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Friday, June 30, 2017
Con of Thrones, Day 1: Beginnings, Endings, and the Apocalypse
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Celebrity Roundup: Tom Wlaschiha, Carice Van Houten, and Iwan Rheon all get new gigs
Rotten Tomatoes survey reveals favorite Game of Thrones characters, villains and more
Thursday, June 29, 2017
The 101 Greatest Moments of Game of Thrones! #40 – 21
We’ve crossed the threshold and reached the Top 40 of our Greatest Moments of Game of Thrones countdown. In case you were on vacation or tragically elsewhere this week, swing by the first three days of the countdown before spoiling yourselves!
I’m busy having the time of my life at Con of Thrones, so let’s cut to the chase. It’s getting brutal and ultra competitive up in here, with so many top-notch scenes up for a slot in the countdown- and I love it. Which ones will make it? Only one way to find out.
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40. Bran Finally Goes Home- In a Vision of Winterfell. Episode 602, “Home”
In a scene that hit fans right in the feels, Bran gets to return home and see his father again (albeit as a young boy). During a vision of Winterfell in days gone by, we were treated to young Ned and young Benjen sparring while young Rodrik Cassel looks on. Ned tells his brother, “Keep your shield up, or I’ll ring your head like a bell,” nicely echoing Jon’s instructions to Olly in season five. The highlights of the scene, however, were a young Lyanna Stark riding her horse into the courtyard like a boss and young Wylis (Hodor before he was Hodor) being able to talk – with bonus points for the inclusion of younger Old Nan. When the Three Eyed Raven cut this vision short, we all shared Bran’s pain. – Vanessa Cole
39. From Jaime, Brienne gets a sword, a squire and a task. Episode 404, “Oathkeeper”
The best swords all have names, and the name Oathkeeper carries a special weight for Brienne of Tarth, who exemplifies knightly virtue even though she is denied the title, and for Jaime Lannister, forever branded as the Kingslayer, who has been incessantly maligned for his purported lack of honor. Jaime’s gift of a Valyrian steel sword to Brienne, forged from the remnants of the Stark greatsword Ice, reaffirms his vow to see their mutual oath to Catelyn fulfilled, and Brienne’s acceptance signifies her understanding that Jaime is entrusting her with his faith, and potentially much more. The two had forged a true connection through suffering, loss, and radical honesty amidst dire circumstances, and so their parting is imbued with palpable emotion, especially since both characters clearly leave so much unsaid. Still, as Brienne rides away with the ever-faithful Podrick by her side, the look she shoots back at Jaime conveys much – perhaps a hint of longing, but also her solemn commitment to a promise that will ultimately be fulfilled. – Jared Kozal
38. Jon Duels a White Walker. Episode 508, “Hardhome”
The Massacre at Hardhome represents an apotheosis of horror, devastation, and loss for everyone who beheld the Night King’s most triumphant hour. Yet a sliver of hope emerged amidst the darkness when Jon Snow – brave, but outmatched – raised Longclaw in a desperate attempt to parry a White Walker’s killing blow, and his steel held true. The shock on the faces of both man and demon rang out as clearly as the audience’s cheers of exultation, which only grew louder when Jon turned the parry into a riposte that reduced the creature to shards of ice. Those of us watching at home blazed with excitement, for while whispers about the potential efficacy of Valyrian steel (or Dragonsteel) against the ancient enemy had endured for years, such theories had never been confirmed until now. But we were not the only witnesses to Jon’s great act – high above, the Night King gazed down upon the young Lord Commander with intrigue; perhaps, after years of slaughtering men by the thousands, he saw a worthy opponent at last. – Jared Kozal
37. The Execution of Rickard Karstark. Episode 305, “Kissed by Fire”
How glad I am that I get to cover this moment! Music, or more importantly, accompanying scores are monumentally important to my enjoyment of a movie or TV show. As soon as this scene began, I noticed its immediate parallels to Theon’s botched execution of Ser Rodrik in season 2. Robb executed Lord Karstark cleanly and quickly, while Theon struggled and was bogged down by his lack of commitment and uncertainty. The shared music of the two scenes, though separated by an entire year in their initial airings, merges the two scenes into a larger, connected sequence. It’s very quick, but it establishes the difference between Robb’s assured, confident leadership, and Theon’s rebel-without-a-cause fleeting moment of a power grab. They both learned from Ned Stark that the man who passes the sentence should swing the sword. Robb was ready to swing that sword; Theon was not. The music tells all… – SirSquinty
36. After the Rescue, Sansa Accepts Brienne’s Oath. Episode 601, “The Red Woman”
After five seasons of near constant strife for Brienne, Sansa, Podrick and Theon, it’s deeply satisfying to see things finally turn around for these characters: Brienne fulfills her oath to Lady Catelyn, Sansa finds a small support network, Theon wields a weapon for the first time in years and Pod gets to live another day. It’s exciting, poignant and, most surprisingly of all, hopeful. – Petra
35. Jaime Rescues Brienne From the Bear Pit. Episode 307, “The Bear and the Maiden Fair”
Jaime and Brienne had quite the journey – spiritually as well as physically – in season three. One of the most pivotal moments in their relationship was when Jaime risked his life for her at Harrenhal. After learning she wouldn’t be ransomed back to her father, Jaime rushed back to the castle to find Brienne fighting a bear with nothing but a wooden sword for protection. His concern and fear for Brienne was written all over his face, and he leaped into the pit without hesitation to rescue the “maiden fair”. It’s a tense, emotional, and ultimately triumphant scene that launched the Braime ship for many fans (sorry Tormund). – Vanessa Cole
34. The Fire Duel & Resurrection. Episode 305, “Kissed by Fire”
This scene follows Lord Beric’s powerful introduction at the end of the previous episode: “That’s what we are: ghosts. Waiting for you in the dark. You can’t see us, but we see you. No matter whose cloak you wear: Lannister, Stark, Baratheon, you prey on the weak, the Brotherhood Without Banners will hunt you down.” The goosebumps that monologue gave me only continued with the frenzied trial by combat between the Hound and Beric, who weaponizes pyrotechnic effects against a man who fears fire most of all and momentarily gets the upper hand… emphasis on “momentarily” — it doesn’t end well for Beric… or does it? Since Daenerys survived Drogo’s pyre and her dragons were born, magic has become an increasingly important part of the show, but Beric’s resurrection was the juncture at which these supernatural forces openly showed themselves — a point of no return for the story. Also: Beric did it before it was cool, Jon. – Luka Nieto
