Jacinta Filiaci

CINE 399: Production Studies

Professor Daniel Steinhart

January 30, 2016

Game of Thrones: A Day in the Life

As one of the worlds most watched television drama series today, Game of Thrones has

released countless behind-the-scenes content. Game of Thrones: A Day in the Life, a mini-

documentary aired shortly before the premier of the fifth season exemplifies one of these

successful pieces. A Day in the Life enhances the overall viewing experience and invites

audiences to endure such a highly anticipated and exclusive process though also serves other

purposes. Considering its time of release, this documentary acts as a successful promotional tool

for the next season. The twenty-six minute piece exists more as a marketing device as opposed to

a gaze into the complex artistic and technical aspects of film.

A Day in the Life works as an advertisement as it pulls viewers into the show after almost

a year of its absence. It is an example of Jonathon Grays Paratext. The making-of short is

substance in between audiences, industries and texts in this case the text being Game of

Thrones episodes, specifically between seasons four and five. The making-of adds to the years

worth of anticipation for the fifth season. It provides viewers with a taste of the upcoming season

and its grandiosity without actually revealing or spoiling anything of storyline significance.

The shows grandiosity is used as a selling point and is repeatedly acknowledged in the

documentary. This is done almost immediately with the opening voiceovers suggesting it is

television in a scale beyond anything else accompanied by scenic images of different

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countries, emphasizing the shows very much celebrated global success. This grandiosity is

depicted literally, for instance through frank statistics (E.g. 3 countries filmed, 193 countries of

viewers, etc.), and less obvious methods such as candid shots of bustling crews and crowded

sets. The directors and producers are hyperaware of this grandiosity, indicated by interviews and

interactions discussing the high level of pressure and stress experienced during the preparation of

the series. Additionally, the documentary conveys the level of intricacy involved in the

production of the show. This appeals to viewers as it displays the great sense of effort and time

put behind the text, that they are being included to it and watching the result of hard work. This

intricacy is shown in the crews great attention to detail. For example, the creators of the

documentary actively decided to include the clear analysis and selection of the extras, for

instance whether they appear poor enough, and subsequently adjusting such minor details such

as the condition of their teeth, a detail certainly overlooked by viewers. It includes the discussion

of additional likely unnoticed details such as match shot continuity and set props. These

inclusions add focus onto the well-thought and seemingly minor aspects that influence the

aesthetics of a set, the atmosphere of a scene and finally, the credibility of a story. These are

significant mentions, as audiences will normally, pay no attention to them, naturally focusing

more intently on the plot, this further adding depth and intrigue to the series. This sense of

grandiosity and intricacy is exhibited with the emphasized great amount of preparation and

complexity behind scenes, which perhaps ultimately last only up to twenty minutes in the series,

almost subconsciously adding value to them. This grandiosity and intricacy clearly exists though

its display undeniably attracts audiences, especially those of more artistic and technical interests,

further acting as an effective marketing tool.

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 Moreover, the documentary promotes the series by emphasizing an essence of

authenticity and exclusivity. This is done by presenting on-location sets, as opposed to generic

back-lot studios. For example, the series chose to use a real 13th century palace, a site clearly not

built as a set. This is underlined by the logistical difficulty of filming in these locations

illustrated by the image of cranes, genie booms, platforms and generally the graceful movement

of equipment against the narrow streets, corridors and stairways of an authentic small town. The

exclusivity and rarity of the show is exhibited by the stressed remark of a worldwide attraction

consisted with approximately eight thousand tourists daily, being closed off specifically for the

filming of the show. The documentary sells the idea of it never being done, this, as well

increasing the series sense of grandiosity. The documentary markets such authenticity by

showing viewers these carefully considered locations, such as the legitimate ancient and eroded

landscape of Belfast to match the specified aesthetics required for the plot.

Whether intentional or not, there is a subtle collapse between the story and the

atmosphere of the documentary an inevitable outcome of a successful behind-the-scenes. There

is a literal collision when one of the producers uses the phrase smoke in a wheel when

describing the complex interdependent process of production, this phrase is also used by one of

the protagonist in the series, a line depicted to audiences in the promotional trailer for the season

as well. The documentary also discusses the new set in a new country, this correlating with the

characters transition in a new region and reign in the storyline (Seville as the fictional Meeren).

As exemplified, the series often correlates the introduction of a location in the story to a

legitimately new location on set. This correlation adds to the intricacy and grandiosity of the

series as well as increases the anticipation for the premiere by announcing to audiences the

expansion of sets, especially on a global scale. This global concept is highlighted constantly in

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the documentary, even simply by its structure. For example, it is structured chronologically and

to a certain degree, geographically, with the use of time stamps and location (country) names.

This simultaneous and paralleled production process is reflective of the structure of Game of

Thrones the series follows several characters point of views across different regions during the

same span of time. This is accentuated literally by a comparison of character and crew made by

one of the producers, much like our characters we go from the amazing desnik (of Croatia) to

the amazing Hardhome (of Ireland).

A more popular marketing tool frequently used by documentaries is the inclusion of the

cast, together with their relationship with the crew. The creators of the documentary choose to

use very relatable and human perceptions of the actors. For instance, actors Lena Headey and Ian

Beattie (characters prevalently disliked in the series) are portrayed as real people through their

frivolous nature on set. Both Headey and Beattie jokingly convey frustration towards the crew

due to difficult and uncomfortable costumes and numerous takes. These scenes promote the

series by selling notions of community, collaboration and most importantly, fun on set.

In conclusion, Game of Thrones: A Day in the Life exemplifies just how the very

structure and substance of a behind-the-scenes can influence the overall attitudes of audiences

and eventually, viewership towards a text. The documentary includes all the appealing and

engaging aspects of production and film to attract audiences to the material. These specific

inclusions subliminally build an alluring image of the text. For example, Game of Thrones uses

its grand, intricate, authentic and light-hearted identity to present viewers a sense of requisite and

urgency to jump onto the shows bandwagon.