We end the sequence with her running through the endless corridors of Winterfell pursued by frenzied Wights, not knowing her fate. It was beautifully choreographed and shot - Maisie Williams (Arya) moves so well, silently dancing through the scene the timing of her avoiding the Wights who appear at every turn was really impressive. The starting point was to cut this sequence to director Miguel Sapochnik's brief: He described it as "survival horror." This sequence never really changed from the first time that I cut it. How would you describe cutting Arya's suspenseful scene in the library? The opening act slowly built the tension with the threat of the Army of the Dead's imminent arrival, leading into wild action and mayhem, then slowing down in the final act with Ramin Djawadi's amazing score synthesizing the intercut of the Night King's entrance and our heroes fighting for their lives and ultimately Arya's arrival and her slaying of the Night King. It was important that this wasn't simply a fast-paced battle episode, as "battle fatigue" can set in very quickly. I spent a lot of time exploring ways of structuring and intercutting the sequences to find the balance.įor me it's a feel thing, when something begins to flow, you know you're in the right spot. It meant finding the right recipe to keep all of the characters present. Integrating all the pieces of the puzzle and individual battles across the episode was something that really appealed to me. How did you approach so many different characters and keep their stories all moving forward? It was a constant search for the correct rhythm, tension building, hope, fear, when to feel that all is lost and finding unspoken moments between characters that the audience could engage with. The challenges came from constructing the narrative mainly through the action. "The Long Night" is essentially a continuous action sequence from beginning to end, with very little dialogue. What was the biggest editing challenge to "The Long Night," and how did you approach it? Katie Weiland earned a nom for the "Iron Throne" episode, Crispin Green for "Winterfell" and Tim Porter for "The Long Night." Porter, who over the years has earned three previous nominations and one Emmy for his work on the series, talked with The Hollywood Reporter about this chapter, which featured a massive battle sequence that finally saw the end of the Night King. The primary weapon slot will always revert to a basic revolver.Among Game of Thrones' 32 nominations are three for the editors on the HBO fantasy series' final season. Please note as of update 83 that you must edit your secondary weapon slot for your choice in starting weapons and select it from the main sub menu. Enjoy new possibilities and challenges, and have a good time. Save your modified save file and close the window once you are done, it will not update in real time if you open the game and can possibly save over progress as an earlier state if saved after a session.Ħ. Be sure you are editing the correct lines with correct values or you will make the game mad/crash.ĥ. ![]() Using the instructions below, edit the corresponding values in the save file to what you want to change (STATS, OPTIONS, DATA). Set a copy of your save file aside to ensure you do not lose original files.Ĥ. Open the most recent update file (largest number) with Notepad/Wordpad (Windows), WordEdit (Mac), or Gedit(?) (Linux).ģ. ![]() Locate your save file through the steps shown above.Ģ. It will not work with the game open and the save file will reset the values once you exit the game.)ġ. Once you have located your save file, editing it is simple.
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