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Characters Making the Cut

Some recent reports and finds on the web have helped clarify something of which of the more minor tertiary roles will be cut, reduced, or kept in place in the course of HBO’s adaption of A Song of Ice and Fire.

Lord Ned’s Head reports that at this weekend’s LepreCon convention, GRRM discussed the HBO series as part of a Q&A. He indicated that Syrio Forel remains (he’s written “scenes” for him in episode 8), but that the guardsman Desmond is gone. Other roles, such as Jon Snow’s fellow recruits, may be reduced to just a few line (e.g. Grenn and Pyp) or be cut entirely or be reduced to background characters with no lines (e.g. Toad, Rast, and so on). 

raijap tweeted about this webpage for actress Caroline Grace-Cassidy, which states that she auditioned this month (possibly in the recent Dublin auditions?) for the role of the wildling woman, Osha, which certainly suggests that character is planned to be in the series.

Praise for Tamzin Merchant

It’s interesting to read GRRM’s high praise (there are spoilers) for Tamzin Merchant—formerly cast as Daenerys in the pilot for HBO’s Game of Thrones—and her performance in the fifth episode of the Tudors. It’s very clear that he’s saddened that she will not be continuing on with the series. Obviously, the reasons for Merchant’s departure from Game of Thrones are unknown, and may never be revealed, but it does not seem very likely that it had to do with GRRM (and perhaps other producers?) having any issues with her performance.

No decision has yet been made in casting for Daenerys Targaryen, from what GRRM has recently indicated, but we expect it will be nailed down by the end of the month or, at the latest, the beginning of next month.

More Casting Quotes

GRRM has more remarks to share concerning the ongoing casting process for HBO’s Game of Thrones. Most notably, no one has yet been cast, but they are getting close on some roles, he thinks. He adds that he’s uncertain that he’ll be able to provide hints, as he did for the pilot, but if so he promises to use the Froggy the Gremlin image on those posts to indicateit.

A short snippet from his post follows, naming some of the characters whose audition tapes he’s been reviewing:

“I’ve been looking at many audition tapes. Varys. Littlefinger. Pyp. Grenn. Sam. Ser Gregor. Renly. Bronn. Septa Mordane. Jory. The Old Bear. Even Marillion. And probably some other characters that I’ve forgotten about, writing this off the top of my head.

“Some very hard choices await us. For some parts, a wealth of great possibilities, and no way to go wrong. For others, two or three strong contenders, then it tails off sharply. For a few, we have yet to see anyone who excites us, so the search goes on.”

GRRM on Casting

At his “Not a Blog”, George R.R. Martin shares some odds and ends. Among them are some interesting remarks on the casting process, in which he notes that casting is roughly in order of a character’s appearance, so some roles (such as Tywin Lannister and Shae) will be cast later. They are “mostly concerned with filling parts for the pilot reshoots and episode two.” Obviously, Daenerys is one of those parts, but we’ve previously been told that many of the characters with no lines in the pilot—Tommen has been mentioned—were given to extras, essentially, and would now be recast with their permanent actors. Via Twitter, I know that the young actress for the part of Myrcella in the pilot has or will be auditioning to retain the role.

He also adds, regarding actors who’ve auditioned: “Some actors are household names who would be recognized by any film or television fan, some are veteran character actors, some are brilliant young newcomers. A wealth of choices. There are a lot of fine actors out there.”

Daenerys Audition Tape

Charlotte Salt—who I recognize from the previous season of The Tudors, in which she played Lady Ursula Misseldon—has apparently posted her audition tape for the role of Daenerys (which HBO recently confirmed was recasting), or possibly a practice run for it, on YouTube. It’s an interesting look to how these audition tapes might look from other actresses.

Thanks to Abyss at Winter is Coming and Jonias Snow at the A Song of Ice and Fire forum for bringing it to our attention.

The Difficulty of Adaption

The comment thread to GRRM’s post announcing the completion of the first draft has proved fruitful. He’s confirmed that so far as he knows, the character of Ros, “the Red-Headed Whore”—played by Esmé Bianco—is the only one added to the series so far who is not original to the novels, and reveals that she may appear in later episodes; having liked Ms. Bianco when he met her, he even floats the idea of including her character in the novels. Martin also makes this priceless remark, in regards to the script which he called “too long and too expensive”: “Too many characters, too many settings, too many SFX shots. What meathead wrote this novel, anyway?”

Later, however, Martin speaks seriously on the difficulty of adapting the series. He emphasizes that the first season is very faithful to the novel, but he anticipates increasing difficulty as the story spreads over a wider geographic area, with more and more characters introduced, some who may become prominent in later novels but who could well be cut when their role appears small. He can’t guarantee that the future seasons will be as faithful, but “the intent is there”.

