3
- il y a 12 ans
La saison 5 de Game of Thrones sera diffusée en US+24 sur OCS City dès le 13 avril. En attendant, découvrez son making-of : 25 minutes d'images inédites dans les coulisses du tournage en Croatie, en Espagne et en Irlande !
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00:00OCS, vous êtes fan, nous aussi.
00:04Game of Thrones, saison 5, le 13 avril sur OCS, 24 heures après sa diffusion aux Etats-Unis.
00:30Même si c'est une TV, c'est une TV à une scale qui est plus loin d'un autre.
00:39C'est la TV TV le plus succès dans le monde.
00:42C'est spécial.
00:44C'est très, très spécial.
00:49Aujourd'hui, on a shooting en Croatie, on a shooting en Belfast,
00:53et on a préparé pour la shooting en Seville, en Espagne.
00:56En tout cas, vous avez besoin d'aider, parce que le show ne peut pas s'arrêter.
01:03Je pense qu'on est le seul dans le monde qui s'arrête avec deux unités,
01:06au même temps, toute saison longue.
01:09Si un de ces spokes dans le roule est missing, c'est qu'il va s'arrêter.
01:15Et... action !
01:40Sous-titrage Société Radio-Canada
01:43Et je suis le producteur de l'Union européenne pour la Croatie et l'Espagne,
01:46et ce qu'on appelle aussi les locations sud-est,
01:48pour Game of Thrones Season 5.
01:51C'est ma deuxième season.
01:52J'ai fait la Croatie l'année dernière,
01:53et l'année dernière, nous avons évidemment l'Espagne,
01:56donc j'ai le producteur de l'Espagne.
01:58Et même si l'année dernière était grande,
02:00c'est encore plus grand.
02:06Je m'appelle Chris Neumann,
02:08je suis le producteur de Game of Thrones.
02:09J'ai réalisé la fonction de planer comment les deux unités fonctionnent,
02:13et j'ai drifté entre les sets, les locations et les différents pays.
02:16Comment est-ce que c'est l'année dernière ?
02:18Oui !
02:19Oui, c'était bien !
02:20C'était vraiment bien !
02:21On commence à la fin de juillet,
02:2399% de l'équipe a été ici avant,
02:25donc quand on commence à jour 1,
02:27c'est l'année 301,
02:30c'est une bonne façon.
02:31Comme ça se passe ici,
02:33en Spanien,
02:34nous avons Peter,
02:35qui s'appelle Fresco Films.
02:36Il est nouveau à l'année dernière,
02:37donc il ne sait pas comment manique il peut être.
02:44Je m'appelle Peter Valter-Soler.
02:46Je suis le producteur de l'Espagne de l'Espagne.
02:48Le production booklets,
02:49nous avons deux semaines avant tout le monde arrive,
02:53et puis deux jours après,
02:54nous commençons à faire le film.
02:55Je ne sais pas si je dis que le stress niveau n'est pas augmenté,
02:58car évidemment,
02:59c'est très important pour nous.
03:01Nous faisons ça pour la première fois,
03:02nous voulons tous les gens,
03:03nous voulons faire un travail.
03:04Nous voulons faire un travail.
03:05C'est peut-être pas le calm avant la storm,
03:07c'est le réhearsal avant la show.
03:18Nous sommes venus de notre base
03:20à Dubrovnik,
03:21dans le old town.
03:23C'est très différent de la ville de Belfast,
03:25car la logistique de la ville est très différente.
03:28Un des problèmes logistiques de Dubrovnik
03:30c'est que c'est un petit,
03:31petit, petit,
03:32que nous ne pouvons pas mettre nos grands véhicules
03:34dans la ville,
03:35car les streets sont très narrow.
03:36C'est juste un des challenges
03:37que nous faceons,
03:38en une ville comme cette ville.
03:48C'est un des problèmes de soin.
