arrows

  • and try and save him.

  • So he falls into that trap.

  • But he's-- waited until Jon Snow...

  • ...is within archers range.

  • So that they can start shooting him immediately.

  • KIT: He seen his brother been killed,

  • so he falls into the next trap

  • galloping towards Ramsay.

  • Yah! Yah!

  • Every step of the way he does exactly what he wants him to do.

  • Yah!

  • -(HORSE TRIPS) -(NEIGHING)

  • ♪ (DRAMATIC MUSIC) ♪

  • Probably one of my favorite shot of the whole season is...

  • DAVID: when we're behind Jon Snow and he sees that...

  • Calvary wall galloping towards him,

  • and part of the reason it's such a great shot,

  • is that it's all real.

  • (BLADE RESONATES)

  • DAVID: That's 40 horses charging full speed at Kit Harington.

  • Until the last minute, I stood there facing off against this

  • Calvary charge, which is really scary.

  • KIT: We're a bit annoyed

  • cause we think everyone is gonna think it was CGI...

  • ...and it wasn't.

  • Camilla, our horse mistress kept asking every year,

  • DAVID: she say, "Give me some more stuff to do.

  • Like, this year was boring it's just people trotting

  • from here to there on their horses."

  • So finally we gave her enough to do.

  • I remember the outline, I went, "Wow, ok, this is adventurous,

  • how are we gonna deal with this?"

  • MAN: (YELLS) Charge!

  • (INDISTINT CHATTER)

  • CAMILLA: It's the biggest amount of horse requirement,

  • I ever had on Games of Thrones.

  • We flew over in May to kind of start discussing

  • How are we gonna prep it,

  • CAMILLA: well, how many horses we're gonna use.

  • (WARRIORS YELLING)

  • CAMILLA: We decided on 80 in the end.

  • So when we first see both armies we'll use 80 on the Stark side

  • and let me see, 80 on the Boltons,

  • so we're using the maximum.

  • CAMILLA: Then when we start the clash,

  • we'll split it in half.

  • KIT: When we had horses charging pass me,

  • those were all real horses.

  • CAMILLA: I obviously worked really closely with Rowley

  • putting it all together.

  • And we make channels, so it looks like

  • they're clashing but they're not the horses are actually

  • just passing through, you know...

  • ...like two foot channels so that they could clear out.

  • ROWLEY: We are gonna to make that look as close as possible

  • to a collision without actually colliding the horses.

  • ROWLEY: So in very tight formation

  • we'll have those guys cross

  • and they'll pull the horses as they cross through.

  • We're falling them onto a very thick falling bed,

  • so we don't injure the horses or injure the guys.

  • Um, but we're gonna try to make that something

  • that's not really been done before.

  • -DIRECTOR: (YELLS) Action! -(WARRIORS YELLING)

  • ROWLEY: You want it to feel crowded

  • and mayhem and like, you know...

  • anything can happen any time.

  • But I really don't want anything to happen any time,

  • I want what we planned to happened,

  • and it looked really cool

  • and let's not hurt anybody.

  • -(HORSEMEN YELLING) -(BLADES RESONATING)

  • -(WARRIORS SCREAMING) -(YELLING)

  • To get across the field and follow the horses,

  • the speed at which the moving horses,

  • move really, really fast.

  • MIGUEL: You need a special rig and the rushing arm is such

  • a fun machine...

  • ...to work with cause its gives you such dynamic shots.

  • (TRAVELLING)

  • FABIAN: Especially, a camera tracking vehicle,

  • it's a remote control arm.

  • FABIAN: That sits on a Land Rover in our case.

  • Throughout "The Battle of the Bastards",

  • we had a number of tracking vehicles, one of which was...

  • ...the vampire bat with the rushing arm on it.

  • On a muddy slippery field over about five or six hundred

  • yards of very fast horses that was the vehicle to chase them

  • properly, and get the results we wanted.

  • SEAN: It worked very well.

  • The results were amazing.

  • (INDISTINT DIALOGUE)

  • JON: Go! Go! Fellow your commander!

  • (WARRIORS YELLING AND SCREAMING)

  • You've got two giant armies that are opposing one another.

  • STEVE: You know you're not gonna have more than

  • a few hundred extras on one side or the other

  • so you got a lot crowd replication.

  • JOE: We had a lot of Calvary, a lot of infantry.

  • Wun Wun, the giant is involved.

