Game of Thrones | Season 8 Episode 3 | Game Revealed (HBO)
Episode. Three was oh my, god. The, fairness, ought while as a DP a thought. If, you take hard, home and you take Bob and then take the lake and you add them together I defy by four you have episode. Three. We had 11 weeks of night shooting, so that was quite a feat for any crew to go through. We. Knew this up and so was going to be almost entirely battle, it's, all well over an hour and it's mostly action, and part, of what we cared about a lot here was getting, Miguel on board and, forcing, him to shoot 55, straight nights, okay, that's why I never haven't, want to do that again I don't, think anybody, who did that ever wants to do it again yeah that was that was tough and I don't think it was something that anybody really realized just, how hard it was gonna be the. Long night, when. I was doing it it was minus 14, just. Chillin minus, 14. In. A field. You. Know it's too cold to snow when it's too cold to snow you know you got trouble. Chris. And the rest of the team they were there day in and day out where, you would start your evening at six o'clock at night and then you'd go home and you know five o'clock in the morning, and it's just that's, brutal your body never, acclimates. To that a hundred percent by. Like week three, say. People. Looked slightly. Haunted cost. Stunts. Background. Crew. But, everybody, just looked, like. This. Is this. Is like gang into us this. Is like getting into our spirits, I'm not, gonna lie that I am horrible. We. Enjoyed. The work and I said to my guys you know you might not want, to do it again but, you won't regret doing the first time, because. The product what you've achieved is. Amazing, I think. The crew they, enjoyed the the, result is that you know you didn't do all this and think, that's, not really impressive, there's no doubt about it it's really impressive sequence, and I think the nights are just one of the things we're just gonna get through this it's just another notch in the belt as a crew on Game of Thrones that they've done things that feel quite, unique. I'm. Proud of everyone I'm proud of the work that was put in I think it was a, mammoth. Task that, we were faced with and, we. Did it and it just feels incredible, that first week after night shoot scene the crew like smiling. At the Sun what, they went through was she was pretty, stunning and look it's not you know there's no special, prize for being toughest, crew but there probably should be. Working. In the pitch dark in the rain in the mud it's a real testament, to the, entire Belfast. Prove who. Gave. Us something that no amount of money could ever buy. The. Task, that, we had which was the primary task on three is how to keep this interesting, because simply. Battle-fatigued. You know you just get bored you get exhausted. We. Really wanted to make sure we were telling a coherent. Story, with the whole thing and not just having. That'll. Be battle, beat battle beat there, needs to be a shape, to it and a propulsion, to it. It. Became clear when, we started planning it that the battle was going to be a series. Of concentric circles it. Would be walls. Defenses, failing. And the dead getting closer and closer to the center into the heart of Winterfell and taking over everything. The. Way that I concept. Episode, three visually, was to create a color scheme, that developed, saw the whole episode, so. It starts with a moon that night. Because. Larkin, brings the storm and the, clouds the, moon becomes dissipated.
And The moonlight, takes over, but in a very diffuse, kind of way. And then the next stage could be the trench going up. We. Wanted to change to be this overpowering. Light and in prep for a long time ago law was mentioning held, me it's, turning into hell for each character so. Did the blood-red fire, of, the trench takes over the image and completely. Drains out the blue of the moon until. The end because. The trench is throwing down the, moonlit Sun it gets introduced, again, so. That was kind of the way for me to to. Break it up into sections. So. You have something that's visually different so it's refreshing in that respect but. How do we take it one step further so what we decided was to, give, each act as Jana, so. Basically. Act one in suspense, and is build up and the, best way to do build up is in any sort kind of monster movie which is what this is is to not see the monster act who is actually from. The moment aria is on the back foot and enters, into the castle, that's, the horror movie. And, then. Act 3 is an actual movie. And. So, by, breaking into genres it allowed us to change rhythm, and go off on tangents will who followed specific, characters, for a longer period of time rather than worried about what was happening to everyone else. Core. Of it is the people you care about we. Want to care about the people fighting so every effort is made to make sure that you, Center that conflicts, around people you know and. So whether it's Arya's storyline. Or sons a carrying. Down the Crypt or Jon. Snow and Danny. Up in the Dragons kind. Of like all these separate little battles within the greater battle. Sorry. I'm very sorry. The. Living do you have some time to prepare for this battle I'm one of the things they know going into it is that they're gonna be outnumbered and, another, thing they know is that the whites don't, like fire so, they dig a massive, trench around the entire castle, and fill it with kindling, to. Read the word trench on the page doesn't, sound like anything but it took such a lot of work to try and resolve. It to a point that it was a convincing, method. Of defense. It. Was important, that this trench not be something that anybody could jump over so. We needed to construct these bridges that would then collapse and create, another barrier. The. Trench had real wooden spikes.