03:48Vous ne pouvez pas prendre des véhicules
03:49dans les vôles,
03:50donc tout doit être pris par Sherpas
03:52à une location aujourd'hui,
03:54qui est probablement
03:55l'un des trombes et triccées
03:57que tu peux aller dans la ville.
03:58Un petit truc que j'ai à moi pour moi
04:00est que ne devons pas y aller
04:02en bas ou en bas ou en bas.
04:03J'ai juste un peu de stairs
04:04à la top.
04:05Sous-titrage Société Radio-Canada
04:35C'est parti !
05:05Boom, I've decided I will not have them.
05:09Or do you want it to kind of be like a...
05:10No, I think it's more gentle.
05:11It's gentle, it is gentle.
05:12Okay, lovely.
05:13Yeah.
05:13I have shot mostly in Belfast.
05:16I have shot several days in Croatia.
05:18And I'm going to shoot in Seville.
05:22Teach them a better way.
05:23It sounds like something Jorah would have said.
05:25Moving to a foreign country on this show
05:26is not as disruptive as you might think
05:29because one of the two crews
05:31that you've already worked with here
05:33goes there.
05:34So the first thing that happens
05:35when you walk on the set
05:36is that you see familiar faces.
05:38My priority today is looking after Amelia
05:41because she's come from Croatia.
05:43So we're matching continuity to that country.
05:45They send their photos to us
05:47so that we can do the same as they've been doing.
05:50There's two departments filming at the same time
05:52so it's imperative that things like wigs,
05:54continuity photos,
05:56all travel together
05:57and that every member of the team
05:59is aware of what the look is
06:00because if we do have to take over someone's artist
06:02we know exactly what we're doing
06:03and there's no mess-ups
06:05when we're watching the show, hopefully.
06:07Let's do one for camera, please.
06:08OK.
06:10Let's have it quiet for rehearsal, please.
06:12That means everybody in here, thank you.
06:15Action.
06:16The only thing that gave him pride
06:18was knowing there was someone lower than he was.
06:30Morning.
06:32Morning.
06:33Good.
06:34Morning, Duncan.
06:34Morning, Ms McGuck.
06:36Oh, I want to talk to Peter today
06:39or maybe you can
06:39since you're speaking with him.
06:40Peter Wilton?
06:41Yeah, no, I'm talking with him.
06:42About Cordova Bridge and the drone.
06:44As far as I'm concerned,
06:45Bernie is Game of Thrones.
06:46I've never met a producer
06:47that cares for a crew as much as she does.
06:50She's an incredible woman to work for, actually
06:52and everybody loves her
06:53and she keeps everything together.
06:55And do they want a clear place in that
06:56so the bridge has to be closed?
06:58That's, I'm checking on.
06:59Along with David and Dan,
07:00she's the executive producer.
07:02David and Dan are obviously, you know,
07:03they're the creators of it.
07:04It's their baby.
07:04Bernie is the one that keeps this show running.
07:07Sometimes David and Dan will be with us.
07:09Sometimes they are separate
07:10so that they can both be on the set
07:12depending what the scene might be.
07:14We'll watch rehearsal,
07:16give their notes on the scene,
07:17and then a lot of times we're discussing
07:18what is in advance, as you can imagine,
07:20with ten episodes that we're constantly prepping.
07:23Much like our characters,
07:24we will go from the amazing Daznek
07:27right into the amazing Hardhome.
07:29I usually have a nice list for them every day.
07:31They almost cringe when they see me
07:33starting to come towards them
07:34and open my book to start asking my questions,
07:37but they're fantastically collaborative
07:39with all of us.
07:41Today they're having a big Hardhome meeting
07:43up in Belfast.
07:45They got the notes?
07:46Yes.
07:46Good.
07:47When we're shooting in different countries,
07:50it's about a constant communication
07:51between the producers in each country.
07:53I'm going to follow Nutter over to Spain early.
07:57You're staying here through Ilario's, right?
08:00Are we doing a charter too, Sevilla?
08:02We are, yes, but I'm going to leave ahead of time.
