![]() ![]() We tried to make it a little ambiguous and give it some wiggle room on that end. We did a few things, like getting deliberately hazy about how much time is passing, because it’s so dark in the frozen lake and you don’t know how many days or nights you may have witnessed. Did you and the writers have conversations about the timing of events? There are some people wondering about the timeline of the episode - how Gendry could reach Eastwatch, then send a raven to Dragonstone, have it reach Daenerys and have her travel up to the island on the frozen lake, all while Jon and his allies are still out there. It’s a great pairing of those two emotional reactions. And then we cut to Jon, who is filled with fury. I think she did wonderful work, given that she was working off of a tennis ball in that moment. Of course, that emotional cross-cutting ends on Emilia, because it’s her baby that’s gone down. So much of it is cross-cutting the faces as they watch this action unfold, so we have reaction shots all along the way from the moment of impact, barreling toward the water, and finally sinking into the ice. ![]() There are some shots that were deliberately elegiac and emotional, like when he slides into the water. We provided the shots where we knew the dragon was going to be impaled and crash. How much of the onus is on Emilia Clarke and the other actors to convey the necessary emotional weight of losing a dragon? ( Laughs.) It’s an emotional moment when you kill a character that’s flesh and blood and human, but killing a creature that’s beloved the way dragons are? I knew it would have impact and be a game-changing thing. I knew that killing a dragon was going to be like killing a puppy. As a director, it’s great when you have a moment like that, because you know it’s going to have an impact when a character has been established in a way that you’ve been invested in them. ![]() I killed Ned Stark, I killed Julius Caesar, I killed Wild Bill Hickok, I killed on The Sopranos … I don’t think I’m forgetting anybody. I have a history of killing beloved characters on HBO shows. Well, when I read the script for the first time and realized what we were about to do, I was very grateful. That's not quite the message China's authoritarian leadership - beset by its own palace feuds and tales of vice and corruption - would want internalized through its own realm.What are the challenges involved in filming the death of one of the longest-running and most beloved characters in the series, albeit a character who doesn’t have an actual physical form? And the kingdom's subjects - its " small-folk" - are all hapless pawns within it. In "Game of Thrones," after all, earning the right to rule is a game. Joffrey's rule as monarch is preserved only through the cynical alliances made by his grandfather Tywin Lannister, a brutally Machiavellian figure in the series. ![]() We learn that Joffrey, an odious princeling who assumes the throne after the death of his putative father, Robert Baratheon, is actually the product of incest among the powerful Lannister clan. Moreover, the show reinforces over and over in the viewer's mind just how unnatural and manufactured the centralized authority of a high king is. The TV show compels you to root for separatists - the charismatic, stoic Starks of the North - who are trying to split away from the tyranny of the capital. In "Game of Thrones," the centralized state - the united Seven Kingdoms of Westeros - is an entity balanced on a thread, forever vulnerable to the whims of the power-brokers of the land. ![]()
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