GRRM Interview and Tamzin Merchant

Maureen Ryan of the Chicago Tribune has posted her interview with George R.R. Martin concerning HBO’s Game of Thrones. A lot of interesting things ... and a bit of expected news: Tamzin Merchant has left the production, so the role is definitely being recast. This item is from HBO directly, rather than from GRRM it seems.

The transcript covers a number of topics, not just the HBO production, such as the comic book adaption of Fevre Dream by Avatar Press which came to fruition after they contacted George regarding rights to adapting A Song of Ice and Fire, something he may eventually do (and has been approached by a number of different publishers about) but hasn’t yet decided because he’s not sure it’s really feasible. He also mentions a novel idea he’s had for a long time, inspired by Chicago’s landmark Uptown Theatre, and of course he covers the current situation with A Dance with Dragons. It makes for good reading, especially as it touches upon GRRM’s early career both as a writer and in Hollywood.

Many thanks to Mo Ryan for the head’s up!

Audition Tape Update

In the course of an update on various fronts, GRRM notes a little cryptically that he’s spending his spare time with,  “Varys, Littlefinger, the Old Bear, Jory Cassel, Septa Mordane, Bronn, and some other old friends.” This baffled us for a moment—at first we thought he meant the script he was writing, but at least one of the characters in that list wouldn’t appear in said episode. Then we thought perhaps he was rereading A Game of Thrones to help him get into the flow of the script.

And then, a moment after, it dawned on us: GRRM has been viewing audition tapes for those various roles. Exciting!

More from C2E2

We have a fresh report on George R. R. Martin’s remarks while at C2E2 in Chicago, courtesy of Trebla, at the A Song of Ice and Fire forum. There’s some spoilerish material for A Dance with Dragons and “The Mystery Knight”, so beware.

For those who just want the news relating to HBO’s Game of Thrones, see the extended section. Mild spoilers for the TV show follow.

Starz All-In on Historical Dramas

This may be of interest to expectant fans of HBO’s Game of Thrones. Chris Albrecht, head of HBO when the channel optioned George R.R. Martin’s fantasy series and now head of Starz, has revealed that his cable network is going to focus its development on historical/fantasy-flavored productions for the time being, according to this Variety report from the MIP TV exhibition at Cannes (familiar to GoT followers as the location where international broadcasting rights for Game of Thrones would first be negotiated).

Starz has already had a great deal of success with Spartacus: Blood and Sand, so much so that the delay in production in season 2 (due to lead Andy Whitfield’s ongoing treatment for a recently discovered non-Hodgkins lymphoma) has them considering a spin-off miniseries to fill time. They also recently acquired broadcast rights to Pillars of the Earth, a big-budget miniseries set in 12th century England based on Ken Follett’s international bestselling novel, and are bringing Arthurian romance-adventure Camelot into production.

This trend appears to be continuing, with Albrecht revealing that Starz is now also developing a mini-series titled William the Conqueror, based on the life of the Norman duke (known in his earlier days as William the Bastard) who would become King of England. There’s a choice quote from Albrecht as well: “The business model is going to be: If it’s got a sword, we want it,” Albrecht joked. “But (picking up) a good contemporary or futuristic piece right now might not be bad.” As to his former home, he calls HBO “kind of a colossus” as far as original programming goes, but he hopes Starz will carve out a niche as “entertaining”, suggesting this strategy is aimed at pleasing the crowds more than at pleasing critics.

What’s interesting about it is that Albrecht’s instincts seem to have been pretty solid, and his instincts have been indicating that there’s a definite place for historical/historical-fantasy original drama on cable. Others seem to agree, given Showtime’s bringing The Tudors to a close only to be readying Borgias to replace it as a sumptuous historical drama, and many more are making that very same bet with shows such as “The Medici” and “Pharoh” being produced internationally. Game of Thrones is the most clearly fantastical of the lot (it remains to be seen whether Camelot will take a more historical or fanciful approach), and certainly one of the highest-budgetted, so it may be argued that HBO’s taking the largest risk into unknown territory. Up to now, fantasy epics on television have been more along the lines of Xena than The Lord of the Rings.

It looks like fans of pre-Modern costume dramas are going to have a feast to choose from later this year and through next. Will all the bets on these costume dramas pan out? 2011 will let us know.

