Inside HBO's Game of Thrones
Page 12
PETER DINKLAGE (TYRION LANNISTER): The way that the killing of Shae is written is how I think violence happens in real life, actually. She had a knife and would have killed him— it just happens so quickly, and then someone is dead, and no one really knows how it happened. He’s not really apologizing for killing her so much as for bringing her into the world at all. Realistically, how long was a relationship with his father going to last before Cersei got her or something? She would have survived the world outside the Lannisters, for sure. But he knew that the day he met her and brought her into this horrible community of people, from that moment she was doomed.
SIBEL KEKILLI (SHAE): There is definitely something deliberate in Shae’s choice to be with Tywin. He’s the most powerful man she can be with, but he is also Tyrion’s father. It is the worst thing she could do to him. In those last moments, when Tyrion discovers her in Tywin’s bed, there is such a feeling of sadness and shame. They both seem so vulnerable in that moment. Going for the knife almost seems like a reflex to me. When he starts to strangle her, she fights, but then there is almost a moment of acceptance. It feels like a loss to me—that they could have been happy if they had just been left alone.
PETER DINKLAGE (TYRION LANNISTER): In that moment, when Jaime sets Tyrion free and he goes the other way from freedom, I don’t think he has any intention of killing his father. David [Benioff] and Dan [Weiss] feel differently, but in my mind, it’s actually a very pure moment. It’s only after he’s killed Shae that he finds the crossbow, and in that second he needs to hear the truth from his father. That’s all he needs. I hate the word, but he needs closure on the situation.
CHARLES DANCE (TYWIN LANNISTER): I’ve loved working on the show. In a way I wish it wasn’t so soon, but Tywin always had to go in a spectacular way. It was so right for his end. House Lannister has sort of imploded in on itself this season. I think people will miss Tywin after he’s dead and gone, but they will revel in how he goes.
ALEX GRAVES (DIRECTOR): After the death of Shae, I think Tyrion’s gone a little mad. I never felt comfortable with the idea that he could kill a woman he loved that much. I wanted there to be the long hallway we could follow Tyrion down to really bring out the idea that whoever he ran into was going to be in very serious trouble. I was really unsure of how finding Tywin in the toilet was going to play dramatically. It’s so uncomfortable visually, but you are also looking at someone who does not really know what they are dealing with. In the end, I wanted to focus on the intensity of their relationship by shooting closely in on their faces—to catch every look in the eye.
PETER DINKLAGE (TYRION LANNISTER): There’s nothing dignified in Tywin’s death. I think it’s perfect. He couldn’t die on a battlefield because he’s too good. He’d never die of a broken heart; he’s too cold. It’s just perfect. It’s the only place he’s vulnerable, but what was amazing was there was no trace of embarrassment in the performance. It was just Tywin, dealing with what was being presented to him. It was Charles’s last scene of the entire series, so it had a certain tragic sadness to it. I will miss working with Charles, he is quite simply one of the best actors I have ever worked with.
DAVID BENIOFF AND D. B. WEISS (CO-EXECUTIVE PRODUCERS AND WRITERS): Tyrion has been sitting in his cell, helpless, almost certainly thinking futile thoughts about murdering the father who’s letting him fester there . . . but the actual decision to kill Tywin has to happen in the moment, since the opportunity comes upon him so quickly and unexpectedly. It’s a disastrous move in so many ways . . . but Tyrion definitely has an impulsive streak. Murder is often an impulsive action, of course. But it’s equally true that this particular impulse has been building in him for a long time.
We’ll have to see where he picks up in season five . . . but these murders definitely break something in him. These two people defined him in so many ways, for good and for ill. Killing them is like killing large pieces of himself.
Charles Dance was one of the three actors we knew we wanted from the moment we finished George’s first book (the other two were Peter Dinklage and Sean Bean). His death creates such a void in the world of the show. He may not have hesitated in making unpopular decisions . . . but wait to see what happens when the one guy who was truly in charge isn’t around anymore. We will miss Charles terribly.
Sansa’s covert arrival at the Eyrie.
PART SIX
on the road
* * *
“You know what kind of stories poor men love the most? Ones about rich girls they’ll never meet.”
— Littlefinger
Jaime Lannister and Brienne of Tarth may have returned to King’s Landing, but the roads of Westeros remain busy with the comings and goings of travelers whose missions are as different as their destinations.
Having successfully won the North through treachery, Roose Bolton returns home to the Dreadfort to discover Ramsay has been busy in his absence. Though any attempt has so far failed to force Balon Greyjoy to relinquish his hold on Moat Caitlin, that may change with the help of Ramsay’s newest creation, the broken and piteous captive Reek.
Sansa Stark has finally escaped King’s Landing and found refuge in the Eyrie under the protection of her aunt, Lysa Arryn. But her fate still feels tenuous. Sansa must hide her identity for her own protection, and she again finds herself under the control of a man whose intentions she does not trust, the scheming Littlefinger, unless Sansa can turn the tables.
For Arya Stark, her narrow escape from the Red Wedding has only reinforced her desire for vengeance. An unwilling captive of the brutish mercenary the Hound, Arya nevertheless discovers that, if she wants to learn about killing, she now has the best possible tutor.