Real Wooden logs lining, throughout, the trench then. The real logs were replaced, by steel logs that could burn over a number of weeks without, burning away had. To accommodate a whole special, effects rig so. The considerations. Are enormous. In. The end the trench sort of compasses. Pretty. Much the whole of the castle. As. Trenches, go it was a good trench, and. I've done some trenches. And then the reality of how do you light. 900. Foot long thing. Full of bitumen, with hundreds, of people running our hands dumb people in it oh, I. Mean. The. Complicated, process of the trenches began, with the you know the concept of it being a first, line of defense. Therefore. It had to be impressive, had to be vey big so, we had to devise a way we, could produce a flame which is big enough for outside. Environment, so, we came up with with a system which is just a simple water trough it makes the most economical. Flame out of propane and of course you've got a thing about the consumable, part of it can't have real logs in there has to be a steel thing as, being sure that heat. In the fire I thinking we did is 900, steel logs and we did. 16. Steel troughs and, then you have to work, out how you get that amount of gas to each trough. We've got one four ton tanker. With a. Mobile. Unit which, is five ton so. If the combination of two we convert, liquid. Into the gas and, that's what gives us our gas supply, we've. Been running off the electronic, valve, system that's. Tied in with firing. Box and, each one is ignited, by an individual, gas bank in, a sequence. Uses. A lot of gas and a lot of gas. And. You, see the. Red priestess come out and light, that trench that that would be such an extraordinary moment as it just lights. Around went to film. In. Terms of imagery I always thought that was such a fantastic thing so you really were. Seeing for the first time the ice and fire meeting, so that. Was something that I thought was a really lovely. Image, to establish. I. Got. A call from Miguel. A year. Before we started shooting because. I can't tell you anything but get your endurance up now I want you to be training have. A lot to do it's gonna be night shoots we're gonna do three months of night shoots and I was just like okay. Like, I think I was like in Boston at the time like eating like cheese fries that. Our. Entire fight through the battlements, was just a real great moment, and everything that I have learned really did come down to that and I didn't use every sort of skill that I'd learned in, that fight, it's. One thing to be on the battlements but then over the top of Winterfell you've got these two staircases that, go up it's the middle section of caste elation so, we thought it would be really claustrophobic and. Dark and scary, to be in there with whites but that's when the full staff doesn't really work we all know these tunnels are very small and the last thing you want is a five. And a half or a six foot quarter, staff going, through small little alleyways so what I decided to do in this one be, able to cut it in half so be able to disassemble, within. The fight sequence, and, then have two of them so you can do this bulge in each hand which, is great and together to the understands something. Else to play with and to train with. When, the incredible things about Maisie is that she's a righty, because. Re in the books is left-handed she decided that she was gonna learn how to fight left-handed, so in season one when she's training with Syrio Forel, she's. Training with her left hand and she's incredibly, challenging but what it did mean was that she's learned how to fight left-handed, she's naturally right-handed so she's become an ambidextrous. Fighter, Maisie. Does almost all this stuff on her own, she. Had an excellent Stella woman for the for the dangerous stuff but most of it's actually amazing, her coordination, and she's. Really quick you know can make changes on the spot it actually she's really easy to work with.