A Little News from C2E2

We have a report from C2E2 regarding GRRM’s remarks at the Q&A session on Friday night, (many) thanks to lady narcissa. GRRM remarked on the ages of the characters as they compared to the series:

“GRRM talked a bit about how well people age these days and how much better looking everyone is so they went with older actors to play the adult characters (generally 10 years older). With regards to the children’s ages, he talked about how he mistakingly didn’t age the children quickly enough in the first book…how the first chapter should have taken place 6 months before the second…so the children were made older for the tv series. He mentioned the obvious necessity for this with Dany and what she goes through and needing an older actress because you couldn’t go around trying to explain to the tv audience - but it was okay for 13 year olds to get married back in the old days.”

And in a somewhat more spoilery fashion (and spoiler-protected by the thoughtful lady narcissa), something of what his script for episode 8 of HBO’s Game of Thrones series will cover. Visit the linked report to read the full details there.

GRRM on the Script

In the course of a pre-C2E2 update, George R.R. Martin indicates that he had an excellent day of work, half of it spent on the book and half on the script for episode 8 of HBO’s Game of Thrones, something he says he never does, but it happened to work well.

He hopes for more days such as this, and will be back from Chicago on Tuesday.

He adds a final postscript: “Soon.” We leave the interpretation of this up to our readers.

TV Book Sales Followup

As an addendum to our earlier report on how much impact having a television show associated with a novel series can have, we were very interested to read Andrew Wheeler’s 2009 genre bestseller review which provides some hard numbers to go with the figures.

The enormous sales of Stephanie Meyers works are, of course, duly noted. Of particular interest to HBO and Game of Thrones fans, however, would be Charlaine Harris’s works. In 2009 she released not one, but two, novels. The first of these became the 25th biggest hardfback fiction seller, with half a million copies sold, while the newest one had sold 270,000 copies by the time the list was compiled, despite an October publication. More notably, in terms of paperback sales, she had nine notable works and sold just shy of 6 million copies in the course of the year.

Compare to 2007, where Harris’s All Together Dead sold just over 105,000 copies in the year (May publication date) and you can see the quadrupling of interest in new release, hardcover fiction from the author. As noted in the previous article, the impact on sales of A Song of Ice and Fire will probably be not quite so noticeable even if it’s a runaway hit, simply due to the already-high sales of the series and the greater commitment involved in reading them compared to the lighter, episodic Stackhouse novels. Still, the gains (especially in paperback) could be quite considerable.

More on Dothraki

The Language Creation Society has posted the press release from HBO that we’ve reported extensively on. We’ve been told by the President of the LCS, Sai Emrys, that this will be the page to keep an eye on for future updates from the Society on their work for HBO.

We’ve spoken a bit with Mr. Emrys about the news. He’s added that they will look into posting audio files of spoken Dothraki so fans can get a taste of what they’ll be hearing on the show. As we noted from our initial report, LCS has the potential to provide all language creation services for the series, which could mean Valyrian and its dialects, and even the language of the First Men, could be on the table in the future. When I asked him about this, Mr. Emrys stated, “We’d be happy to create all the other languages in the world of ASOIAF,” although to some degree it will depend on whether the production company feels the time and effort has proved worth it.

And what decides that? Fan response and interest as the series air date approaches and the first season airs. If the production company believes that the created languages add verisimilitude and appeal for fans, they’ll likely commission more.

Keep an eye out on Westeros.org and the Language Creation Society for more news and interesting developments in the future.

Dothraki Language for Game of Thrones

HBO has sent out a press release concerning the Language Creation Society, which was hired to created the Dothraki language as shown in HBO’s Game of Thrones. That the producers had hired a linguist to develop the Dothraki language for the pilot has been previously reported at the time that the pilot was being filmed in Northern Ireland. The press release, with additional details and commentary, follows:

For Immediate Release April 12, 2010

EXPERT CREATES LANGUAGE FOR NEW HBO SERIES GAME OF THRONES

David J. Peterson, an expert language creator from the Language Creation Society (LCS), has been chosen to create the Dothraki language for HBO’s upcoming fantasy series GAME OF THRONES, based on the book series “A Song of Ice and Fire,” by George R.R. Martin.

When GAME OF THRONES executive producers David Benioff and D.B. Weiss needed a language for the Dothraki, Martin’s race of nomadic warriors, they turned to the Language Creation Society.  The LCS solicited and vetted a number of proposals for the Dothraki language from its pool of experts, with Peterson’s proposal ultimately being selected by the GAME OF THRONES production team.

Peterson drew inspiration from George R.R. Martin’s description of the language, as well as from such languages as Russian, Turkish, Estonian, Inuktitut and Swahili.  However, the Dothraki language is no mere hodgepodge, babble or pidgin.  It has its own unique sound, extensive vocabulary of more than 1,800 words and complex grammatical structure.

