![]() ![]() Well, they pulled a fast one on the director, then. You see Longclaw’s eye is white, and then it reveals a pupil when Jon emerges from the water. I thought so, too, but I went back on HBO Go, and it’s real. I think that’s a fan-created moment, I have to say. ( Laughs.) That’s our fan base working very, very hard on our behalf. The episode ends on the dragon’s eye going ice blue, but some fans have noticed a different shot of an eye: one in which the direwolf on the hilt of Jon Snow’s sword Longclaw opens its eyes. 'Game of Thrones': What That Devastating Death Means for the Series Finale I’m sure David and Dan have some idea that it’s logistically possible, but for some people, it was a strain to believe all of that. ( Laughs.) If that’s the way you’re watching the show, I’m sorry it’s not working for you! I hope somebody will argue back with the exact kilometer distance between Eastwatch and Dragonstone, and just keep the argument going. But I did read one review where they could just not get over the flight time of the raven, and that ruined the show for them. We were aware that we were asking for people’s suspended disbelief - plausible impossibilities is what you’re aiming for. 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. 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? ![]()
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