33. The Birth of the Shadowbaby. Episode 204, “Garden of Bones”
The scene starts with some excellent Davos and Melisandre banter that not only reveals interesting insight about their characters, but reminds us of the fact the Lord of Light knows sod-all about onions (if one half is moldy, you just cut it off and use the good half, duh!). It builds beautifully with that eerie cave, and ends on pure squick as the shadow baby clambers out of Melisandre. It’s the kind of shock ending that Thrones does so well, even if it did mean poor old Renly’s days were numbered. -Geoffery
32. Battle Chaos at the Wall in One Beautiful 360 Shot. Episode 409, “The Watchers on the Wall”
“It’s not TV…it’s HBO” sometimes means “We have a budget and it’s better than yours.” This is one such of those times. The Battle of Castle Black was the second big-budget battle sequence (after “Blackwater”) and if you thought they went all out in the last one, you’d best believe they outdid themselves this time. Neil Marshall returned to direct this episode, and reportedly spent an hour rehearsing this sequence before they filmed it 7 consecutive times! It looks great, it feels real, it is a demonstrable way to show what the actors can do without relying on their stunt doubles, and everyone’s hard work was thoroughly on display here. Six seasons and counting, it remains one of the best individual action set pieces so far. – SirSquinty
31. Sam Slays a White Walker. Episode 308, “Second Sons”
This sequence was the tail end of an episode entitled ‘Second Sons,’ which had a duality to its title. It both introduced OG Daario Naharis’ self-titled sellsword company, as well as depicted stories from the perspectives of several characters who were the second ‘sons’ of their family (Stannis, The Hound, Tyrion), and then concludes the episode with Sam and Gilly. As Sam was passed over by his family, he was always treated as a second son of sorts. This is really important to keep in mind as the episode draws to a close, because Sam takes a big boy step forward and slays a White Walker with dragonglass! It’s a huge moment of character development for him, and a revelation for the show that there is an item that can defeat their Northward, undead foes! It finishes with a great shot of the ravens chasing Sam and Gilly, flying right into the camera as it cuts to black. Epic. – SirSquinty
30. Tyrion Escapes, and Kills Tywin and Shae. Episode 410, “The Children”
Tyrion’s victory comes with a heavy price to break the shackles his own family dragged him down with. After an innumerable amount of betrayals, it would seem we’ve reached the end of the forlorn lion’s story until a light in the dark reignites ours (and Tyrion’s) hopes: Jaime frees his brother not knowing of the lethal consequences that would follow. Rather than simply flee, Tyrion seizes an opportunity for vengeance. Nikolaj Coster-Waldau and Peter Dinklage present a sincerely beautiful and quiet moment before even more players are wiped from the Game of Thrones board. One betrayal too many leads Tyrion to strangle his former lover and relive his father’s unspeakable acts against him. Dinklage and Sibel Kekilli are wholly brilliant in constructing a heartbreaking moment full of suspense and anguish. Charles Dance is profound in his final moments as Tywin providing unforgettable end while simultaneously resolving the animosity with Tyrion in an unavoidable fashion. – Nate
29. A Baby is Changed Into a White Walker in the Land of Always Winter. Episode 404, “Oathkeeper”
What I remember most fondly about this jaw-dropping episode-ender is the fact that book readers flat-out lost it when it aired. Fans of the ASOIAF series, we tend to get smug about knowing what’s going to happen in advance- at least we did before the show caught up with the books in the last couple years. As of season 4, we were still firmly in A Storm of Swords territory- then “Oathkeeper” and an ice-blue-eyed baby knocked us all on our asses into “What the hell is going on?!” land. Some fans loved the scene, showing the newborn transformed into a White Walker by the touch of the Night King- but many were enraged that Game of Thrones dared reveal something the books hadn’t confirmed yet, but only hinted. Some even swore off the TV series for good, lest they be ‘spoiled’ again in that way. Their loss! Game of Thrones’ daring in bringing the mysterious White Walkers forward was a choice that would pay off for seasons to come. – Sue the Fury
28. Jon’s Rebirth. Episode 609, “Battle of the Bastards”
When Jon returned from the dead, he wasn’t a wolf or a blue-eyed villain, and he certainly didn’t feel like a reborn savior imbued with divine purpose (though Melisandre may disagree.) He was just… Jon. And so, many have questioned the point of his resurrection, but I believe this reading misses the point. When he returns, Jon is still Jon but he is a changed man. A man changed not by magic resurrection but by the very human circumstances of his death. His brothers’ betrayal makes him renege on his oath on a technicality (he did die, after all), something the old Jon would have never done. The apparent lack of an afterlife makes him fear death and, at the same time, question the point of life in a way he never did before. And that is why this claustrophobic scene is so crucial to Jon’s story — it’s the figurative culmination to his entire season arc. When Jon’s buried under his own men, decides he wants to keep on living and finally draws breath above the surface —that is Jon’s true rebirth. – Luka Nieto
27. The Army of the Dead Advance on the Fist of the First Men. Episode 210, “Valar Morghulis”
There was a lot of hullabaloo about the White Walkers before Game of Thrones even premiered: the terrifying creatures were often mentioned in trailers, along with fear and the winter, and one featured heavily in the special fifteen-minute preview of the first episode that HBO released two weeks before the premiere. “Winter is Coming” and its icy monsters scared the hell out of people….and then they vanished. Sure, we saw the occasional wight, the risen corpses the White Walkers leave in their wake. But the sentient creatures disappeared into the night, and became a rumor among the living characters. Nearly seen by Jon early in season 2, they returned with a vengeance in the season finale to remind us that this isn’t just a show about politics and a blonde with some cute dragons. Marching on the Fist with a massive army of the undead in broad daylight (an incredible feat of makeup and special effects), the White Walker is revealed to us and Samwell Tarly. The finale scene leaves no doubt that the White Walkers are done hiding in the dark and the frozen far north, and that the game of thrones is a child’s game in comparison to this fight. – Sue the Fury
