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Season 6 Episode 10 "The Winds of Winter" - "Book readers"

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    #182
    duploelabs
    Registered Users Posts: 11,223 ✭✭✭✭duploelabs


    Saul T Nutzz wrote: »
    There were different girls.

    The two that went off with Bronn and then Arya, when Bronn left she (Arya/servant) was still looking at Jamie.

    Remind me again, have Arya and Jamie met before?


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    #183
    Daith
    Registered Users Posts: 4,946 ✭✭✭Daith


    duploelabs wrote: »
    Remind me again, have Arya and Jamie met before?

    Not sure they had scenes together but they probably met at Winterfell anyway.


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    #184
    Pentecost
    Registered Users Posts: 3,848 ✭✭✭Pentecost


    Would have seen each other in Winterfell when Robert and his entourage came up to visit in the very first episode. Would have been in Kings Landing at the same time too.


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    #185
    Daith
    Registered Users Posts: 4,946 ✭✭✭Daith


    Pentecost wrote: »
    Would have seen each other in Winterfell when Robert and his entourage came up to visit in the very first episode. Would have been in Kings Landing at the same time too.

    It would be fair to say that Jaime would recognize her I think.


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    #186
    EagererBeaver
    Registered Users Posts: 6,415 ✭✭✭EagererBeaver


    Daith wrote: »
    It would be fair to say that Jaime would recognize her I think.

    I think you could say that about Arya recognising Jaime but not the other way round. Arya was a girl he'd barely have noticed who has changed significantly in the years since.


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    #187
    Daith
    Registered Users Posts: 4,946 ✭✭✭Daith


    EagererBeaver wrote: »
    I think you could say that about Arya recognising Jaime but not the other way round. Arya was a girl he'd barely have noticed who has changed significantly in the years since.

    I'd say Jaime would have paid attention to Ned Stark's daughter/family (esp as she was at King's Landing) but yeah hard to know now.


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    #188
    CMOTDibbler
    Registered Users Posts: 7,415 ✭✭✭CMOTDibbler


    ClvEKdNWIAEIuMp.jpg


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    #189
    intheclouds
    Closed Accounts Posts: 3,175 ✭✭✭intheclouds


    fitz wrote: »
    If after 6 sessions, for one of the episodes they did the color grading so that scenes set in North suddenly looked vastly different - brighter, more colorful, in stark(cough) contrast to what they've established the North looks like, but it still looked beautiful, would you think they'd done a good job?

    Actually they did change the colour grading, Melisandre was looking decidedly less luminous in Winterfell, they often film her with a green tinge in the background to make all the red pop but she just looked drab.


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    #190
    Sleepy
    Registered Users Posts: 24,176 ✭✭✭✭Sleepy


    I think that was very deliberate though. The more powerful she is at any given time, the redder she's "glowed" in the filming.

    She's something of a spent force at the moment. Her trip south may change that though.


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    #191
    intheclouds
    Closed Accounts Posts: 3,175 ✭✭✭intheclouds


    Sleepy wrote: »
    I think that was very deliberate though. The more powerful she is at any given time, the redder she's "glowed" in the filming.

    She's something of a spent force at the moment. Her trip south may change that though.

    Oh absolutely - just like the musical score was deliberate. And it worked for me (both Melly and the music).


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    #192
    pinkypinky
    Moderators, Society & Culture Moderators Posts: 6,639 Mod ✭✭✭✭pinkypinky


    It was magnificent. I think the opening scenes, while a different style we're used to on the show, were brilliant. Cersei so calm, lovely piano music.
    Arya & Frey pie!
    Sansa's put down of Littlefinger: look how far she has come.

    I love how there's so many strong female characters...we've always had them in GoT but it felt like they ruled the world last night.

    I'm still processing it all. Might pop over to the non-book readers reaction is to the Jon reveal. It wasn't a letdown for me, but we did have to spend time explaining it to our non-reader friend to give background afterwards.

    Genealogy Forum Mod



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    #193
    ItsChecoTime
    Registered Users Posts: 742 ✭✭✭ItsChecoTime


    EagererBeaver wrote: »
    I think you could say that about Arya recognising Jaime but not the other way round. Arya was a girl he'd barely have noticed who has changed significantly in the years since.

    I think this actually comes up in the book when they're sending fake Arya/ Jeyne Poole up to the Bolton's and as she is leaving Kings Landing Jaime speaks to her and notices it isn't the real Arya


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    #194
    fitz
    Hosted Moderators Posts: 8,009 ✭✭✭fitz


    intheclouds wrote: »
    Actually they did change the colour grading, Melisandre was looking decidedly less luminous in Winterfell, they often film her with a green tinge in the background to make all the red pop but she just looked drab.
    Sleepy wrote: »
    I think that was very deliberate though. The more powerful she is at any given time, the redder she's "glowed" in the filming.

    She's something of a spent force at the moment. Her trip south may change that though.
    intheclouds wrote: »
    Oh absolutely - just like the musical score was deliberate. And it worked for me (both Melly and the music).

