00:05Sono qui per il torneo. Il torneo è solo per i cavalieri. Sei un cavaliere? Non sono un bifolco. Però
00:12ti vesti da bifolco.
00:13La mia prima domanda è sull'adaptazione. Le storie Martins sono diverse da altre storie Martins, quindi quale scelte hai
00:24fatto per adaptare queste storie in una serie?
00:29I would say we probably made similar choices to the original creators of Game of Thrones,
00:34which was to be quite faithful to anything the Martins would give us.
00:40The novellas, unfortunately, are a lot smaller, so we're given a lot less.
00:44We have 90 pages to work with. I think A Song of Ice and Fire is trending towards 6,000
00:50pages at the moment.
00:52So we had to figure out ways in which to expand this world without changing the story.
00:59From the very beginning, speaking to George, we knew that the beginning was going to be the beginning,
01:04the middle, the middle, and the end, the end.
01:06And within that, we wanted to explore characters that we both mutually love,
01:10that he didn't necessarily write a lot for in the actual text of the novella.
01:15Lionel Barathe in The Laughing Storm is just great to hang out with.
01:20Trying to even hang out with Dunkin' Egg a little bit more.
01:24Getting to see that relationship and what it could have been if it wasn't flipped on its head,
01:29perhaps a little bit halfway through our story.
01:33And just sitting in Westeros and having a good time, hanging out, having fun.
01:38And, you know, it's an interesting place.
01:40And a lot of the other shows are very go, go, go.
01:43It's very serious.
01:44It's very the dead are coming to kill mankind.
01:47And we don't necessarily have that right from the get-go.
01:50So we just get to absorb the world through our eyes and ears
01:54and hopefully even some smells, if you can really extrapolate.
01:59Having fun in opposition to the serious matters of Game of Thrones,
02:06were you worried about the reaction of the audience to a different tone?
02:12Yes.
02:14You can't not be.
02:16And you put it away because I think as long as you're being true to the underlying source material,
02:22to the novella, our goal was to produce a faithful adaptation.
02:27And I feel that we've really done that.
02:30And I think George feels very happy that we've done that as well.
02:36But Game of Thrones has become even bigger than the novels.
02:41It's a worldwide phenomenon.
02:43I don't personally know what it is that everyone has connected so deeply with.
02:48I hope it is this odd couple pairing.
02:51I hope it's this Brienne and Pod, the Hound and Aria type of storytelling
02:56that George does so well that is really the focus of our show.
02:59But maybe it is the dragons.
03:01Maybe it is the dead coming to kill mankind.
03:03Maybe it is the politics and the higher stakes, in which case we're dead.
03:07But I hope people will give us a chance at least
03:10because we do get to some of the more traditional elements this season.
03:15but it starts off in a different way.
03:22Allora, Sir Duncan Walton.
03:31Quanto vali come cavaliere?
03:34Lo vedrai.
03:35You have character work, irony, tension, fights.
03:40Was it hard to balance all of that?
03:43It is until you realize that that's just part of life.
03:49That the tragedy butts right up against great successes and moments of happiness.
03:54You know, I know I've run through the gamut of that in my life personally in the last few years.
04:02And in the name of authenticity, I think it's important to show that.
04:05I think that's what so many people, hopefully that's what so many people connected with in the original show.
04:11Was that it didn't pull any punches.
04:13It didn't feel fake.
04:14It didn't feel like TV or Hollywood.
04:16It felt like a real reflection of
04:18bad things happening to good people
04:21and very good things happening to very bad people.
04:24I've been in Belfast recently.
04:27I did the studio tour of Helmut Rons.
04:30And I was astonished by the sets, the props of the locations.
04:35Me too.
04:36So, I was wondering watching the series, what kind of work did you make from a visual point of view
04:44to make your series unique in the world of Game of Thrones?
04:48Look, that was very important for us.
04:51One, because we have a budget probably a quarter of the other shows per minute of Westeros Television.
04:58So we had to be very particular in what we were going to show, making sure that we put all
05:03of the money on screen.
05:04But we are, by nature of our lead character, focusing on Dung, we are a little grittier.
05:11We're unpolished.
05:13We're very much of the earth, which I think people will notice immediately.
05:17We like our landscapes.
05:19There's a lot of mud.
05:21We're camping this season.
05:22We're at a tournament, you know.
05:24We're not in the lovely halls of the Red Keep, where everything is beautiful and carved stonework.
05:30We're down on the ground and it's raining and the lords and the ladies are sleeping in tents next to
05:36their servants
05:36and everybody's drunk and having a good time.
05:39So that's visually, just very naturally, puts you in a different world, but a world that also feels authentic to
05:47these characters
05:48and like we're not straining to do something different.
05:50We're just, Martin has told a different story than he usually gives you in the main series.
05:55Non c'è un vero cavaliere tra tutti voi!
06:01L'ho gestita male, vero?
06:04Ecco...
06:04Appunto.
06:05Appunto.
06:06...
06:09Exacto.
06:10Grazie a tutti