26. Arya and the Hound are ready to die for chicken. Episode 401, “Two Swords”
Game of Thrones has many great fights, but this might be its most accomplished. Careful choreography makes it clear how the Hound could survive, and eventually defeat five foes, with the help of Arya. And few are better at fight scenes “in character” than Rory McCann, who adds his own relish to the script, which has some of the funniest lines ever uttered on the show. Watch it again, or we’re going to eat every fucking chicken in this room. – Greatjon of Slumber
25. Tyrion’s Trial Ends with an Outpouring of a Lifetime of Anger. Episode 406, “The Laws of Gods and Men”
Tyrion’s trial, where he lays it all out there: this was a moment that book readers were, naturally, looking forward to, if only because we knew the relish that Peter Dinklage would put on it. And other than episodes that end with random acts of violence, the ending of this – a stare-down between Tyrion and Charles Dance’s Tywin, which underlines the personal nature of this conflict and the way in which unconscious bias and out-and-out discrimination have dominated Tyrion’s existence all his life – is about the most chilling the show has put on screen so far. But it’s the reaction shots that matter the most – Lena Headey’s seething Cersei, Pedro Pascal’s Oberyn who is intrigued more than anything else, but most notably the great work from Nikolaj Coster Waldau as Jaime. Once Tyrion demands his trial by combat, Jaime is utterly deflated, visibly shaken, before he closes his eyes, realizing all of his work – the sacrifice he agreed to undertake for his brother – has been undone by his brother’s stubbornness. Tyrion explains it in the next episode – saying it “felt good” to take that away from his father, and the curl his mouth makes as he smiles at Tywin is evidence of that. But Jaime knows, essentially, that if there was no good ending out of this, that this is probably the worst of all choices. – Greatjon of Slumber
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24. Jon and Sansa Reunite After Years Apart. Episode 604, “Book of the Stranger”
After five years of the Stark family being scattered across Westeros, Essos, and beyond the Wall, Game of Thrones finally threw us a bone. Despite Jon and Sansa’s lack of interaction in season one (or maybe because of it), their emotional reunion was cathartic after all the pain they both endured. Their relationship may not have been sunshine and roses the rest of the season, but this moment showed what’s most important to the Starks – family. We can only hope their bond will endure Littlefinger’s efforts to break it. – Vanessa Cole
23. Jaime Speaks Up and Loses His Hand. Episode 303, “Walk of Punishment”
Before Jaime saved Brienne from a bear, he saved her from rape at the hands of Locke and his men – at great personal cost. Jaime lied to Locke about Tarth being rich with sapphires to encourage him to keep Brienne safe and un-defiled. It worked, but Jaime’s arrogance that the Lannister name would protect him spurred Locke into teaching him a permanent lesson. Not content with simply scaring him into submission, Locke severed Jaime’s sword hand – along with his pride. The jarring music choice seemed out of place, but perhaps it was meant to disorient and unsettle us after such a shocking moment. Nevertheless, Jaime lost his identity along with his hand and was forced to reevaluate his place in the world – starting down a path of redemption that he has not yet finished travelling. – Vanessa Cole
22. Tyrion Finds a Champion in Oberyn Martell. Episode 407, “Mockingbird”
Tyrion may have just gambled his life away in anger, and no one is willing and able to fight for him. On top of that Oberyn comes in apparently just to kick him when he’s down, telling a childhood story of how Cersei brought Oberyn and Elia to mock and torture baby Tyrion — even back then, she blamed and hated him. But then Oberyn turns it around with four simple words: “That’s just a baby.” As the scene draws to a close, Pedro Pascal finishes with the speech that should have won him an Emmy (or a nomination, at least!), and we are witness to some of Dinklage’s best acting as Tyrion finds hope for the first time in what feels like forever, and so do we. This was Tyrion’s lowest point of the season, so it was absolutely priceless to have a character as beloved as Oberyn come in and not only promise to save his life but acknowledge his humanity. – Luka Nieto
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21. Drogon Returns in Daznak’s Pit. Episode 509, “The Dance of Dragons”
The colossal set, action-packed sequence, and air of mystery surrounding the gilded assassins crafted an exhilarating version of the iconic book moment fans couldn’t wait to see. After tensions between Daenerys and her largest fire-breathing offspring reached new levels, Drogon made an explosive entrance to rescue his matriarch. The astounding special effects made Daznak’s Pit a remarkable visual feat with amazing pyrotechnics, expertly choreographed brawls, and a fearless Emilia Clarke leading the way with her effortless interaction with the Drogon visual stand in. The cast and crew’s tireless efforts created a truly awe-inspiring scene worthy of the lion and the dragon’s now-cemented partnership as Daenerys valorously flies on dragon wings to safety. – Nate
Join us tomorrow, as we reveal the top 20, and our choice for the greatest moment of all-time on Game of Thrones!
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Kit Harington teases a “seismic shift” for Jon Snow, and Emilia Clarke discusses Dany’s dragons
New Emilia Clarke and Kit Haringon interviews; Photographers Helen Sloan and Macall Polay discuss the chaos of Game of Thrones
Photo credit Macall Polay for HBO
In addition to the Game of Thrones cover story, Time also brings us several interviews today. First up, Emilia Clarke shares how playing Daenerys has changed her, her mixed feelings about onscreen nudity, and her love for her dragons.
When Clarke was offered the role of Daenerys Targaryen, she had recently graduated from drama school and Thrones was her first real job. Consequently, she felt real pressure to perform. “I was just petrified! I genuinely was so scared — I was so fresh out, a year and a bit, so I’d done a couple of little things, but this was the first proper thing that I’d ever done,” Clarke admits. “I was just thinking at any moment they would fire me, and at any moment they’d be like, Just joking, take the wig off.”
