in the wrong environment and in the wrong conditions. Which is a fact no one can argue with. Some people are just unaware of how you can enhance your viewing through your television. My emphasis was on ‘some’ people, which obviously angered people.” He continues: “The main thing was that the way I shot it was a creative decision to shoot this episode this way. It was something I was always sure of and also proud of. The way we did it enhances the episode. It’s a shame people became nasty and personal. But I think a bit of controversy and polarisation is a good thing. I consider cinematography an art form, and it can be controversial. We always said that it would be boring to see this army of the dead – we wanted to not see it.” cinematography an art form, and it can be controversial A bit of controversy and polarisation is a good thing. I consider

To light the battle scene in The Long Night , Wagner used large banks of Arri SkyPanel softboxes. He explains: “I wanted to control them from the floor, and because of the changeable weather, I had to come up with a rig that would allow me to fly those boxes as much as possible, but were able to be pulled down during windy conditions.” From Season 2, Game of Thrones had two units permanently available, but for Season 8 it changed: “This season a single unit used three cameras. The director Miguel Sapochnik and I had started working together on the Hardhome episode in Season 5, and we work very well together. What we decided in Hardhome was that I would operate the third camera for that specific sequence of the massacre. We also did the same for Battle of the Bastards in Season 6. What we did this year was to carry it on by shooting four cameras on The Long Night , with me operating the fourth camera.” Love or hate it, there’s no doubt Game of Thrones pushed the boundaries of what was previously thought possible for a TV show. For that, we will always be fans of this fantasy saga.

BELOW Fabian Wagner was DOP for The Long Night, which was controversial as a result of the atmospheric lighting design


38 DEF I N I T ION | JUNE 20 1 9

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