It's. One. Thing. Practicing. A fight which is like a spa, a, sparring, fight you know but. Then when you're actually fighting for your life, with. Loads of stunt men who like do this day to day and are not scared of anything and they're covered, in this crazy, makeup, and they're coming, at you like it's. Just a completely, different ballgame, and. I. Think, I probably hold the record for the most apologies, on set. I'm. Sorry. We knew any, situation. Where lots, of people are fighting, already, needs to play a central role because, she's one of the best at it that's that's amazing, and it's a lot of fun to watch but it's also it's one note. And to. Try to play that note through the whole episode it wouldn't have worked so I mean are needed. And having her almost taken out of commission and almost almost rewinding. The clock on who Arya Stark is would, really be, interesting. It would also give us a chance to change up the nature of the, story we were telling. The. Library sequence was built around the idea of I need to have a market. Shift, where, the. Audience instead of coming back and going like handle battle they come back and they go oh, change. Style. Hopefully. What does this refreshes, the audience and they're like you, know we want to know what's going on outside but, we're okay to be inside from and in slow things down and. We're. Also okay to be with aya. Who's suddenly, from. Being this incredibly, confident, character, that she's being now for quite some time is, completely. Traumatized by, what's happened, to her, one. Of the things we did when we shot our sequences, we. Designed. The library, in a certain way and then, I took Maisie, in there and I. Got nine, whites or something in there and I gave them all a path and then, I told her she had to make her way through it without being seen. And. We. Figured. Out this whole choreographed. Piece. Where everything, was a near-miss, and everything. Was just about not seeing and everything had to be silent. And. It was really fun to do. Oh. So. Scary so. The. Hero whites in the library, a girl he was after somebody, who could get, themselves into quite an interesting position. But, have a physique, which, would be a little bit unworldly. Which would suggest their dead basically, I knew. This performer, Spanish performer, called, a Javier boater and he's. Double. Triple jointed. He can do the most ridiculous, things with his body and he's. Been covered in prosthetics pretty much all his career so, I knew he was the guy that could pretty, much sell it for us. If you're a process exploit view he's got a couple of little bits and pieces that's, got some little cheekbone appliances, we've, got a few little scrapes, and wounds and then, we just did this sort of airbrushed, body painting, on him as well and just really accentuated, always sort, of shadows, and all his muscles, and his bone structure, and his. Movement, just sold, it for us. We're. All in love with Lyanna Mormont I think the whole world is so we, wanted this to be her absolute, heroic moment, when. I found out I was dying it was like it was the best thing really is sounds it, sounds strange but I either decided I'd be happy if I ended up on the throne which I thought was very very, unlikely, here oh I had, a great death so I'm very happy and the, whole giant thing that's just really cool. All this the shots with Liana and, from, we're. All really, pretty complicated and they all have lots of pieces to them so, it started, out at, tomb, where we shot the Winterfell, set and we shot a lot of the backgrounds, for the shots and. Where. We wanted to frame, for, giant. We as this technology called in cam and this allowed us to play back sort of an animation, of, what the giants performance, would be that. Was synced, to the camera, and. So that when Shaun Savage is the a camera, operator is, operating on, the day he, can actually see the, giant at his proper scale in the set so. They were able to operate, it as if it was a real thing. The. Giant is real he could be 3d, but, we, prefer to shoot real organic, live photograph, people, wherever we can, our giant performer.
Ian White who's, seven foot five, I believe he, performed all the actions, of the giant in front of green screen but, we shot him in a way to double, his scale, for. The shots where he had to pick up Liana we put tracking, markers on a green, doll that he picked up and we, motion, captured that and would use it to drive, a. Robotic. Arm. Basically. To pick up our, actress. Bella and that would move her around as, if she's being held by from you. Know for some of those shots there's at least four, or five different elements that we've photographed at, different times that will all go into making that final shot really, it's just bringing the, lowest Tech's you know miniature, props, approach, and the very highest tech, no, digital scaling. And, and of. I. Think. It's very fitting fully honor to die like, doing something like that stabbing a giant in the eye so--but like I realized today it's a bit like David and Goliath the. Same sort of thing and they. Just stabbing. The eye kills him there was. This little Deana moment. Down. In the crypt becomes, just, a completely, horror. Movie it's, terrifying, down there we're, in a crypt nobody, thought of that he's, bringing all the dead people back to life and they, put the women and children in, a, crypt with all the dead people so. You're. In, smart. But it's not that smart. Yeah. The whole action was really fun so I never get to do any action, in. Between, setups people, I was joking around like just, like running between like. Podium podium trying, to catch away we felt like action. Stars even though we probably ran like 5 meters, with. The whites, and the Crips for us that was exciting because you guys who even do some really cool mummified, and dried Husky sort of firm white. We. Referenced. Ancient, mummies, we looked at corpses, and there are some tombs which, have got these figures which are exactly the inspiration, we were looking for and they're these dried. Wizened. Bodies. Which, still have dried, encrusted. Skin all over them they still have hair and the hundreds and hundreds of years old they have their teeth really, really dusty and completely. Different to what we've seen before. There. Was one point where I had to like run. Through a crowd of people and. Whites for coming out and one came up to me and I actually started, crying I was so scared like hey whenever. I get scared I just cry and it was so though those. Whites are horrible, just as scary in real life I hate, them. They're. Around dark corners, and like you don't fully. Know where they're all coming from I mean everything's saved and mapped, out but it's still if you get into it and, you just go on by candlelight, we don't have any other lighting. Sources down there really, it's. Creepy it.