Despite her fears, Clarke has made the role her own and has even taken on some of Daenerys’ characteristics herself. “Growing up on the show…there’s a number of times when the parallels between me and her have been sort of astonishing. Ultimately, Daenerys’s main arc is the arc of a girl to a woman. And then to a kind of woman who’s like, Wait a second! OK, I got here, I’m a big girl, but maybe I’m going to be a totally different person!” She continues, “And that’s really exciting because her changes have come at a point where I feel comfortable enough to explore them as a human being.”
Regarding her early nude scenes and subsequent decision to remain clothed on the show, Clarke feels both choices were necessary for the character. “I’ve said it a thousand times and I’ll say it again: People wouldn’t give two sh-ts about Daenerys if you didn’t see her suffer. We saw her suffer in season 1. Did I suffer a little bit from that? Of course I did, it’s my first job!” As her character has matured, however, Clarke believes the nudity is no longer necessary. “I don’t think that it was an active, ‘I’m never going to take my clothes off choice.’ It’s just a thing where, the roles that came up and the show itself has unfolded in a way where she no longer does that. Where you want to draw parallels as a character, with Daenerys’s strength in keeping her clothes, is kind of obvious.”
Daenerys also finds strength in her dragons. According to Clarke, “There’s something about this maternal connection I had with the dragons from day [one]. I really got into Daenerys’s head, and the dragons are on so many levels the only children she’ll ever know. She has a huge amount of love to give, and all her family’s gone. She’s alone. There is no one character that has ever connected with her in a way that has left her feeling secure.”
For the full interview, head over to Time.
Next up, Kit Harington dishes about the strenuous nature of filming for the sweeping, larger-than-life world of Game of Thrones. “You have to sometimes go into a zone with Thrones where you just shut off everything around you, because everything has to be so detailed. The background has to be in exactly the right place, the smoke has to be the right level, the light has to be right — there’s a hundred things that have to be right. At any one moment, the take could not work, because of any of those elements,” he explains. “It’s exactly like shooting Lord of the Rings. Any big, epic movie would be like that. And it’s a different way of acting where it can get very frustrating, but you have to zone out the background noise a bit.”
Harington experiences more than his share of grueling shoots playing Jon Snow, but he wouldn’t have it any other way. “I think I was picked to be Jon Snow because there’s quite a lot of me in Jon Snow…How [showrunners David Benioff and Dan Weiss] envisioned Jon Snow — they found, hopefully the right person for it.” Harington has tried to live up to their expectations, saying, “How I’ve shaped him over the years, I always felt it was going to be a long journey, it was always going to be eight years in my mind. So you want that character to learn and learn and learn, and then develop.” He continues, “This year there is this huge seismic shift where all of what he’s learned over the years, suddenly… He’s still the same Jon, but he grows up.”
Does Harington have any inkling what’s in store for Jon’s future? “I had certain theories and things up until this last year, so many theories,” he admits. “[For my performance,] I shouldn’t be trying to endgame. He doesn’t know the end, I don’t know the end — he’s living it bit by bit. But I can’t wait to read it. I feel like it’s going to be one of those things where they get us into a room to read them, so there’s no leakage.”
As the show winds to a close, Harington is trying to make his peace with leaving Game of Thrones behind. “I think we’ve all tried to come to terms with that this year. I sound like someone’s dying, but it does feel like someone’s dying. We won’t have time to say goodbye to it, emotionally. For all of us, it’s been an emotional thing in our lives—it’s been all of my twenties.” He isn’t one for long farewells however. “I’m trying to say a quiet goodbye to it this year, so next year I can just do my job and get the f–k out.”
Read the entire interview at Time.
Photo credit: Helen Sloan for HBO
Finally, set photographers Helen Sloan and Macall Polay reveal that actors aren’t the only ones who have rough days on set. It can be difficult to remain unobtrusive during the constant action of Thrones, as they can attest. “You want to be as stealth as possible,” Polay says. “There’s no sort of normal day on Game of Thrones. One day we’re kind of on a nice boat in the middle of a lake and the next day we’re setting fire to Dave the stuntman and chucking him off the side of said boat,” Sloan adds. “You have to just approach each day as it comes.”
Staying focused in the midst of the sprawling sets and multitude of cast and crew is not an easy job. “It’s really hard to explain this kind of bizarre dance to anyone who hasn’t been on a film set and it’s my job to capture this crazy circus,” Sloan admits. “Your senses are bombarded.”
There is definitely one scene that stands out for Sloan in terms of difficulty, however. “I think for me, the most difficult thing to shoot and to deal with of the seven seasons has been the Battle of the Bastards,” she says. “It was just chaos. I’m standing there and there’s 360 degrees of cool stuff to take photos of. You’re constantly going, ‘I’m not getting everything, I’m not covering it.’ There’s just so much going on.”
The show coming to a close weighs on Sloan’s mind as well. “I think it’s going to be really hard when it’s all over, I think that’s when it’s going to be hard to adjust back to normal life. It’ll be like that romance that you just never get over.”
Check out the rest at Time.
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Michele Clapton discusses the symbolism behind the costumes in Game of Thrones season 7
San Diego Comic-Con Game of Thrones Season 7 Panel Line-up Confirmed
San Diego Comic-Con is always an interesting time for Game of Thrones, but this time it will be even more so than ever before. Usually, we get casting announcements at most, as next season is early in production. This time, however, the Game of Thrones panel will take place as season seven airs, between the first and second episodes!
With this increased interest, the question of who will attend has also been made with more fervor. Today, at last, we have a full cast member line-up.
As well as via Twitter, HBO has made its announcement via press release:
“The GAME OF THRONES panel in Hall H at 1:30 p.m. will be moderated by a special guest from Westeros. Panelists include cast members (in alphabetical order) Alfie Allen (Theon Greyjoy), Jacob Anderson (Grey Worm), John Bradley (Samwell Tarly), Gwendoline Christie (Brienne of Tarth), Liam Cunningham (Ser Davos Seaworth), Nathalie Emmanuel (Missandei), Isaac Hempstead Wright (Bran Stark), Conleth Hill (Varys) and Sophie Turner (Sansa Stark). Autograph signing is at 3:30 p.m.”
That is a relatively strong line-up. Hopefully, with the show already on air, we’ll get to see a late-season trailer specifically created for SDCC. However, even if that happens, it wouldn’t be unprecedented for the trailer to be exclusive to the audience, with no official version online. That written… leaks are known to happen!