08:04Yeah, which goes on the 8th.
08:05I'll go in the charter this time.
08:07There's a seat for me.
08:08There'll be a seat for you.
08:09There's always a seat for me.
08:09You can have Bernie's seat.
08:11Yeah, there you go.
08:11In a week, we will all take off in a charter
08:15to go to Spain,
08:16and that is now starting to come very close.
08:19After they have their big scout today,
08:21then we'll have more information to go off of for that.
08:28We're in the royal palaces of Seville
08:31called the Real Alcázar,
08:32which are palaces built by Peter the Horrible
08:34in the 13th century.
08:36It's one of the most visited monuments in Spain.
08:39the Alcázar will be like the water gardens of Dorne.
08:43Since Dorne is a new world that's just come into the show,
08:46it was introduced in the fourth season,
08:47but we didn't really see it.
08:48Now, in the fifth season,
08:49they will finally get to see the kingdom of Dorne.
08:52Buenos dias.
08:54Good morning.
08:54Once again.
08:56It is difficult to shoot in a place like that
08:57because it was obviously not built as a set,
09:01but built for a purpose,
09:02a different purpose than ours.
09:03How do you know the issue of the soil
09:06and the platform?
09:07Some of the places,
09:09as you've seen the balcony, for instance,
09:10I mean, you can't possibly get some of the gear up there
09:13because the staircase is too narrow,
09:15so we have to get a crane in,
09:16Jeannie Bloom's cranes, platforms,
09:18in order to hold that material up there.
09:20Claro, that no solo va a estar por aquí,
09:21sino que va a pesar por todo lo sitios,
09:23entonces estamos chiquando un poco todo.
09:24No, no, luego para bajarla es fácil,
09:26la tiramos y ya está.
09:27Ya está, a la piscina.
09:28No, no, cuando se quiga, esto va a debajo, ya está.
09:30No, no, hombre.
09:31A ver.
09:32Lo que estamos buscando es el culpable,
09:34por si ocurre algo.
09:34Es difícil.
09:36Ya.
09:37Ok.
09:38Es no, like, a back lot studio shoot.
09:40First and second shooting day is up here,
09:42and then we move down to the garden.
09:44We'll get control of the garden, I'm assuming.
09:46As far as you told me,
09:47we have the entire garden area for us, correct?
09:49Ya, so I hope it's enough.
09:50Pretty amazing.
09:52They have, like, an average of 8,000 tourists in here every day.
09:55To see it, like, empty, and have it just for us,
09:58it's just a privilege.
09:59Wherever you go, there's always going to be a challenge,
10:01because you're in a new place, both culturally and logistically.
10:04We'll have to find a compromise where we can work together with the palace,
10:07whereas the foreigners coming into their country,
10:09trying to put this project together.
10:11I have to say, they're being extremely nice, which is,
10:13so we need to make sure that our, which they always are,
10:17but our crew are very careful in this delicate location.
10:21What they're doing for us is unique as well.
10:23Exactly.
10:23It's never been locked off like this for anybody.
10:25All right, shall we go and check?
10:26Sure, yes.
10:27Because I think we're running a bit late now.
10:29Ya, behind.
10:39We're now driving up to a little village called Makamorn,
10:43in which there is a quarry that's been there for a number of years now,
10:47and in season one, we built the set of Castle Black there.
10:52Because there's a lake in the quarry within season two,
10:54we built the battlements of King's Landing for the Battle of Blackwater,
10:57with Stannis' boats attacking.
10:59It's still standing, although it's looking a bit worn these days.
11:03Now we're driving up to have a look at a set which is mid-construction
11:06of a fishing village set north of the Wall.
11:08We'll begin to see how that's taking shape this morning.
11:12The set that we see down here, it's a fishing village that is a protected fishing village.
11:17It's not a military establishment.
11:18It was designed to be somewhere where people had a living off the sea.
11:23So we needed the water, which is why we put it on the edge of the reservoir here.