Was Fun a week. Underground. With dead people. Maybe. We're such nice people but you know we it's, just such violence. That we're portraying, and and. I've, often said how did we end up here. I, think. The lesson that we learned on battle at the bastards was just how difficult, it is to work with dead, bodies to work with these prop bodies how expensive it is how difficult, they are to move around, so. Rob, Cameron and Gavin, Jones our prop. Maker came. Up with the idea of molding. These bodies into. These disks, the, brief was to try and create a. Lightweight, version of bodies as, a sort of relief we. Would get 8 or 9 dummies, dressed. In their armor and then we'd make a huge mold of that so. Our mold could capture all of this detail the limbs and the fabric, and the armor, and I think probably, about 300, body parts in which we would have painted up in different elements you know give them some skin tone give. Them a bit of a palette and individually. Pull out each, body. And, the good thing about these the weight of them we can actually mound, them up so. The prop always came up with this great idea of, wedges, and then building them up so it's, total, carnage and devastation, really, it's great I'm. Gonna say they work really really well to prop guys will, never want to see another one of these discs again because they spent a hell of a lot of their time walking. Them around moving. Them from the right flank okay now we've got address the left leg so all the bodies have to move across for the left leg. For. A close-up stuff interspersed. With that would be live people, dressed. As dead bodies. When. You walk on set sometimes and they've and they're about to shoot and suddenly one of them will twitch or sort of move or something and it's like oh my god because that's actually an, extra, who's being dressed as a dead body and we'll sort of be in there in amongst the ones that we've put in yeah. It's very disconcerting it's. A strange. Place to be. The. Last third. Of the movie where, we move into an action film John. Realizes. That the real task. Still, a hand, is to essentially. Protect breath. And. So he, heads into and fell and we, follow, him on a journey. We've. Used Artemis, Maxima it's a handheld device either. Camera operator or the grip can carry it and then, one of the camera operators will operate. It remotely you, know it's like it's. Like a remote-controlled. Steadicam, really hits it's very clever the. Camera flows through the castle and stays. With character, I think the audience are going to feel like they're traveling with them and you know right up front with them.
That. Was the real kind of heart. Of I think the, episode. Is that long sequence, with all those different characters. We. Needed John to make his way through the, courtyard, and bear, witness to all of the characters, that we, know and we care about that. He knows and he cares about being, overwhelmed. What. We essentially did is we took each group of people and we gave them all a fight they learn the fight that we shot the fight and then we use little pieces of it they were all losing battles. Yeah but see like a flippy, move, that's, a fling might spare, like a round one had a lighter, and that's the bet. Flare I. Loved. Loved, filming the sequence, where we are really up against, it and it, is overwhelming, for, Brianna Brianna's in battle, mode it was really. All-encompassing. That, night. Being, there was so, intimidating. And so, you. Know you knew but all really panicked, by her. Claustrophobic. It was I think, night it, really adds to the war. Highlights. From that episode, styling. On the pile, of bodies and, firing. For my life and the funny thing was that we we said to the stunt guys if you manage to get me down take, me down the song some takes I died. Our, torment, died I. Was. Really fighting for my, life. Christopher's. Life. One. Of the shots that I really loved there is John looks over at his best sees his best friend being attacked by all these whites and in any other circumstance, John would of course rush over to try to help San lo it was great because it was this idea of, Sam. Being one, person John, has always gone back for has always relied, on has, always been his true friend and that he had to sacrifice him, to go off the night King and then. It was finalized, with a moment. Where at, some point we just ran out stunt guys to throw it to him and. So. He sat there and he just started crying and. It was great, because. It truly was and crying amidst, all this violence of seeing John. Do that with Sam I thought was a really really great again it was he felt true to the character if, you're involved in a battle scene you, like to see yourself as a fighter and you like to make it look as good as you possibly can and Miguel, was the one who has to keep training me in and say remember you're playing Samwell Tarly and Samwell Tarly, is not a fighter, the. Reason that Sam is in there is because, he's not a fighter and it's because he can show how, normal, people, would. Cope. So, we had to really dull him down and we just make. It in such a way that we wouldn't allow it because we've. Just put him under so much pressure which, is not fair to him as a person because, we could prob we could do it to everybody else too we just don't know. We'd make it they're really cool we do we know this is like alright what, can we do to make it look cooler. One. Of the most, challenging shots, when, we travel, through the courtyard extensively, and then we head down to, what we used to call the old kennels and as, he's running down this very long dark corridor we. Had to coordinate about, 15, stuntmen, dropping out of the roof around him. They're. Also going to arrive in certain, zone certain, moments and second ad which. Between, the stunt guys and kit they had to coordinate perfectly. I. Wouldn't. Kill him I wouldn't. Kill him in Toulouse of next month. And. Everything was really based around the idea like how can we make it as messy as possible. But. Then we had to obviously put one, of our stabilized, handheld, rigs behind, him and.