The Game of Thrones panel will be held very soon after the season seven premiere, on Friday, July 21, so you’d better get ready!
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Inside Game of Thrones Season 7 with TIME: Wights, Dragons, and… A Pack of Wolves?!
Photoshoot by: TIME / Miles Aldridge
In preparation for the season seven premiere in less than two weeks, TIME magazine has unveiled their cover story for the week, a fully Game of Thrones affair starring Maisie Williams, Emilia Clarke, Peter Dinklage, Kit Harington, Nikolaj Coster Waldau, Lena Headey and Sophie Turner, all in fancy dress. Accompanied by this, TIME brings a report from the seventh season set.
This extensive TIME report goes back quite deeply into well-trodden stories about the creation of the show, but then it’s all about its future, as the magazine visited the HBO production as its seventh season was being shot. Reporter Daniel D’Addario describes the strange sight of Emilia Clarke straddling the dragon ‘buck’ which will eventually become Drogon, as Game of Thrones mainstay Alan Taylor directs her under the watchful eyes of “several visual-effects supervisors.”
“Thirty seconds of screen time and she’s been here for 16 days,” Taylor revealed. Though it’s certainly an impressive sight, even showrunner D.B. Weiss must admit “it probably feels a bit less amazing to Emilia, who sits on it for eight hours a day, six weeks in a row, getting blasted with water and fake snow and whatever else they decide to chuck at her through the fans.” And yet, D’Addario reports Clarke was ever smiling and chatty on the buck, which certainly fits with what we know of her.
TIME got to witness another VFX-heavy scene, involving “the wights, zombie-like creatures with spookily pale faces and dressed in ragged furs,” though at that time they weren’t so impressive, as they waited “to grab breakfast burritos.” Outside the stage, VFX supervisor Joe Bauer commented on the ever-increasing size of the production: “At first we had a season with one big event, then we had a season with two big events, now we have a season where every episode is a big event.” In particular, this incoming battle with wights and White Walkers is described as dazzling and grand in its scope. Though TIME cleverly avoids spoilers, this is the battle filmed at Wolf Hill Quarry, which can be glimpsed in the second trailer if you know what you are looking for.
What we didn’t know, however, is how much effort went into converting this old quarry into a frozen lake beyond the Wall. The quarry was “drained, flattened out with 11,000 square meters of concrete and painted over with a camouflage effect — all of which took six months and required special ecological surveys.”
D.B. Weiss and David Benioff. Photo: TIME / Miles Aldridge
It all falls on the showrunners, David Benioff and Dan Weiss, whose job once they have written most of the scripts each season involves managing all the departments via numerous other producers. The TIME story describes a particular production incident that will be of great interest to the fans: numerous wolves were brought in for the show, but they reportedly looked too “fluffy and lustrous”, while the script described them as “skinny and mangy.” Book readers in particular have been waiting many years for a certain shoe to drop regarding a certain direwolf and its pack of wolves. Could this be it, at long last? If our reports during filming were correct, that could very much be the case.
Even more interesting than what’s coming in season seven is what may happen in the eighth and final season, which Benioff and Weiss are now writing. TIME reveals they have “full outlines of the final six episodes.”. They’ve been working on the series finale, and as of now, Weiss claims they “know what happens in each scene.”
There is many more inside the TIME cover story, so go on ahead if you want to get into the nitty-gritty and the photoshoot in all its splendor. Also, later on the day, we will report on their many standalone interviews.
The post Inside Game of Thrones Season 7 with TIME: Wights, Dragons, and… A Pack of Wolves?! appeared first on Watchers on the Wall.
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Season 7 Queen Outfits Decoded by Game of Thrones Costume Designer Michele Clapton
Followers of Daenerys Stormborn have been waiting many years for her to proudly wear the colors of House Targaryen. And yet, she wore blues during her liberation campaign and whites during her rule of Meereen. Award-winning costume designer Michele Clapton has made us wait, and for good reason. Now that Daenerys is finally on Westeros, the wait is over: blacks and reds are here to stay.
That said, as much as she’d like to, Daenerys isnË‹t the only queen around. Cersei Lannister rules King’s Landing and Sansa Stark is the Lady of Winterfell (and presumably a princess.) Their clothing choices tell just as deep a story as Dany’s, and Clapton is open to decipher exactly what these stories are and tell us about them.
Kim Renfro did this wonderful interview with Game of Thrones costume designer Michele Clapton for INSIDER, where you can read the whole interview.
“People used to say, ‘Well, why doesn’t [Daenerys] wear red?’ Now you do finally start seeing it creeping in through the scaling and embroidery on her dresses,” Clapton revealed. “It’s just a touch.”
“Sometimes you have to wait for that — you have to wait for the journey and for them to seek it out … Finally we’re getting the [Targaryen] red. She was a confused woman, she was wandering … trying to seek something. And now she’s finally got her armor, she’s finally got everything, and she can finally echo the style of her brother with the extended shoulders and the red and the symbolism. He always had the big Targaryen [sigil] on his chest and now she’s got the big chain with the dragon’s heads on it.”
“I didn’t want her to have a crown, I wanted her to have a chain. And she has a red sash hanging from it, which is slightly scaled and pleated as well … You can have the chain, but until you get the throne you’re not queen. I liked that she’s wearing everything she can to show her status but she can’t wear the crown because it’d be wearing it before it was due … [Dany]’s almost assuming the power but not quite. With all the colors and the details and the essence — it just becomes stronger. The width of the shoulders give her strength, the chain gives her strength. I tried to make the cut of the costumes just slightly more like a uniform and almost less feminine.”
This philosophy of costumes following the character’s evolution also translates to Dany’s opponent, Cersei:
“This is the time when it’s all really going to matter, and so there’s a power play between her and Cersei. It’s like a standoff. And I think they’ve both reached a place where it’s not about femininity, it’s about their strength as women. They are the leaders, and so the femininity doesn’t come as quickly into it.”
