Then, during the bedding ceremony, it was McLachlan's idea to have the various wedding guests grab as many of the torches and candlesticks as they could carry (along with the bridal couple) when exiting the room, which sucked the light out. Before the door even closes, before the band begins to play "The Rains of Castamere," the room dims, becoming darker, scarier. "It's perceptible," he said. "And the good thing is, it's organic. If we had done it theatrically, with theatrical lights, it would have called attention to itself."
The ensuing mayhem was almost entirely lit with candles and torchlight, which hadn't been done on such a large scale, McLachlan said, since Kubrick's Barry Lyndon. The problem there, he explained, was that the lenses were of such shallow depth, very little could be in focus, and "everybody's stuck being still." Here, it was an action scene, and one where everything had to be in focus, because they wouldn't have a chance of shooting some moments more than once. It also had to be shot in sequence.