Still Stay really close to him to make the audience feel that jeopardy the danger of what was happening. After. We've choreographed, it and rehearsed it we'll have you and when we're shooting it you know my job is the safety of it and also making sure that it all works then I'm cueing because, honestly we, all need to be in sync that. Was, probably one of the greatest challenges, just to be in the right time in the right place and it had to be in you know fractions of seconds to do it and, the, camera did 180 round him at one point during all this chaos. And. We, run backwards, at that point until, the, great big steel doors on. Iron. Railings, had shut right in front of these guns near the last second and it feels like Jon Snow's just got through there as has. Just the, cameras just got through as well so yeah. It's very cool shot. Alton. Lee the, key thing there was to give KITT. The, fight of his life and. Then at the end of it present him with a, an. Insurmountable. Odd, which is, a, dead. Animal, or. An. Undead not. Dead. Zombi. Dragonlance. Having. His face, been, torn, off can't, exactly see. Smashes. Through the Raven reach just an insane, fight. Where. John. Is ducking, behind these, pieces of, set as this. Icy. Blue fire, is, blasting. Over the top of em but the fun thing is that vissarion is so damaged, by. This point he already has a hole, through his neck from being taken down by the night king now, he's missing half his face so he's leaking, and so, you, know this blue fire is kind of leaking and shooting around there's. Fire, blasting, all over the place which we shoot. Photographically. For real using. A 3d, motion, control, camera. Blasting. Fire in, a darkened, stage. We. Actually did laser cuts for the Syrians from, the digital model of those openings, and then. Bronze. Casts, were made and. Then fitted by Sam Conway, and his team with fire jets then. That was put on to this. Robot with the quick arm so that the fire would leak, out of openings, that were accurate to the dragon there.
Were So many moving, parts in this scene because you've got the, environment. He's living, in which is, partially. The courtyard, dressed and largely. Virtual. Because of the destruction, that's needed, to be created. There's shooting, kit, in the set, piece so that he's got something to really duck. Behind and, have interactive. Lighting wrap around him. We, did a lot of destruction in that courtyard we, liked building things but equally we like destroying, things, that's always quite fun, so. We go at it with flamethrowers, paint. Much. You, name it we just take. It in there and do whatever it takes and destroy the thing I, asked. For a load of wood to be removed we made a huge bonfire of it we burn it for about a day and so that's charcoaled. It's, almost destroyed then, actually you get something, rather beautiful, it's rather wonderful. Just. When you think that it's all over and just when you think that Jon Snow is gonna be the hero again. And. We realize that. Arya. Peers, through, the mist. I. Mean. You're like oh maybe I'll get him I'm gonna get him and then you really know like oh maybe John's gonna get him wait, he's not gonna I remember, actually being like oh. I. Kind of applauding, in my head oh yeah. And, then in the beat they went like quit Maisie was doing and we were all just like we've been a cheering. Yeah. It's amazing, I think, Maisie thought it was super cool like she's like yeah I got to kill him um. It. Was. Really fine with it I was pissed I was. Pissed that it wasn't making a night King I could've I would've given, you like a debate. Thousands. Before. We read the finals I was like yeah it's definitely me and then, they lead you on that you John was chasing. The night king. John, snow has always been the hero the one who's been, the savior but it. Just. Didn't seem right to us for this moment it's, probably three years now or something we've known that, it was gonna be Arya, who delivers, that fatal blow dan, and David let me break. All the game of thrones rules for that sequence. Majority. Of is shot in I six frames a second it's, all.