“With Cersei, at this point, she’s attained the throne and there’s a strength in her embroidery. It’s actually quite ornate and over the top and that’s a precursor in a funny way — it’s the last gasp before something else, in my sense. It’s a weird flamboyance, but it’s quite hard as well. And we’ve also shortened her dress so it makes her less vulnerable. She can move and she can be a little bit like Dany in a way, because it’s not quite as restrictive. [Cersei] always had strong collars and strong shoulders, so I thought this [dress] should take it the furthest I can take it before it’s not there.”
Then there is Sansa, who may not be a queen on her own right, despite many of us crying out “Queen in the North!” as season six drew closer to a finale, but she is a woman in a position of power in a newly independent kingdom, she’s the Lady of Winterfell, and as Robb’s and Jon’s sister she is a princess as well… and who knows what else may happen in the future! At any rate, her queenly credentials are more than enough for Clapton to consider her alongside the two warring queens:
“She has the chain she has the circle, she’s bringing all that she’s been through to her costume,” Clapton began, referencing Sansa’s raven dress from season four. “You need to look at the story. Her strength and the way that she’s clothed to protect herself from the things that have happened. At the same time, she’s beginning to assert herself as an independent woman and not actually being manipulated by anyone anymore.”
Every little detail tells a story, and that appears to be Clapton’s credo: “the costumes for me are narrative and you should be able to look at them and understand where they are mentally in their journey. I think they’ve all found a strength and achieved something.”
I very much encourage all of you to read Renfro’s entire interview with Clapton. She really gets into how the path of these characters directs her choices for their costumes.
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Wednesday, June 28, 2017
Funko Unleashing New Game of Thrones Toys This Summer!
Funko’s Pop! Vinyl figures are a favorite of the Game of Thrones fandom, with the company turning out new toys of our favorite characters every year. In May, Funko announced the addition of a half-dozen new figures to the Game of Thrones lines, set to arrive this summer. Now they’ve topped themselves by bringing even more great toy news to the table.
Joining the other Funko Pop! dolls arriving in July is a special 2-pack, a natural combination highlighting an epic face-off from season 6. The new Game of Thrones 2-pack features Jon Snow and Ramsay Bolton as they appear at the end of the Battle of the Bastards, Jon with his arrow-riddled Mormont shield, and Ramsay wielding his bow.
This next pair of new additions is exciting for collectors as its the first time we’re seeing Game of Thrones figures in Funko’s Rock Candy line. This August, Daenerys Targaryen (with mini-Drogon!) and Brienne of Tarth will join the Rock Candy line-up.
Also coming this August, Funko is releasing a new series of Dorbz featuring a handful of Thrones faves. The Limited Chase Edition of Melisandre is going to be especially sought-after, as 1- in-6 Melisandre Dorbz produced will glow red!
In addition to the red priestess, you can pick up the new queen of Westeros, Cersei:
Jaime Lannister:
Arya Stark:
Jon Snow, in Stark gear:
And Melisandre, with and without her magic glow!
Who’s going shopping this summer? I love that Rock Candy Brienne in particular!
The post Funko Unleashing New Game of Thrones Toys This Summer! appeared first on Watchers on the Wall.
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The 101 Greatest Moments of Game of Thrones! #60 – 41
This week, we’re getting fired up for the new season of Game of Thrones by looking back on the previous six, and counting down the best of the best moments. For five days we’ll be at this, kicking it off on Monday when we also reopened our brand-spanking-new forums! Yesterday we kept the party going, reaching all the way to number 61.
With today’s terrific twenty, we’re finally reaching the top 50 portion of our countdown! As always, don’t be shy about sharing your faves and your own picks along the way. Enjoy!
60. Melisandre’s True Form Is Unveiled. Episode 601, “The Red Woman”
There’s obviously shock value in seeing the lovely Carice van Houten transformed into a withered old hag. It’s also nice to see glamour magic being featured on the show. But it’s the questions this scene raises that make it stick in the memory long after the credits have rolled. How old is Melisandre? What role is she going to play in the war against winter? And what does one have to do to get magical de-aging powers like those? – Geoffery
59. Daenerys Visits the House of the Undying. Episode 210, “Valar Morghulis”
The original House of the Undying scene in A Clash of Kings is very different, with much more ammunition for crazy theory-crafting and imagery about the past and the future, which would be either inscrutable or too obvious a spoiler in the show. Game of Thrones opted instead to focus on where Dany’s choices may lead her. In the vision, she’s led away from queenship to the Wall, where the real threat awaits, and she rejects the lure of Drogo and their unborn child. The focus on character makes it a key scene for Dany’s arc, and the deeper question it raises is clear: will Dany set aside love and power to defeat the White Walkers? Now that we are finally approaching the endgame, this has become one of the key moments we will be look back on for years to come. – Luka Nieto
58. After Killing the Waif, Arya Reclaims Her Identity. Episode 608, “No One”
One of the most defining moments in Arya’s story was when she prominently displayed the maimed Waif’s face on the wall of the House of Black and White. Suspense builds as we follow Jaqen through the blood-soaked hall that makes us believe, even for a split second, that Arya was fatally bested by the Waif. The sight of her freshly cut flesh floods us with relief as Arya victoriously confronts Jaqen about the botched assassination attempt. The image of Maisie Williams brandishing Needle again as the irrepressible Arya Stark (instead of No One) is striking and a monumental joy, especially after witnessing the young wolf suffer while losing herself. The victory continues as Arya remains as wild and defiant as her house sigil by declaring her return to Winterfell. With a reunion with her pack on the horizon, Arya’s proud realization of identity serves as a milestone for how far she’s come since she first left home. – Nate
57. When You Play the Game of Thrones… Episode 107, “You Win or You Die”