“In designing Dothraki, I wanted to remain as faithful as possible to the extant material in George R.R. Martin’s series,” says Peterson.  “Though there isn’t a lot of data, there is evidence of a dominant word order [subject-verb-object], of adjectives appearing after nouns, and of the lack of a copula [‘to be’].  I’ve remained faithful to these elements, creating a sound aesthetic that will be familiar to readers, while giving the language depth and authenticity.  My fondest desire is for fans of the series to look at a word from the Dothraki language and be unable to tell if it came from the books or from me — and for viewers not even to realize it’s a constructed language.”

“We’re tremendously excited to be working with David and the LCS,” says producer D.B. Weiss.  “The language he’s devised is phenomenal.  It captures the essence of the Dothraki, and brings another level of richness to their world.  We look forward to his first collection of Dothraki love sonnets.”

Did you know?  (Hash yer ray nesi?)

The name for the Dothraki people — and their language — derives from the verb “dothralat” (“to ride”).

The Dothraki have four different words for “carry,” three for “push,” three for “pull” and at least eight for “horse,” but no word that means “please” or “follow.”

The longest word in Dothraki is “athastokhdeveshizaroon,” which means “from nonsense.”

The words for “related,” “weighted net,” “eclipse,” “dispute,” “redhead,” “oath,” “funeral pyre,” “evidence,” “omen,” “fang” and “harvest moon” all have one element in common:  “qoy,” the Dothraki word for “blood.”

Dothraki for “to dream” – “thirat atthiraride” – literally means “to live a wooden life”; in Dothraki, “wooden” (“ido”) is synonymous with “fake.”

The word for “pride” – “athjahakar” – is derived from “jahak,” the traditional long braid worn by Dothraki warriors (“lajaki”).

More information about the Dothraki language (and their love poems) will be released over the course of the series.

From a fan perspective, this latest news is quite remarkable because it shows the degree to which the producers envision the series as an immersive experience, bringing viewers into the living, breathing world of George R.R. Martin’s A Song of Ice and Fire. The novels only feature a handful of words and phrases in the Dothraki language, as Martin has noted he’s not a linguist and only creates words when he needs them. The television show is apparently intent on extending this, in a way not dissimilar to how the Klingon language was created around the nucleus of a handful of phrases written by James Doohan for the Star Trek: The Motion Picture.

The number of words reported—1,800, with a detailed grammar—is said to be right in line with “language that is actually meant to be used to communicate.”

We believe we’ve discovered the original call for submissions sent to the conlang community. It was first posted on September 4, 2009. One can see that the details fit the series: graphic violence, a fantasy setting with some prepared vocabulary, a pilot with the possibility of 10-12 episodes a season. According to this page, David Peterson provided the most interesting proposal but other names are mentioned.. One leaps out at us: Bill Welden, a Tolkienian language expert who was involved in The Lord of the Rings films. On his Livejournal, Peterson wrote at the end of 2009 of 2009 that the, “biggest bit of unexpected news was the television job to create a language. Still can’t wait to say more about that. Come March, I should be able to say everything. This project, though, cut into my August, September, October and November.” He had posted some additional information at the start of November:

But, of course, the largest enterprise I undertook over the course of the last month (two months, really) was I applied for a job posted by the LCS. Without going into details, the job was to create a language for an upcoming television show. The application process was exhausting (took most of my free time for the past two months), and there were a ton of excellent conlangers applying. At the beginning of this month, I was informed that I’d moved onto the final round, and this past Friday, I was informed that I’d won.

....

Until someone somewhere leaks the information, or I’m given the okay by the network, I signed a thing saying I wouldn’t say anything about the series, so all I can say for now is that it’s a major TV network, and the show is, at this point in time, guaranteed a pilot (and I’m guaranteed work for the pilot). If the pilot is picked up, the show will get a one season run, and I’m guaranteed work for the first season. Thereafter, I imagine it will depend on the show’s popularity, the quality of my work, and the direction of the show. Still and all, very exciting!

On December 2nd he remarked that the job proved to be less work-intensive than he had expected, suggesting that the amount of Dothraki used in the pilot is not as great as first envisioned; or at least, the amount of work that went into preparing the “artistic language” for the show was greater than what ended up on screen to start with. Examples of Peterson’s constructed languages can be found at his page on the Language Creation Society website.

The Language Creation Society was founded in 2007 and it seems they offer language creation services for television, film, fiction, and other endeavors, with Game of Thrones appearing to be their first major client.