Game of Thrones director Alex Graves talks directing the Purple Wedding

You mentioned Cersei and Brienne, and when I interviewed Dan and Dave before the season, they said one of the things they liked about the sequence was that it allowed them to put together characters like those two who had never met before, and you had actors who hadn't worked together before, and in some cases may not have met. What was it like on the set, all these new pairings?

Alex Graves: It was a real blast, because they're all really wonderful. We were in Croatia, and everyone was excited about what they'd be doing next. It was really fun for them. I think Lena (Headey) and Gwen (Christie) were totally giddy that they got to do a scene after we all know, and Cersei presumes, that Brienne and Jaime have — whether you'd call it "love" or not — a very strong connection.

How many days did it take to film the reception, and what percentage of the episode production was that?

Alex Graves: We shot that scene for five days. I shot four episodes over 101 days, so I can't tell you how many days that episode actually shot, because it was all mixed up through the 101 days.

What was the atmosphere on the set like for Joffrey's death scene? Was that actually Jack's last day of filming, or did he have more to do?

Alex Graves: No. The line producers, as usual, were brilliant, in that they scheduled it so that he had more work in Belfast after that. So I followed their lead and scheduled the shooting of his death to be the day before we were done in the sequence in Croatia. So basically, we killed Jack, checked the gate, went home and came back the next day to do more shooting with him alive. And it actually took some of the pain out of it, because we could joke around about it. We had a lot of fun, and there were some laughing fits while we were doing the choking. Certainly, whenever Jack said, "This pie is dry," Lena and Peter could not keep themselves together — they would burst out laughing every time he said it. So everybody managed to make it fun and pleasant. It's hard for it not to be fun and pleasant, because in a cast of incredibly nice, professional people, he's actually the nicest and most professional. He's amazing.

The sacking of Astapor has already become this iconic sequence. How difficult was that for you to put together, given that it's practical action mixed in with a lot of computer effects?

Alex Graves: It's very complicated, and I started prepping in Morocco two or three months before. In a way, it wasn't complicated, because all it really was, and I think it's true of any scene we've had on the show, which is, "What's going on with this character?" The whole thing was making sure you understood her experience, which was "I'm not relying on anybody. I'm playing a huge gamble. I don't know how it's going to go. No one knows what I'm doing, including my own guys." And it starts to unfold and work, and then she takes it. And at the end of the day, no matter what you plan, you can never equal what Emilia (Clarke) gives you. It always gets finished off with a cherry on top because she's in it.

How do you make the action look as good as it does in the time you have?

Alex Graves: You work morning, noon and night. You do nothing but work on the show seven days a week. And you have, more than anything, great texts, and the best group of people you could possibly have ot make it, who are just as passionate about it as you are. I'll tell you, the biggest fans of the show by far are the people who make it. They love it, and they're very precious about it in a great way, and I think that comes off on screen. Really, you do your best, and you have a lot of wonderful people to lean on.

Logistically, how does it work filming pieces of episodes in different countries? Since you're doing back to back episodes each time, do you film all the Croatia scenes for both in one stretch, or are you going back and forth to just do the parts of episode 2, and then episode 3?

Alex Graves: The schedule's built entirely around the idea that we're in Belfast filming locations while we build sets. When we're done in Belfast everyone goes to Croatia, the sets are being built. When you're done in Croatia, you go back to Belfast and start shooting on all the new sets. You're prepping Iceland while you're in Belfast shooting. You were in Belfast at the beginning prepping Croatia, and if there's a third time, you're prepping that. Normally what I would do is shoot four or five days a week, then get on a plane the next morning, fly to Morocco, prep for two days, fly back, and keep shooting. It's really built shooting everything out location by location and continent by continent.

more of the interview at the SOURCE

so can we talk about how much they're fucking up both jaime and cersei's characters this season?? not even their relationship but just both characters individually.
idk i'm one of the very few people who genuinely loves all three lannister siblings and i wish they understood jaime and cersei as well as they understand tyrion