Name: ろくでなしたちの戦いの3つの華麗な瞬間 (3 Brilliant Moments from the Battle of the Bastards)
Uploaded: 2021-01-14T08:04:16.000Z
Duration: 12 min 12 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

>> Speaker 1: Last episode we brought you five brilliant moments in some of our

Until Game of Thrones came along and delivered a master class.

So here are three more brilliant moments from the Battle of the Bastards.

>> Speaker 1: Can we just gush for a little bit?

Like, my God, what an incredible 30 minutes.

This is why we love cinema, beautiful and horrifying and nerve-wracking and

With intricately designed choreography reminiscent of Braveheart,

CGI set pieces reminiscent of the Lord of the Rings,

cinematography reminiscent of 2015's Macbeth, and

a vastness of scale that clearly and admittedly pays homage to Kurosawa's ran.

The Bastard Bull's pedigree is clear and it is prestigious.

But besides looking like a million bucks or

30 million, what made this episode so incredible?

What specifically about it that kept us on the edge of our seats?

screaming at the TV, which I totally didn't do the whole time.

And I think the clue is in the question, we were jumping up and down, and

screaming, and crying, and cursing, and losing our breath, and

It didn't feel like we were watching the fight, it felt like we were living it.

Which is exactly what the mad Game of Thrones genius that is Miguel Sapochnik

set out to accomplish, to put his viewers inside of a pitched battle

in all its pain and chaos and randomness.

Sapochnik may have had a lot of intellectual ideas about war and

battle and what it is or is not good for, but instead of investing all of his

energy trying to convey the concept war is bad, he tried to show us how war feels.

So first up, let's take a look at Rickon's decidedly neither zig nor zag demise.

>> Speaker 1: Hitchcock famously talks about suspense and surprise,

how the former is far more relevant to film making than the latter.

You take a scene with a bunch of people at the dinner table, and

then half way through boom, a bomb blows up from underneath.

But you play the same scene and instead reveal the bomb beneath the table in

the beginning and all of the sudden every moment and word and itchy knee

carries the dread intention and anxiety of will they or won't they discover the bomb?

But here Sapochnik basically says, [BLEEP] it, why not both?

Isn't Jon Snow's experience here exactly the experience of suspense followed by

The dread and terror and anxiety that his brother will be killed and then the breath

of fresh air when it looks like he's safe and then the shock at his sudden death.

I mean that's how we'd be feeling if our brother was about to be,

we need to talk about Kevin by a medieval psychopath, but

just showing us Jon Snow feeling this way isn't enough.

No, Sapochnik draws on age-old techniques to force the feelings inside of us.

In this case, an arrow into Rickon's back.

And then teasing us over and over about how it might go off.

Rickon has to run or be shot in the back.

He gives us a beat of Ramsay shooting the arrow and a shot of Rickon 's back,

which in this context is less of a shot of Rickon the character, so

The arrow is going to end up in Rickon 's back.

No worry though, he's gonna repeat the pattern and tease again.

Ramsey draws, fires, we see the target and the miss.

In the meantime the distance is closing, so

here we go one more time with the repetition.

This time he makes a much bigger meal out of it.

The inter cutting is has intensified between the three spaces,

the shots are shorter, the music is swelling to a climax, and by this point,

remember, we're smart cinema viewers and we know two things for sure.

One, Game of Thrones likes to kill its characters, and

we know that if there's going to be an arrow that kills Rickon, this is it.

See, Sapochnik isn't just playing with elements on screen,

He knows how we expect things to work and is using that to build the kind of dread,

Jon Snow isn't thinking, shit, this is the third arrow, I know things come in threes,

No, this pattern repetition is a storytelling artifice introduced in

order to induce us to feeling the sense of dread that Snow is feeling in that moment.

So when the third repetition misses, we breath a sigh of relief.

For a moment it looks like he's in the clear, which again is how Jon's gotta

be feeling now that he's within spitting distance of Rickon.

Movies won't show things a fourth time, and we know this.

Sapochnik specifically does not repeat the pattern of teasing expectation draw,

We get a breath of air, we leave Ramsay behind, we don't see him do anything else,

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ろくでなしたちの戦いの3つの華麗な瞬間 (3 Brilliant Moments from the Battle of the Bastards)

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