HOUSE BOLTON: A BRIEF HISTORY
“We’ve been flaying our enemies for a thousand years.”
—Ramsay Snow
Ramsay leads the Bolton bannermen.
as one of the oldest and most powerful houses in the north, House Bolton gained a reputation for brutality with their custom of flaying the skins from their enemies and displaying them within the Dreadfort, the fortress that is their house seat. Rumors abound that some even wore the skins as cloaks.
For centuries the Boltons were the main rivals of the Starks for control of the North. Then, a thousand years ago, Harlon Stark crushed a Bolton revolt by pursuing a two-year siege of the Dreadfort. Afterward, the Boltons swore to renounce their practice of flaying, and they remained loyal bannermen of the Starks. That is, until Roose Bolton betrayed Robb Stark at the Red Wedding and allied himself with the Lannisters. Now, as Warden of the North, Roose controls Winterfell, and with the help of his bastard son, Ramsay Snow, he is trying to solidify House Bolton’s rule over the North.
While the Boltons may have claimed the title of Warden from the fallen House Stark, control remains far from absolute. Balon Greyjoy claimed the title of King of the Iron Islands, and his forces retain control over the key strategic hold of Moat Cailin, barring free passage from the South. The Iron Islanders are legendary for their resilience, and the skills of their fighters would likely cost House Bolton men it cannot afford to lose, posing a dilemma for the new Warden and a challenge for his son.
For Ramsay, it is the opportunity he has been waiting all his life for—to gain his father’s approval and his claim to the name Bolton. After months of manipulation and torture, he has broken Theon Greyjoy down to a mere puppet—a pitiful creature known as Reek. When the opportunity arises to use his new plaything in a twisted Trojan horse strategy with the besieged Ironborn at Moat Cailin, he tests Reek’s loyalty by having him “play” Theon and deny his identity all at once.
House Bolton family tree.
— creating dark sansa —
“The first time I saw you, you were just a child. A girl from the North, come to the capital for the first time. You’re not a child anymore.”
—Petyr Baelish
Costume designs for the new Dark Sansa.
* * *
Implicated in the murde
r of King Joffrey, Sansa Stark (Sophie Turner) escapes the hell of King’s Landing in the company of potentially the most dangerous man she has ever met—Petyr Baelish, or Littlefinger, a man with unclear motives but obvious ambition. Littlefinger once loved Sansa’s mother and claimed to love Sansa’s Aunt Lysa—that is, until he threw her to her death for attacking Sansa in a fit of jealous rage. As the only witness to the crime, Sansa must make a choice—does she allow herself to become a pawn in another man’s game, or does she apply the lessons learned in the Machiavellian world of King’s Landing and become a player herself? After successfully manipulating the hearing that would have condemned Baelish and beginning to take control of the Vale through her cousin, Sansa takes on a dramatic new look to reflect her new attitude.
* * *
SOPHIE TURNER (SANSA STARK): Sansa has always had an inner strength, but she has been so oppressed for the last three seasons. She has had very little say in her own life. I think that is what makes her decide that the time has come to make her own decisions and to be her own person, rather than to be confined to other people’s expectations of who she should be. It’s a very nice moment when the new look is revealed, and you realize she is a force to be reckoned with. It is the perfect representation of how much other people have underestimated both her strength and intelligence.
MICHELE CLAPTON (COSTUME DESIGNER): David and Dan came to me with the idea of a transformation for Sansa. They wanted her to be her own woman rather than this victim. I loved the idea, but I wasn’t sure how to go about getting there. I hate that fantasy thing where things magically appear. The dress had to be something that could have been adapted from something she already owned, using materials she had access to. So the shape is not radically different. If she’s dying her hair, she can dye some fabric. It’s meant to be as if she is somewhat reborn while mourning for all that she has lost. We know that she has the skill because we have seen her doing needlework from season one, but I liked the idea that after this, she doesn’t want to sew anymore. The metal piece is really a miniature of Arya’s sword, Needle, and the idea is that there’s a ring that you stitch through and then that’s her weapon. I like that she carries it when she descends the stairs; now she’s armed and it’s a link to her family.
It’s so easy to make someone look strong, but if you don’t think about the story, it’s sort of a wasted gesture. She could have probably looked even more amazing if I had put the reasoned arguments of where it could have come from aside, but ultimately, it makes it a stronger look if it’s a more believable transition.
A newly born warrior chooses her outer armor.
Sansa is reminded to never believe in safety won too easily.
ARYA AND THE HOUND
“Hate’s as good a thing as any to keep a person going. Better than most.”
—The Hound
Since their escape from the Brotherhood Without Banners, Arya Stark (Maisie Williams) has been an unwilling captive of Sandor Clegane, the Hound (Rory McCann). The dynamic between the brutal warrior and the young fugitive changes after they witness the carnage of the Red Wedding, and the Hound becomes determined to take Arya to Lysa Arryn at the Eyrie, hundreds of miles away, so that he can claim her ransom.
