GameofThrones editor on crafting that bloody battle and the Night King's farewell
Porter, who over the years has earned three previous nominations and one Emmy for his work on the series, talked withabout this chapter, which featured a massive battle sequence that finally saw the end of the Night King."The Long Night" is essentially a continuous action sequence from beginning to end, with very little dialogue. The challenges came from constructing the narrative mainly through the action.
For me it's a feel thing, when something begins to flow, you know you're in the right spot. It was important that this wasn't simply a fast-paced battle episode, as "battle fatigue" can set in very quickly. The episode worked as three acts.
Describing the helicopter crash in his nominated episode, Smith says, "We never go inside the helicopter, we never go close, all of the tragedy is experienced from a distance on the roof or from the point of view of the other helicopters. This restraint makes it so much more harrowing.
"Simone" includes a scene with Midge and her parents in conversation at dinner in Paris. "They shot that with A and B cameras on each character. Depending on who's looking at whom, I'll be swapping out cameras to make sure that the looks are correct, the eye lines are correct, but we definitely wanted to keep it grounded in some kind of emotional reality even though it gets very heightened and crazy," Sanford explains.
In "Catskills," Streeto also had to create tension during a chatty scene, one in which Midge sees an old friend as everyone discovers that she's divorced, and there's a lot of gossip happening. "The tricky part of pacing out something is that you don't want it to feel too cutty," he says, "and I think that when you stay on who's speaking, that can help alleviate that somewhat.
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