Super Slow-motion it's. All heightened, reality, which is not what they usually do it's. A surreal nightmare, finally, the night king and bran or finding, each other. The. Music, plays a big part in, creating, that sense of despair, that should exist in that moment and your intercutting, with John who is clearly, not. Going to make it a new intercutting, with, all our other characters were they're just they're so. Everybody's. I mean that was literally that was the phrase we kept using so let's do the it's, shot and then, everyone would shoot, a shot work just feels like there's no escape, everyone's, going to die right now you know they're not but we want you to feel that same, feeling of oh my god it's. G con what's the recovery how do we come back from this and we've all forgotten about you. Know that little innocent. Girl from what years ago has turned into a trained killer who's coming out of nowhere. Essentially. She does jump out of nowhere and, that's a wire rig this wiring we did on the location, but the location, wasn't ideal it was really hard to get a crane in there and, we've obviously got the weirwood tree. So. It was tricky to do it there and we did a version of it there but, then we had to redo, it because it had the ability to control it as much as we'd hoped and it, needs to be a real you have no air moment and a real you know a locking together of these two characters. Shooting. That was tedious but. So. Great, to be able to perform. All these different, beats within, maybe, like two seconds of footage. Knew. It had to be Valyrian, steel to. The exact spot where the child, of the forest at, the dragon glass plane to create the night King, and. That weapon has been the, Titanic, pieces for us and ultimately, we've known for a long long time that was gonna end then I came when. Sam was reading the book about dragonglass, there, is a picture of the, dagger, the, Targaryen is you talking about to decorate the weapons without.
Even I'm what the first men used it for it. Is very possible, that the same thing that created, the. Night King is the thing that was, necessary to destroy the night king or maybe it's Valyrian, steel, figure. It out for yourself not. Gonna say. I, think. That's such a a nice, little full circle, thing as well that that's the knife that was destined to kill gran and here it is saving him. Yes. Like, a an, iconic, moment. All. Of the dead it's, exactly what you need. It's. So good it's so good. Perfect. I think. It's a it's inspired, mood. You've always been waiting, there's to what, purpose. Is. Assassins. Skills, are gonna lead to and. It's, for the most important purpose reading. What. I get to achieve and, are. His whole purpose, in. This world and everything she's trained for comes down to this one, episode it's. Just amazing. And, it just it was beautiful it's, poetry and. I'm, grateful, that it was me and not yet. Think. About your from the very first time we met him he was with Danny you know and the first time I meet him was at Danny's wedding when he's giving, her the books of Westerosi, history and from that time he's been mostly. By her side. Juror. Could have chosen a way to die it would have been protecting, Danny. There. Was a lot of input from Ian and from, Familia about making, sure their characters stayed true to who they were not. Having Jorah, lose. Sight of his goal which, is protect. His, Queen at all costs. Amelia. Didn't want to be completely. Damsel, in distress. She. Didn't feel, that her character, would, be like that but then we didn't we'd never seen her do anything in that vein so we. Needed to make her not look like she was completely, ineffective, and disinterested. In, saving. Joe. So. This is Ian's big, moment. We. Realized that all he ever wanted, to do was to, serve her and all he ever wanted, to do was to was. To fight to protect her and there. Had never been a moment where she more, needed, someone. To fight to protect her than this moment and, Ian. Himself I think was I think he was happy, to go down fighting because he's very good at it. My. Favorite scene. To shoot was my demise yeah. Yeah, just just because it, required, most of me was the most demanding, and most fulfilling, scene, and I. Felt the right conclusion. For jurors or role and been. Given a very good setting, a very kind, of dramatic, and telling setting. Incredible. Performance from me and also from from, Amelia at the very end there she is holding him in her arms and just thought you. It's really hard to fake that kind of pure. Grief and Amelia just really brought it in those moments I think part of it was because she's such a good actress but part of it is because she. And he and I've been working together for so so long and, have become very very close and if, that still may scenes together and it's all coming to an end you know both their characters, relationship. On the show but also. Our. Time together working, on the show. Really. Hard. You. Know touch Luca ins. Face. And it was like. It's. All there it's all that's our relationships, like the whole. You. Know we've been with these characters, for. So many years, we've been like -. Helen back with them. It's. Been it's. Been. It's. Been quiet journey. Their final words no. It's. Just. Great. Fun and. Yeah. I'm, so really, very. Very. Chuffed, to be part of the whole, mad. Wonderful, thing of it all. You. You.