11:27The fantastic thing about the hard home set is we're building something that is so far north this time,
11:34that what we get to do is create a fishing village that is exactly as the name describes.
11:38It's hard home.
11:39What we've been doing both in concepts and in models is looking at the location out in Magrimorn
11:45and created what we need for the action, which is a long house in which a lot of action takes
11:51place.
11:51And then we have the landing area, which we're able to use the lake that exists in Magrimorn.
11:56And so through having those sort of necessary requirements, we can then build this sort of tense city that will
12:04be created out there.
12:05So I have this good idea, which I need to pitch I guess, which is to hold on to that
12:12shot.
12:12The director can now see the bones of the whole set.
12:15So he's going to walk through the set and start mapping out where all the things that he's imagined will
12:21take place.
12:21If the plan to do that shot is, it's from the bonus point of view, so it's looking through the
12:25fence.
12:25So anything at this point that the director would like to change, this is the time that he has to
12:30turn around and say,
12:31well, could I put the door on the hut over here and could I have this a bit higher or
12:35so on.
12:36Good. So, yeah, are we good with this?
12:38Yeah.
12:40Rock and roll.
12:41So, shall we have a look at this over there?
12:42Let's see if that works.
12:44Game of Thrones is a big event and what you mustn't do is get put off by the bigness of
12:50it.
12:50The thing to do is to come in and say, all I've got to worry about is the 16x9.
12:55What's in that frame?
12:56It must be like parachuting.
12:58Don't worry about the height you're jumping.
13:00Just make sure the parachute works.
13:11Today we've got about 128 extras out and then everything that goes with that, which is the extra hair people,
13:18make-up people, costume people that have to deal with all of that.
13:21Crowds start dressing about five o'clock this morning and then just in conjunction with hair and make-up, we're
13:26just sort of working around each other and then everybody travel to set about 7.30 to be on set
13:30for eight.
13:31Just need to set your blankets off, guys, so we can look at your costume, please.
13:35Mark Milord is the director and he's now going to select the extras that he wants to feature in the
13:40scene.
13:40Here's this gentleman and one of the ladies.
13:43It changed a bit this morning because people had to look a bit poorer than we'd originally intended.
13:48I'd just like to maybe darken a couple of teeth or something and bring your teeth back and I just
13:52wanted two of those and maybe the skin's pretty good, just a little less healthy.
13:57And so it was a bit of a scramble trying to get everybody broken down enough to look a bit
14:01poorer than they had done.
14:02And it's still happening, people are still getting turtied up as we speak.
14:06Thank you guys.
14:07Brilliant.
14:07Well done.
14:07Thank you.
14:10We had more than 86,000 applications to be a background extra in the show.
14:18People from not only all over Spain, but all over Europe, even from California, from Argentina, from South Africa, wanting
14:25to come to the casting, wanting to be part of Game of Thrones.
14:29Hello.
14:30How are you?
14:31Good.
14:31Peter.
14:32Buenos dias.
14:33Buenos dias.
14:34Buenas tardes.
14:35Buenas tardes.
14:36Buenas tardes.
14:36It's afternoon.
14:37Maybe you just got up, but no.
14:39I just had a siesta.
14:41Okay, then it's good morning again.
14:43Thank you.
14:44There's going to be about 1,000 costumes to do 600 extras.
14:46Because it's such a major operation, we're doing something like 50, 60 fittings a day, which normally we do 30.
14:51We fit everybody here, males, females, in and out.
14:54We do guards, slaves.
14:55There's a rogue slave.
14:57There's a slave over there.
14:57Hello, slave.
14:59They process down here, and these guys put on the hair.
15:02Gina puts on makeup, and they do their magic.
15:05We're moving around very quickly.
15:07We're shooting in three or four different places, all straight after each other.
15:11But we have to go in advance and prep 600, 700 people, all ready for a camera that moves behind
15:18us.
15:18We're basically set here.
15:19I like when things are just smooth.
