Game Of Thrones David Benioff D. B. Weiss On Shocking Season 6 Finale. SPOILER ALERT: This story contains details of last night’s Game Of Thrones Season 6 finale. David Benioff & D. B. Weiss, creators of HBO’s George RR Martin novel- based series Game Of Thrones, opened their final episode with a bang and provided enough shocking twists, bloody score- settling and power plays in a series record long 6.

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Battle Of The Bastards. That episode brought us a battle between forces commanded by Jon Snow and Ramsay Bolton that was one of the most ambitious production feats ever seen on a TV screen. Last night, the field vying to rule the Seven Kingdoms got smaller; the raised- from- the- dead Snow’s birthright was revealed, and new alliances were forged, with the icy Night King and his undead horde serving as the looming doomsday menace. Here, Benioff & Weiss — who this season didn’t have Martin’s books for a road map for the first time — discuss the finale and how it sets up for Season 7. DEADLINE: Before we get into last night’s season finale, let’s spend a moment on the previous episode, Battle of the Bastards, which pitted Jon Snow against Ramsay Bolton.

Game Of Thrones has always been distinguished by unforgettable battle scenes, from Blackwater to Jon Snow’s clash with the Night King and his White Walkers. Battle of the Bastards was a high water mark as Ramsay badly outmaneuvered Snow with a ruthless strategy to use his archers to create a wall of bodies — comprised of his infantry and the enemy. He then choked the survivors with a line of shield- bearing soldiers with long spears, pressing forward with deadly precision. That strategy seemed too scary to not have been used successfully. Alexander the Great? Julius Caesar? What was your inspiration?

WEISS: There were lots of inspirations for it. One of the things we realized going in, the period of the great costume epics were over by the time the 7. You’d see big amazing costume period drama battle sequences, and scenes that were gritty and realistic, but there’s never really been a medieval battle with scale and scope, with a few small exceptions. Actually, I wouldn’t call Gladiator and some of those films small exceptions; obviously Ridley Scott is the one who has done most of it. But the combination of the true brutality of that kind of conflict, and the scale and scope of that kind of conflict, we felt there was a niche there.

We could maybe do something new, if only because we were in a position to have the scale and scope of the whole thing and to really give us a sense of what that kind of conflict really felt like, on the ground. Which, from all historical accounts, was truly terrible. DEADLINE: There were unforgettable images of Jon Snow, hacking away with his sword, bodies flying in chaotic war action all around him, and then he’s buried by a wall of bodies, suffocating. What’s the most difficult part of shooting scenes like those? BENIOFF: The hardest part is the horses. They make everything difficult and more complicated. They’re dangerous to themselves and the people around them, and they have their own minds and don’t take direction as well as people do.

WEISS: Or dragons. Watch King Ralph Online Hitfix there. BENIOFF: We’re lucky we have a brilliant horse mistress, Camilla Naprous, who has been in charge of the horses since the first season. She has always said, c’mon guys, give me something more interesting to do this season. We thought we’d really throw a challenge at her and give her Battle of the Bastards. So much of it comes down to the preparation.

'Game Of Thrones' David Benioff & D.B. Weiss On Shocking Season 6 Finale And the clashes ahead. Directed by Scott McGehee, David Siegel. With Julianne Moore, Alexander Skarsgård, Steve Coogan, Joanna Vanderham. In New York City, a young girl is caught in the.

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We have amazing stunt performers and in Miguel Sapochnik, a director who’s so good at spending hours and hours and hours on every shot beforehand, so that he knows exactly what he wants when he gets to the battlefield on the day. We only shoot ten hour days, so you have to pack a lot into those ten hours. I’ve never seen a director so meticulous in his preparation as Miguel. It pays off when you see what he gets onscreen. DEADLINE: How many moving parts, people and horses are involved?

WEISS: There is a lot of CG. There are 5. 00 extras and 5.

DEADLINE: Neil Marshall directed the Blackwater episode and had been serving up frightening imagery for years when you tapped him. How did you know Miguel prove he was ready for Battle of the Bastards and would convey the terrifying fear, adrenaline, and gasping for air as the enemy closed in and Jon Snow’s forces were trapped? BENIOFF: This year, we went in with a lot of confidence because Miguel had done Hardhome the year before. DEADLINE: That was the attack by the Winter People on the Wildling village.

BENIOFF: That was a fantastic battle episode, so we knew he’d have the vision for this type of thing. He was working with his DP Fabian Wagner, who also did Hardhome, we went in with a lot of confidence.

It was scary going into Hardhome, when we hadn’t worked with Miguel before and didn’t really know him that well. It’s a bit of a gamble. He came in with high recommendations from people who’d worked with him before, saying how meticulous he is in preparation. It’s always a little bit of a crap shoot.

We won the lottery getting Miguel, a director who proved just right for the material we gave him. And he was incredibly collaborative. The three of us spent a lot of hours together, talking over everything. Control Factor Online Putlocker. DEADLINE: You wrapped up a lot of character arcs in these last two episodes. Which characters did you find most fun to write this season? WEISS: It’s great, because things have finally, in the past season or two, started to contract in a very positive way. It was such an expansive world for such a long time.

Obviously, we’ve had to say goodbye to a lot of characters and storylines we loved a lot. The ones that are left are ones we’ve been engaged in so long. Writing for Maisie [Williams] is always great, writing for Peter [Dinklage] and Emilia [Clarke] is great, especially now that they’ve come together in the same story line. Writing all the stuff for Kit [Harington] and all of the epic stuff he went through to get to now. There isn’t anyone left we don’t love writing for, because we’ve been writing for them, for so long. We know then so well at this point. DEADLINE: It seems like every time Cersei settles a score, she pays a high price.

She empowered the religious fanatics to get back at her disrespectful daughter in law and her brother, which led her to be humiliated in a prison cell and culminated in her nude walk of shame. Last night, while The Mountain is introducing himself cruelly to Cersei’s former tormentor Septa Unella, it meant he was not babysitting Cersei’s distraught king son, and the kid jumps out a window to his death.

Now, she is out of heirs. What is your sense of Cersei as you’re writing her? Is she heartbroken over losing her children? Has she got any heart left?

BENIOFF: We had intended the connection you just made, so we’re glad you made it. If she had been more focused on her family, and less on enjoying her revenge on someone who had done her wrong, then Tommen’s suicide probably never would have happened. DEADLINE: She has lost all her children. Is her mindset now to just be a ruthless ruler? WEISS: Not to give a frustrating answer, but that’s what so much of next season is going to be about; finding out what Cersei’s mind- set is.

Who is she? While Cersei has certainly done a lot of horrible things in her life and she could be a very cruel person, the one thing that was redemptive about her was that she genuinely loved her children. Now they’re all gone, and I think that is very interesting for us. Who is she without her children? The answer is something you’ll find out next season. That’s so much of what is to come that I’ll just give it away if I start delving into it now. DEADLINE: Arya is disguised as a young servant girl when she kills Walder Frey.

At first, she glanced seductively at Jaime Lannister. Was Arya targeting Jaime, and when he didn’t respond, she took out the man who killed her mother and brother in the Red Wedding?