Not just an endlessly quotable scene, this is the beginning of the end for poor Ned, whose insistence on always doing the honorable thing will end in his untimely decapitation. It’s a great power-play between the two characters, as Cersei refuses to apologize for something the viewer might have presumed she was ashamed to admit. The Targaryens thought twincest was wincest and so does she. Plus, you can’t help but feel a bit sorry for her when she talks about the way Robert acted toward her on their wedding night. – Geoffery
56. Sam Sees the Library of the Citadel. Episode 610, “The Winds of Winter”
It’s rare for Game of Thrones characters to get what they truly deserve (and when they do it’s usually in the context of villains suffering). But in this gorgeously scored scene, our beloved bookworm Samwell Tarly steps into the Citadel’s library, which is every bit as awe-inspiring as anyone could have hoped it to be, and complete with the astrolabe from the GoT opening sequence! Sam looks at the endless stacks of books around him and smiles. He’s found his place in the world at last. – Petra
55. Tyrion Rallies the Troops. Episode 209, “Blackwater”
“Those are brave men knocking at our door…let’s go kill them!” In the hands of a lesser actor, this monologue could be corny. With Peter Dinklage at the helm, we need never fear. I’ve always felt that Tyrion’s best two seasons are season 2 and 4…so naturally Dinklage has won Emmys for seasons 1 and 5 – go figure! It’s incredible to remember that Tyrion is rallying a bunch of men that largely do not like him, but his quick wit spins a web of loyalty and inspires the soldiers to confront Stannis’ army head on. The start of his monologue begins with him muttering “I’ll lead the attack,” under his breath, before more loudly saying it again to the group at large. I remember Dinklage saying that he ad-libbed this and the producers decided to leave it in the final edit. Chills. – SirSquinty
54. Grenn Holds the Gate Against a Giant. Episode 409, “The Watchers on the Wall”
This is a stand-out moment in an already brilliant episode, providing a chance for a minor character like Grenn to have a brief moment of glory before being smashed apart by a giant. It’s a lovely reminder of what the camaraderie and brotherhood of the Night’s Watch is really all about, and it’s touching to see Grenn’s loyalty to Jon, unfailingly following his orders even though at this point Jon’s not even Lord Commander. And now their watch has ended. – Geoffery
![20160525_ep_607_Publicity_still_15.00120338[1]](http://watchersonthewall.com/wp-content/uploads/2016/06/20160525_ep_607_Publicity_still_15.001203381.jpg)
53. The Starks and Davos Face an Unimpressed Lyanna Mormont. Episode 607, “The Broken Man”
“Bear Island knows no king but the King in the North, whose name is Stark.” That badass, uncompromising refrain presaged the arrival of a badass, uncompromising young woman; seldom had any character so thoroughly endeared themselves to the audience before she even appeared on screen. When Lyanna Mormont debuted in “The Broken Man” (portrayed by an extraordinary young actress in Bella Ramsey), she quickly proved that her reputation for sharp words and a strong will was well-earned, and the audience’s adoration for her was sealed. But the Lady of Bear Island also made it clear that her past declaration of loyalty to the Starks did not necessarily mean she would follow them blindly into war now. It would take Davos, another person who had never expected to inherit such responsibility, to appeal to her hard-won sense of practicality and bring House Mormont’s fierce warriors – all 62 of them, each one worth ten from the mainland – to Jon and Sansa’s cause. With such steel in her spine, it’s safe to say that Lady Lyanna is worth even more. – Jared Kozal
52. Chaos is a Ladder. Episode 306, “The Climb”
It’s not a secret how Varys and Baelish are among the few original cast members to survive through the first six seasons of the show so far. In a way, each is putting on a performance, changing to whomever they need to be at a given moment to keep themselves alive. Here, in their best, and last, verbal battle, both show off those performance capabilities, Varys dropping the mannered, simpering affectations in his tone to grumble at Littlefinger, the other utilizing that comes-and-goes brogue that has marked Baelish’s chameleon-like nature throughout the show’s run. They also clearly show their school of thought; Varys the strict institutionalist, sacrificing for the greater cause of the government’s existence; Baelish the anarchist, who wants to upturn the chess board to see where the pieces land. How great is Littlefinger’s monologue that closes this out? It formed the basis of the season’s ad campaign, to great relish. – Greatjon of Slumber
![20160602_ep609_Publicity_still_061.00168432[1]](http://watchersonthewall.com/wp-content/uploads/2016/06/20160602_ep609_Publicity_still_061.001684321.jpg)
51. Sansa Has Her Just Revenge on Ramsay. Episode 609, “Battle of the Bastards”
I never thought I’d cheer at the sight of a man being eaten alive by his own dogs. But that was before Ramsay Bolton. In an act of poetic vengeance that would make Lisbeth Salander proud, Sansa has her husband torn to shreds by the very dogs he sicced on his stepmother, his half brother and on countless innocent women. It may be sadistic… but it is satisfying. – Petra
50. Janos Slynt Refuses To Do His Duty. Episode 503, “High Sparrow”
Just one episode after being elected Lord Commander, Jon faces a test of his new authority. When assigning men to new positions in the Watch, he gives Janos Slynt command of Greyguard. Slynt refuses, telling Jon to “stick your order up your bastard ass.” Not cool, Slynt, not cool. Jon channels his inner Ned, telling his men to take Slynt outside and to bring him his sword. As Slynt spinelessly begs for his life, Jon swings the sword – putting an end to the backstabbing, bootlicking, baby murderer. And now his watch is… Oh who cares. Good riddance. – Vanessa Cole
49. Jon and Ygritte Go For a Bath. Episode 305, “Kissed By Fire”
I’d long been a fan of Rose Leslie, since the early days of Downton Abbey, so the raging hormones of a (once) teenage boy in me were very excited for this scene. I’m sure it broke the hearts of many a teenage girl to learn that Kit Harington used a #buttdouble as his ankle was broken at the time of filming. Regardless, the scene was touching, with Jon Snow firmly breaking his vows, and Ygritte letting her guard down for the briefest of moments. “You know nothin’, Jon SnoooooOoOoOoOWWWWWWW” remains one for the history books. If only they had stayed in that cave for eternity! But then, Game of Thrones doesn’t do happy endings, now does it? – SirSquinty
48. Cersei Tells a Tale of Lions as the Battle Ends. Episode 209, “Blackwater”
