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[Warning: This story contains spoilers from the season six finale of HBO's, '.' ] Orchestrating a wildfire attack is hard work, even if Cersei Lannister (Lena Headey) makes it look like a walk in the park. The opening minutes of Game of Thrones' sixth season finale center on Cersei obliterating her enemies with fluorescent fire, a plot that slowly unfolds over the course of 10 tense minutes. She destroys the Sept of Baelor with a carefully placed, slow-fuse batch of wildfire, incinerating Margaery Tyrell (Natalie Dormer), the High Sparrow (Jonathan Pryce) and more. Away from the flames, children stalk through the dark, gruesomely stabbing Grand Maester Pycelle (Julian Glover) to death and wounding Lancel Lannister (Eugene Simon) as well. All this plays out as the characters at Cersei's trial gain more and more information about their dire circumstances — too little too late. The ensuing fireworks serve as an explosive payoff to the season's deliberately paced King's Landing story, and sets the standard for everything else that unfolds during the finale.

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Among the many architects of the wildfire sequence, Game of Thrones composer Ramin Djawadi cannot be overlooked. He created a new piece of music, called 'Light of the Seven,' specifically for the scene. In the days leading up to the finale, Djawadi's social media presence was relatively quiet: 'I started Twitter maybe three or four weeks ago, but when the finale aired, my Twitter account blew up. Sri Venkateswara Govinda Namalu Mp3 Free Download on this page. ' Interesting choice of words Here's what Djawadi told The Hollywood Reporter about composing 'Light of the Seven,' the new instrument it introduced to Game of Thrones' musical language, and more. What were your initial ideas in approaching this piece? The interesting thing to me was the use of the piano.

When we started the season, [showrunners David Benioff and Dan Weiss] and Miguel Sapochnik, the director of the episode, reached out to me and said, 'There's something coming up in episode 10.' We talked about 'The Light of the Seven,' and how it needed to be a new piece of music. Any kind of character theme could tip it, and we didn't want to tip the audience. Miguel brought it up: 'What about the piano?'