15:33We've got Lena Headey and Jonathan Price today.
15:36We're shooting a scene here from episode three, which is what we're calling the soup kitchen, which is a kind
15:42of run-down area of behind the set of Bela.
15:45And it's a scene where Cersei's looking to have a conversation with a high sparrow, who is a whole new
15:50character.
15:51We've got a beautiful courtyard, which is actually a former convent, and we are disguising it with a lot of
15:57awnings and a lot of ground cover on the floor.
16:01And it's supposed to be a really shocking place where Cersei encounters the poverty that she has managed to ignore
16:07for most of her time living in King's Landing.
16:09I'm standing there looking butch and march.
16:11I do a lot of that.
16:13Just about.
16:17That's it.
16:18That's it.
16:19No, that's it.
16:21If I jiggle, I sound like jiggle bells, so I can't actually move.
16:23I'm not allowed to move.
16:24I have to stand still.
16:30From walking about, we're in every street there is.
16:34It's only started a few days ago, so we haven't been here long enough yet to really cause chaos, but
16:40it'll come.
16:40Dubrovnik is understandably a big tourist attraction, so you're normally fighting through, fighting through the crowds.
16:47That's been a difficulty on the sets.
16:49Rolling.
16:50Nice and quiet.
16:54Roll camera.
16:55Rolling.
16:56Rolling.
16:57Rolling.
16:57Rolling.
16:58Sound speed.
16:5917 Lentil, take one C mark only.
17:02And action.
17:07I don't think this is a good idea, Your Grace.
17:09Nonsense, man.
17:10These are deeply religious people.
17:12Where can I find the High Sparrow?
17:25Cut!
17:26Cut!
17:26Cut!
17:27Cut!
17:28Cut!
17:28Cut!
17:28Cut!
17:28Cut!
17:29I can't believe you did that!
17:31Are you all right?
17:33All right.
17:33We're on strike.
17:34No, we're on strike.
17:35Come on.
17:36You get into the...
17:37I like it.
17:38See how you like it.
17:43No?
17:44Cut!
17:46I can't even lift.
17:47I can't lift my arm.
17:48It's like a T-Rex.
17:49Come on.
17:50Come on.
17:50Come on.
17:51Come on.
17:51Harder, man.
17:51Come on.
17:52Harder.
17:59Belfast remains the heart of the whole thing.
18:03It's a major city, so we have all the things that a big film crew need.
18:08But, you know, you drive 20 minutes out of the city in the heart of the countryside.
18:12It helps with the ancient feel of the show, that the landscape has a feeling of being old.
18:17It's been worn down and eroded.
18:19And everything has that ancient feel to it, no matter where you go.
18:23You know, the woods feel old, the clifftops feel old, and the moorlands certainly look old, you know.
18:30I always like to go to the set every day, because that's been my heart.
18:34This is my 40th year in the film business, and my heart has always been in making a film.
18:38I've always loved the set.
18:40You can always kind of tell how the day is going by the way Chris is standing and looking at
18:45everyone around the set.
18:48I have no idea.
18:49Some of them look at my face and think, if it's looking very long, we must be in trouble.
18:53But that's not the case. I might be thinking about something entirely different.
18:56I always find him very calm and very relaxed, given that he's producing this massive epic show.
19:01We shoot this year 120 days.
19:04But in those 120 days, we do shoot two units, so you double it.
19:09You're effectively shooting 240 days of screen time.
19:18Today on set, I'm mostly concerned with the Valerian.
19:21We have a scene with the Valerian language in.
19:23So I'm looking after the actors and making sure that they feel comfortable within the lines.
19:27Because some of the sounds are quite tricky to get through.
19:30All right, guys. Here we go. Shooting.
19:35Let's roll cameras, please.
19:40I didn't conquer them. Their own people did.
19:48Find the men who did this and bring them to me.
19:56Let's go one more time. Hey, Sean, don't worry about holding up your mask.
19:59Go ahead.
20:03Alright, I'm Scott.