    Grading an individual character differently is done all the time, but it's still internally consistent. She may look brighter or more drab depending on the circumstance, and that's clearly deliberate, but the overall tone and setting is still consistent. It's not the same as if they suddenly graded or lit the scenes in the North like they do for Kings Landing, say.

    The concept of the music being deliberately different to signify change or create unease at the wrongness of what was happening on screen is fine. But that could have been done within the musical conventions they've established for the show.

    Using an instrument that they've never featured before certainly makes it sound different, but the piano arrangement for the Kings Landing scene in this instance made the music modern sounding. It was jarring, and imo, a lazy way of signifying change.

    It seems to be getting a pass because it's a beautiful piece of music, but for me, in the context of the show, it drew too much attention to itself.
    It was trying too hard.
    I've read that this episode was what they submitted for the Emmy's.
    Not in the least surprised.


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    #195
    hidinginthebush
    Closed Accounts Posts: 2,679 ✭✭✭hidinginthebush


    Falthyron wrote: »
    There was something about the look Benjen gave Bran when he left him at the wall. A sort of: "I know the wall will come down if you pass under it and I am okay with that...". A look of guilt or deception, imo. This might be a nod to book readers as to the true intentions of Coldhands.

    Wait... I haven't really been watching this season (only saw the last 3 episodes, so apologies if this was covered) but was it said somewhere that the wall would fall if Bran went through it?


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    #196
    Daith
    Registered Users Posts: 4,946 ✭✭✭Daith


    hidinginthebush wrote: »
    Wait... I haven't really been watching this season (only saw the last 3 episodes, so apologies if this was covered) but was it said somewhere that the wall would fall if Bran went through it?

    Idea is that the Night King mark on Bran would stop the magical protection of the Wall. Same as how it stopped the protection of the cave.

    My own feeling is that Benjen is either an agent of the Night King (he only shows up *after* the CoTF are dead) or he knows it will happen anyway.

    Bran the Destroyer.


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    #197
    Scruff
    Registered Users Posts: 4,222 ✭✭✭Scruff


    Fantastic episode from start to finish. The opening 20 mins in Kings Landing was some of the best in the entire show and it didnt involve Tyrion :eek:

    This would have been a completely appropriate song for the end of season credits too :D


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    #198
    CMOTDibbler
    Registered Users Posts: 7,415 ✭✭✭CMOTDibbler


    fitz wrote: »
    Using an instrument that they've never featured before certainly makes it sound different, but the piano arrangement for the Kings Landing scene in this instance made the music modern sounding. It was jarring, and imo, a lazy way of signifying change.

    It seems to be getting a pass because it's a beautiful piece of music, but for me, in the context of the show, it drew too much attention to itself.
    It was trying too hard.
    I've read that this episode was what they submitted for the Emmy's.
    Not in the least surprised.
    But they've also never had such a long scene with absolutely no dialogue before. That was the reason for the different score for me. Those scenes (especioally at the beginning) would have been perfectly ordinary were they accompanied by the normal GoT scoring. With that music, they became much more tense and brooding.


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    #199
    Mr.Prodston
    Registered Users Posts: 16,305 ✭✭✭✭Mr.Prodston


    Was it just me or did Qyburn sound different when he first spoke to Pycelle before the murder?

    It kind of sounded almost Gollum-esque, squeaky, not natural?

    Maybe it was something else making the noise as he sounded normal when he spoke again, it's just something that stood out at the time to me.


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    #200
    Zillah
    Registered Users Posts: 17,371 ✭✭✭✭Zillah


    On the musical score: yes, it was extremely incongruous with the rest of the show. But that's ok. That was deliberate; that's the whole point. They changed the score to match the fact that everything has changed, more than ever before. A Targaryen has launched an invasion of Westeros backed by dragons, like Aegon before before her. A Stark is King in the North once more. A Mad Queen sits on the Iron Throne beneath a pile of corpses. The Sept of Baelor has been reduced to rubble. Arya is finally striking names off her list. The Twins stand rulerless. Melisandre has finally been thrown out by her liege.

    Everything is different, everything is coming to a head - we're in a new era. The score, as much as anything, tells us that. It's thematically perfect.


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    #201
    baza Rakus
    Registered Users Posts: 1,132 ✭✭✭baza Rakus


    Zillah wrote: »
    On the musical score: yes, it was extremely incongruous with the rest of the show. But that's ok. That was deliberate; that's the whole point. They changed the score to match the fact that everything has changed, more than ever before. A Targaryen has launched an invasion of Westeros backed by dragons, like Aegon before before her. A Stark is King in the North once more. A Mad Queen sits on the Iron Throne beneath a pile of corpses. The Sept of Baelor has been reduced to rubble. Arya is finally striking names off her list. The Twins stand rulerless. Melisandre has finally been thrown out by her liege.

    Everything is different, everything is coming to a head - we're in a new era. The score, as much as anything, tells us that. It's thematically perfect.

    Winter is here.