  • Most of it would be photographed but it also needed a lot of

  • digital enhancement.

  • STEVE: You've got things happening that you can't shoot

  • in any real way. You got a giant punching out

  • a horse.

  • We shot horses falling and charging toward one another

  • that we can use as elements,

  • but we start to get into complex areas that we haven't

  • really broken ground with on the series before,

  • where it's fun

  • and exciting but also, very challenging.

  • (COMMANDS)

  • (WARRIORS GASP)

  • (HORSE NEIGHING)

  • (GRUNTS)

  • "The Battle of the Bastards" becomes incredibly compact

  • all these combatants force into this incredibly tight space

  • on the battlefield, partly crammed in by bodies.

  • You got horses, you got... you know, men by either side

  • just piled up on this massive hill.

  • The body pile was absolutely enormous in terms of it's

  • scale and ambition.

  • DEBORAH: All of those prop bodies had to dressed

  • in the appropriate uniforms.

  • DEBORAH: We had to have the shields and the flags.

  • You then need to dress the horses and their saddlery.

  • You need to make sure that the correct sigil

  • is on the horse.

  • Even though I know that all of these bodies are fake.

  • DEBORAH: It was deeply moving.

  • It's pretty grim, it's very brutalizing to look at.

  • DEAN: I never seen that before ever.

  • DAVID: It comes from reading real accounts of these

  • various battles both medieval-- and even more modern ones.

  • DAVID: You read accounts of battles in the Civil War,

  • where their bodies were piled, so they become an obstruction

  • on the battlefield.

  • I think what I was finding throughout filming this was

  • moments of giving up.

  • KIT: And the first moment we found that was

  • when the crush starts

  • happening and he just stops for a moment.

  • KIT: And then he tries to fight his way back but he gets

  • pushed over, he gets trampled.

  • -(JON GASPS) -(WARRIORS ROARING)

  • Jon is almost literally buried alive.

  • DAVID: Beneath the bodies.

  • KIT: He was being almost killed by his own men,

  • not on purpose but just in this wave of fear

  • that kind of overcomes everyone as they try to get out

  • of the way of his incoming wall of shields.

  • And then something drives him to fight out,

  • and in that moment where he comes up and he goes for breath

  • he's reborn, again in a way.

  • -(BREATHES) -(DISTANT HORNS)

  • -(WARRIORS CHARGING) -(WARRIORS YELLING)

  • (CLASHING)

  • D.B.: Winterfell is a place that really mean so much

  • in the context of the show, and the episode is really about

  • bringing things home.

  • (COLLISION)

  • D.B.: The final act takes place in the Winterfell courtyard

  • and it ultimately boils down to Jon against Ramsay,

  • and Sansa against Ramsay.

  • IWAN: Always wanted to do a scene with Jon Snow.

  • It's really nice to get to sort of...

  • ...have the two bastards there together facing off.

  • KIT: It's a horrible moment when you see your hero

  • go a bit too far.

  • ROWLEY: The only direction I gave to Kit was,

  • "He's not human anymore.

  • He doesn't feel any sympathy, empathy for this guy."

  • -(YELLS) -(GASPS)

  • (GRUNTS)

  • We actually spent an entire day,

  • ten hours with Kit on top of Iwan

  • beating him. (CHUCKLES)

  • I just shot it in every single angle I possibly could.

  • KIT: What we wanted to try to get with that was--

  • that he just needing bread,

  • he's just flatting this person's face

  • and that's what changed in Jon for me.

  • KIT: A monster has risen in him a bit, which

  • I think should be unsettling for the viewers.

  • There's nothing he wants more then to beat Ramsay to death

  • with his own fists and then he sees his sister.

  • I think Jon then realizes, you know, as he's about to

  • kill him. He's on the verge of death.

  • SOPHIE: He realizes this is your fight this your guy to kill.

  • Because he understands what she's been through.

  • Where is he?

  • IWAN: It's a very justified ending, so that Sansa has

  • the power in the end.

  • Your house will disappear, your name will disappear,

  • all memory of you will disappear.

  • It's such a strong moment for her because all her life

  • she's been affected by these men who have just done such terrible

  • things to her.

  • IWAN: It's nice to get to do a final scene with Sophie,

  • after last season.

  • And this is the first moment that you actually hear her say,

  • "This won't affect me and I'm stronger than that".

  • It's my favorite scene.

  • ♪ (DRAMATIC MUSIC) ♪