‘Game of Thrones’ Director Alan Taylor on Romance, Dragons and Ravens

So how quick are those ravens anyway?

I’ve usually looked during one examination online, and it was unequivocally most endangered with a speed of a ravens. we thought, that’s humorous — we don’t seem uneasy by a lizard as large as a 747, nonetheless you’re unequivocally endangered about a speed of a raven. It is loyal there are time issues, and I’m not accurately certain how many kilometers there are between Eastwatch and Dragonstone. But it was a bit dull to hear somebody who said, “I can't suffer this part because, we know, that speed of that ebony … ” There’s was a lot of smashing things going on here and if it unequivocally gets that most in your way, that’s not good to hear. But that said, Gendry’s a unequivocally good runner. [Laughs.] Ravens go super fast. And who’s to contend how most time passes on that island, given it’s always arrange of an almighty twilight north of a Wall? With those 3 ideas in mind, we consider we can lay a timing concerns to rest.


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How have things altered during “Game of Thrones” given we final worked on a show?

It’s turn a tellurian thing, that it positively wasn’t when we was there a initial time. And a scale of a activity is amped adult so much. Everything has gotten bigger, partly given HBO is giving it some-more income and partly given we have dragons growing. So a scale of what we were doing in a solidified lake was distinct anything I’d ever gifted in television, where so many shots had to be composites of 3 or 4 shots to grasp a effects.

The glow north of a Wall was separate between Iceland and Belfast. What happened where?

All a walking and articulate and roving was by Icelandic landscapes, and a capturing of a wight was in Iceland. So there was regard that we could lift off something so stunty, given when you’re in Iceland it unequivocally is a riotous production. You’re carrying things in by foot; actors are carrying camera cases. So it’s tough to lift off large movement sequences with prosthetics and glow and all that stuff. The transition comes with a solidified lake, that was a 360-degree set combined in a chase outward of Belfast, where a ice outcome had to be confirmed any day and it seemed to go on for a unequivocally prolonged time. [Laughs.] We were there for weeks and weeks of nearing before a object comes adult to see, What kind of continue are we removing today?

I’ve talked to a few “Thrones” directors, and it sounds as nonetheless a dragons are always complex. But was there maybe a some-more startling aspect of this part that gave we anxiety?

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It’s not a 0 sum diversion — there’s an gigantic supply of anxiety. So we had copiousness of stress about a dragons, mostly about a layers of sharpened we have to do to build a dragon moments. But a bigger regard was, is this going to feel emotional? Are people going to caring when a visible outcome dies? But we was some-more freaked out about things like, we’ve got 8 pages between Sansa and Arya and they’re only station there talking. How are we going to make that alive? It helps that you’ve got good discourse and actors who totally know their characters. The actresses we knew when they were kids in Season 1 have grown into such smashing actors; they lift it with so many layers, and we unequivocally feel a tragedy changeable between them in a good way.

You destined a penultimate part of Season 1, in that Ned died and Jon got a Mormont sword. Both things came adult Sunday’s penultimate part of Season 7. Was that a unwavering constructional parallel?

There’s always been this grand arc storytelling in mind that reveals itself occasionally. We were going to blow a universe open with a genocide of Ned Stark, separate things to a winds, and afterwards be a story of all entrance behind together again. So a story will plat tighter and tighter together, and those characters will reconnect, any one carrying lived a kind of full, three-dimensional, mostly horrific life. It was fun for me to be there and have Arya speak to Sansa about that day when they watched their father die, when we was there with them on that day when those dual small girls watched their father die. It felt like a good arrange of shutting a round for me to be means to regulate over their reconnecting. But that’s going to keep happening, and be circuitous tighter and tighter into a subsequent season.

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Is a Daenerys and Jon Snow intrigue unavoidable during this point?

Yeah, we consider it’s kind of tough to see that not happening. When we were sharpened Season 1 and no one had seen a uncover yet, we were in Malta. Back then, there was not a lot of privacy given nobody was profitable attention, and George R.R. Martin came to revisit and he was being utterly open about his plans. He pronounced something: That it unequivocally is all about Dany and Jon. we was astounded given during a time, we know, we thought, good Robb Stark’s going to be aristocrat next, probably. And who knows where this story’s going? But it was positively transparent to him that within this sprawling scale a whole story was entrance down to this partnership.

So yes, we’ve seen them take a large step in my episode. And we adore this impulse between them where we can arrange of see it welling adult for Dany, and it was good pursuit by Emilia [the singer Emilia Clarke] of arrange of feeling it and roughly descending into it and sketch behind from it. But yeah, it’s gonna happen.

So we’re only anticipating everybody’s cold with a incest thing?

Oh, we know, it’s worked for Cersei and Jaime. [Laughs.] Nothing went wrong there.

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