As they make their way across the countryside, Arya and the Hound face the challenges of a land beset by war, bandits, pillagers, and enemy soldiers around every corner. The Hound begins to appreciate Arya’s determination to seek vengeance on those who have wronged her, and he starts to foster her talents as a killer. Meanwhile, Arya begins to experience sympathy for Sandor Clegane as she learns more about his history and motivations. This presents something of a problem—since the Hound’s name is part of Arya’s ritual prayer list of those she wants dead.
The Hound and Arya begin to understand each other.
Arya learns how to fight dirty.
DAVID BENIOFF AND D. B. WEISS (CO-EXECUTIVE PRODUCERS AND WRITERS): There are no scenes we more enjoyed writing, shooting, and watching than these. Maisie and Rory are operating on a level that begs for a spin-off show. Unfortunately, given how this season ends, this will be difficult. But the biggest testament to their work over this season is the devastating sadness their final scene leaves you with. You wouldn’t feel the way you feel at the end of that scene if these characters hadn’t found a place in your dark, pitiless heart.
The Hound shows Arya how to be the person she needs to be. Of course, these lessons do change her. They’re brutal lessons. But her experience has been brutal as well. For all the horrible things the Hound does, he’s not the person who tore Arya’s life apart. Well, except the butcher’s boy. But you know, sometimes a butcher’s boy just has to go.
RORY MCCANN (SANDOR CLEGANE): When the Hound sees Arya acting on her own, there’s a feeling that he is watching over her and monitoring her progress. He doesn’t seem to mind these side missions of hers, instead offering pointers and asking for advance warning. It’s quite amusing in a way—like she’s taking a master class in assassination.
BRYAN COGMAN (CO-PRODUCER AND WRITER): Rory’s big and tough and intimidating, but what makes his Hound so compelling is that sadness, that weariness in his eyes. Rory has become frighteningly good at the Hound’s mood swings—going from vulnerable and almost tender to wild, terrifying, and dangerous. He sort of sneaks up on the viewer as a major character and really comes into his own in seasons three and four.
MAISIE WILLIAMS (ARYA STARK): Toward the end of season three, I think Arya realizes that she has to make a choice about survival. Arya is safer with the Hound than she would be without him, despite the fact she hates him. Later on in season four, I think she starts to understand that her perspective has been quite tunneled, and as she begins to follow the Hound’s advice, she becomes quite ruthless herself.
RORY MCCANN (SANDOR CLEGANE): There are echoes, in an odd way, of Arya’s relationship with her father, Ned, and his encouragement of her desire to fight. What’s interesting is the fact that she has been completely honest about her inclusion of the Hound’s name in her prayer, but he continues to look after her. There’s definitely something about her honesty and bluntness that he likes, because she manages to get him to talk about the scars his brother gave him. I doubt he’s ever opened up before. I doubt he was ever asked.
— brienne versus the hound —
“You heard the girl. She’s not coming with you.”
—The Hound
Despite her victory, Brienne realizes that she’s lost her prize, Arya.
* * *
In King’s Landing, Brienne of Tarth (Gwendoline Christie) agrees to complete the oath Jaime Lannister once swore to Catelyn Stark: to find and protect her girls, Arya and Sansa. While on the road in Westeros, Brienne unexpectedly crosses paths with Arya and the Hound, Sandor Clegane (Rory McCann). Brienne attempts to convince Arya to leave the Hound and come with her, but Arya is reluctant. Seeing Brienne’s Lannister sword, the Hound is immediately distrustful of her true motives. When Brienne declares her intention to take Arya back one way or another, the Hound draws his sword, and a duel between two of the greatest fighters in Westeros begins.
* * *
PAUL HERBERT (STUNT COORDINATOR): First, we review the location and use the script beats to map out a general layout for the fight before working out the full choreography. We’ll show the actors pictures of the area so they have a mental picture of the terrain. We train the fight in sections, so when we get to the location, if there are any changes, we can rework the order.
The ideal is to use the actors as much as possible—certainly for any close-up work, and then for as much as we can without risking safety. When we bring in the stunt doubles, it is usually for elements that are shot at a distance or in combination with the other actor facing camera. I’ve found that this can actually help the actors relax because, if they do misjudge a move, the stunt person can make allowances and adjust accordingly. This particular sequence took around three weeks to perfect with the actors in training.
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br /> GWENDOLINE CHRISTIE (BRIENNE OF TARTH): The dual was one of the most extraordinary things I have ever experienced. Rory and I are very committed to our characters and portraying them well. We were absolutely focused on executing the sequence. These two well-recognized fighters go up against each other—you know people want to see something magnificent. Rory and I put our hearts in it. That means it feels more personal—you want to experience elements of the fight the way your character would and react like them, too. I don’t know how it will be received, but it was certainly one of the best things I’ve ever done.
RORY MCCANN (SANDOR CLEGANE): I had the most amazing time working with Gwen. That woman has a laugh that rocks planes. She’s just great. When we got down to the business of swinging swords at each other, I had to sometimes stop and remind myself that, although we are the same height, I’m a pretty big fellow, and I’ve been chopping down trees all my life. My god, she’s tough, though. Something happens when she puts on her armor. You can see her become a warrior. Suddenly, she had 40 percent more strength and a completely different demeanor.