GOT Season 4 finale, biggest most shocking episode filmed yet

TVF:Why do you think the wedding scene needed to be so long?

AG: I think that in their world and in character, which is always where the guys are writing from, it’s really Ty Lannister’s very public celebration of his victory in the war of the Five Kings…it’s almost like the Kennedy family or the Bush family shoving it in your face and saying ‘We’re still standing.’ It’s a kind of celebration, the characters are mingling and, something that I’ve gotten a lot of comments about, you start to go ‘why on this tightly written show are we sitting around chit-chatting’ and it really makes you feel nervous like something’s going to happen.

TVF: In a broad sense, how would you characterize this current season of Game of Thrones? Do you see it as different or is it just a continuation?

AG: It is a continuation but it is escalation. It’s a turning point. It’s unlike any season and it’s certainly larger than any season we’ve ever made and what changes in it is huge and I think episode two is the smallest episode. And then it’s the biggest finale ever made because there are huge changes, amazing sequences and some of the best writing you’ll ever see. And it’s the most incredible to do and everyone is really happy with it. I will tell you, I’m not exaggerating.

TVF: What can you tease about this week’s episode? I know Joffrey’s death is going to affect a lot of different people.

AG: I think several things happen. Obviously, Joffrey’s death, like any death on the show, is a beginning and you start to see that. You start to see Cersei’s state of mind [and that] is very much a part of next week. Sansa Stark escaping King’s Landing with a bizarre twist that is the beginning of, really, her adult story on the show and Sophie [Turner] is incredible and going forward in the season as a grown-up. And then the show stopper is Daenerys, who arrives at the city of Meereen and teaches them a lesson or two.

TVF: Is there an advantage to shooting two episodes back to back?

AG: You shoot based on location and there’s no rhyme or reason to it. You just have so much mapped out in your head that you go ‘okay, I know where I am’ and you communicate that to everybody and the actors.

TVF: Has that been an adjustment for you to work that for this show? It’s definitely different than what you did, say, on The West Wing.?

AG: In a weird way, a lot of directing is designing road maps and arcs and where you are at certain points throughout the narrative and the thing about Game of Thrones is it’s a little easier because the scripts are written in advance so when you go in you’ve read all ten episodes and that’s a real advantage to most shows, including West Wing where you might not have a whole script let alone what the next episode is.


hmmm @ sansa's "adult" story" tbh.