“You are a lion, my son. You mustn’t be afraid, for one day all the beasts will bow to you. You will be king.” Cersei’s fanciful story, with the Great Houses as beasts of the forest bowing to her son, is intended to comfort Tommen in what may be the last moments of their lives, but it takes on a prophetic tinge when viewed through the lens of six seasons. Her promise to keep him safe from the chaos and carnage we see raging outside, even as she brings poison to his lips, is similarly prophetic when one considers Tommen’s fate. Tywin’s arrival feels only like a temporary reprieve, knowing how things turned out. The richness of “Blackwater”‘s dark fairy-tale ending has only grown with subsequent viewings, and I find it more haunting every time. – Sue the Fury
![GOT509_120314_HS_DSC_7167[1]](http://watchersonthewall.com/wp-content/uploads/2015/06/GOT509_120314_HS_DSC_71671-1024x682.jpg)
47. The Burning of Shireen. Episode 509, “The Dance of Dragons”
Poor sweet Shireen, you were far too good for this world! After her touching daddy-daughter conversation with Stannis, it hardly seems believable that something so brutal is about to occur. Her heart-wrenching screams, Selyse’s change of heart, the foresight that in the end Stannis ends up dead anyway: all serve to make the scene powerful. And Kerry Ingram acts her little socks off. – Geoffery
46. Arya Tangles with Tywin in Harrenhal. Episode 207, “A Man Without Honor”
Aside from giving us a good laugh (“M’lord, not My Lord”) and a history lesson (“Aegon AND his sisters!”), this scene solves the conundrum of how to learn of a character’s innermost thoughts if he isn’t the kind of man who would ever express them aloud: by airing them to someone he doesn’t see as a threat; a mere cupbearer. Putting Arya and Tywin together was a wonderful idea from the writers, and Charles Dance and Maisie Williams make the best of it, so much so that I regret we didn’t get more of them together… and now we’ll never will! This brief, strange pairing and the insight into Tywin’s mind are the reason this scene deserves to be on this list. – Luka Nieto
45. Robb is Declared King in the North. Episode 110, “Fire and Blood
The Young Wolf cuts a dashing and heroic figure even when circumstances are dire; fresh off his victory over the Lannisters and burning with righteous vengeance for his murdered father, he looks positively royal. And so when the Greatjon’s bellicose declaration of Robb as “The King in the North!” echoed through the summer night, it deservingly became a thrilling call to arms and a bold statement of defiance. In a more conventional tale, this scene would mark the arrival of the story’s new hero – for those blessed with knowledge and burdened with hindsight, it’s a harbinger of a fall to come. But even with the specter of fate looming on the horizon, Robb’s ascension remains a blood-tingling moment, as the mythic weight and ancient cares of the Kings of Winter descend onto this prodigious young warrior. Everyone watching – from the Northern Lords roaring approval to the apprehensive soldiers looking on from a distance to the audience glued to their screens at home – is acutely aware that they are bearing witness to something monumental. – Jared Kozal
![20160421_ep602_Publicity_still_32_00161588[1]](http://watchersonthewall.com/wp-content/uploads/2016/05/20160421_ep602_Publicity_still_32_001615881.jpg)
44. The Resurrection of Jon Snow. Episode 602, “Home”
The death of Jon Snow was a shock to book readers and show watchers alike, but by the time season 6 rolled around most us knew he had to be coming back. Between dropped hints like Sam’s “I’ve been worrying about Jon for years; he always comes back” and production spoilers putting Kit Harington conspicuously close to the Game of Thrones filming action, it was only a matter of time before Lord Snow rose from the dead. Most of us felt that Melisandre would be instrumental to his resurrection, and we were proven right. There is a big difference between believing and seeing, though, and the fandom collectively held its breath in the final moments of the episode. When Jon gasped, so did we…or jumped up cheering and crying, in some cases. No? Just me? – Vanessa Cole
43. The Burning of the Khals. Episode 604, “Book of the Stranger”
Fire cannot kill a dragon, but it can kill men – be they small men with their petty concerns, or the great Khals who cause the Free Cities of Essos to tremble with fear (here, they’re one in the same). Dany’s intrinsic resistance to heat and flame was established in her very first scene, and cemented when she walked into Drogo’s pyre to bring dragons back into the world. The Dragon Queen had made such liberal use of her children’s power in the past that one could be forgiven for believing that Drogon would arrive on cue to release her from her captivity. But ultimately, Dany didn’t need her dragon to save her – she proves to be a dragon herself, and reduces her enemies to ash and bone using nothing more than her own supernatural certainty, a few burning braziers, and a strategically barred door. The Dothraki follow strength, not blood, and as Dany proves her strength here, she provides irrefutable support for the idea that she, not Rhaego, is the Stallion Who Mounts the World. – Jared Kozal
![20160421_ep602_Publicity_still_7_00121897[1]](http://watchersonthewall.com/wp-content/uploads/2016/05/20160421_ep602_Publicity_still_7_001218971.jpg)
42. Tyrion Unchains the Dragons. Episode 602, “Home”
Just because the show is beyond the books doesn’t mean they can’t incorporate George R.R. Martin’s prose, and this scene is a perfect example. As Tyrion (and the viewing audience) waited to see if he would become dragon chow, he recounted a story from A Dance with Dragons. As a young boy he had begged his uncle for a dragon for his birthday, but he was devastated when his father (Tywin being Tywin) told him dragons had been dead for a century. Tyrion overcomes his fear to free the dragons from their chains, and you can see his awe and wonder at being in the presence of creatures that have held a lifelong fascination. Of course – in typical Tyrion fashion – he has to cut the tension with a joke in the end, telling Varys, “Next time I have an idea like that, punch me in the face.” – Vanessa Cole
41. Arya Avenges the Red Wedding. Episode 610, “The Winds of Winter”
Properly justified comeuppance for the Red Wedding finally came in season 6, in the form of cannibalistic nightmare fuel. More often than not it’s the good guys that get offed in Thrones, so it’s truly satisfying to see a character as loathsome as Walder Frey get their just desserts. Or pie, in this case. Not only did this confirm a fabulous fan theory that’s been floating around for years, Arya got to cross another name off her list. – Geoffery
We’ve crossed the halfway mark in our countdown! Where will the remaining days take us? We’ll find out soon enough…
The post The 101 Greatest Moments of Game of Thrones! #60 – 41 appeared first on Watchers on the Wall.
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