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    #202
    fitz
    Hosted Moderators Posts: 8,009 ✭✭✭fitz


    CMOTDibbler wrote: »
    But they've also never had such a long scene with absolutely no dialogue before. That was the reason for the different score for me. Those scenes (especioally at the beginning) would have been perfectly ordinary were they accompanied by the normal GoT scoring. With that music, they became much more tense and brooding.

    I don't accept that a composer of Ramin Djawadi's talent could not have used the established instrumental palette of the show and come up with something just as tense and brooding without the introduction of modern sounding piano motifs. I accept the deliberateness of doing something different, but that difference didn't need such a fundamental shift.
    Zillah wrote: »
    On the musical score: yes, it was extremely incongruous with the rest of the show. But that's ok. That was deliberate; that's the whole point. They changed the score to match the fact that everything has changed, more than ever before. A Targaryen has launched an invasion of Westeros backed by dragons, like Aegon before before her. A Stark is King in the North once more. A Mad Queen sits on the Iron Throne beneath a pile of corpses. The Sept of Baelor has been reduced to rubble. Arya is finally striking names off her list. The Twins stand rulerless. Melisandre has finally been thrown out by her liege.

    Everything is different, everything is coming to a head - we're in a new era. The score, as much as anything, tells us that. It's thematically perfect.

    Things are changing, they're coming to a head, but it's not the industrial revoultion we're talking about here.
    It's not a new era. If the purpose was to signify change, the manner in which they did so was about as subtle as an elephant in a trenchcoat.
    I don't need a jarring change to a modern musical paradigm in the score for me to notice that things are changing.
    It's bloody patronising.


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    #203
    Zillah
    Registered Users Posts: 17,371 ✭✭✭✭Zillah


    baza Rakus wrote: »
    Winter is here.

    lol, shit, yes, winter officially arriving is a pretty big deal too!


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    #204
    Bandana boy
    Registered Users Posts: 4,326 ✭✭✭Bandana boy


    fitz wrote: »
    I don't accept that a composer of Ramin Djawadi's talent could not have used the established instrumental palette of the show and come up with something just as tense and brooding without the introduction of modern sounding piano motifs. I accept the deliberateness of doing something different, but that difference didn't need such a fundamental shift.

    Man give over on the score , pretty much everybody has disagreed with you at this point


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    #205
    intheclouds
    Closed Accounts Posts: 3,175 ✭✭✭intheclouds


    So who has Dany got her eye on for a marriage alliance?


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    #206
    CMOTDibbler
    Registered Users Posts: 7,415 ✭✭✭CMOTDibbler


    fitz wrote: »
    I don't accept that a composer of Ramin Djawadi's talent could not have used the established instrumental palette of the show and come up with something just as tense and brooding without the introduction of modern sounding piano motifs. I accept the deliberateness of doing something different, but that difference didn't need such a fundamental shift.
    I just don't agree. It was scored that way to capture your attention and tie you to what's happening on the screen in the absence of dialogue. It did exactly that for me. A scene without dialoguue that long with the normal GoT 'background' music would have been, for the want of a better word: Meh.


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    #207
    baza Rakus
    Registered Users Posts: 1,132 ✭✭✭baza Rakus


    intheclouds wrote: »
    So who has Dany got her eye on for a marriage alliance?

    Who's left! :confused:


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    #208
    Daith
    Registered Users Posts: 4,946 ✭✭✭Daith


    intheclouds wrote: »
    So who has Dany got her eye on for a marriage alliance?

    Lets see

    Jon
    Euron
    Tyrell male heir (should exist they're a big House)
    Martell male heir (no idea if they exist but could be a bastard?)
    Dickon Tarly (introduced, good House with an opportunity?)
    Robin Arryn

    Edit: There are still a good number of Houses left I guess but doubt we will see anyone new?


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    #209
    rawn
    Registered Users Posts: 3,093 ✭✭✭rawn


    intheclouds wrote:
    So who has Dany got her eye on for a marriage alliance?


    I'd imagine it would be either Jon or Sweetrobin. Jon would make more sense for her as she would then automatically be Queen of the North. She could promise help against the white walkers in exchange


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    #210
    Daith
    Registered Users Posts: 4,946 ✭✭✭Daith


    rawn wrote: »
    I'd imagine it would be either Jon or Sweetrobin. Jon would make more sense for her as she would then automatically be Queen of the North. She could promise help against the white walkers in exchange

    Heh
    Dany: Drogon seems to like you Northern boy!
    Jon: Can't imagine why that is


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    #211
    fitz
    Hosted Moderators Posts: 8,009 ✭✭✭fitz


    CMOTDibbler wrote: »
    I just don't agree. It was scored that way to capture your attention and tie you to what's happening on the screen in the absence of dialogue. It did exactly that for me. A scene without dialogue that long with the normal GoT 'background' music would have been, for the want of a better word: Meh.

    Did the opposite for me, distracted me from what was happening on screen.
    Was thinking about the music, not what I was seeing.

    And just to clarify, I'm not saying it should have been background music...by all means, bring the music to the fore, but do it using your established "house style". The music being up front would already have made it different, but I think using instrumental arrangements that were consistent with previous scoring would have been more complementary than the introduction of new instrumentation.


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