Game of Thrones is a site for the HBO-series based on George R.R. Martin's A Song of Ice and Fire.
New to the series? Read our spoiler-free review of A Game of Thrones.
Via the Guardian, we learn that Rupert Murdoch’s BskyB has bought exclusive U.K. broadcasting rights to HBO’s programming, including their archives and all forthcoming programming. According to the report, this is a 5 year agreement worth £150 million.
We can note that HBO has confirmed to us some weeks ago that the early word that the BBC was likely to co-fund Game of Thrones never came to fruition. This seems to settle the matter fully, as there were many question marks on the state of the BBC’s involvement given no mention of them in official press material.
Thanks to paddyolaughlin for the head’s up.
The bad news: for medical reasons, Roy Dotrice has had to leave the production of Game of Thrones, which is very unfortunate. The good news is that he just needs 3-4 months of treatment and he’ll be fine. Our best wishes to Mr. Dotrice, and our hope that—as GRRM says—they’ll find a place for him in the production!
In his place, thespian Julian Glover—an old friend of Dotrice’s from the Royal Shakespeare Company, and an actor with a long, long list of credits stretching back 50 years—has been cast in the role.
And we’ve a new set of clues, a confusing set, but they seem to regard the actresses cast as Doreah and either Irri or Jhiqui (“big brother’s gift”, with GRRM clarifying in comments that his clue is for three roles only) and Shae (“sellsword’s gift”).
The Dothraki language created by David J. Peterson, a member of the Language Creation Society, now has a dedicated fan site. Learn Dothraki (who can be found on Twitter) is the brain child of Richard Littauer and Sebastian Wolff, the latter of which is the orignal founder of the very popular Learn Na’vi website for fans of the Na’vi language in the movie Avatar.
Littauer has already contacted Peterson to discuss some points of the Dothraki language, and is sharing what he learns via a fan wiki and the very first (unofficial) dictionary (PDF file). To add to the usefulness for learning the language, Littauer’s gone a step further and actually begun to create Youtube videos to discuss the finer points of the language. The inaugural video is embedded below:
Over at “Not a Blog”, George R.R. Martin has added a couple of comments in reply to fan queries about HBO’s adaption of his work.
First, in response to a question about the change of Robert Arryn’s name to Robin Arryn, he writes about how he deliberately broke traditional convention by having characters with similar or even the same names, and cites the historical fact that in Europe many of the noble families would simply reuse the same few names (he specifically notes all the Edwards and Henrys in England, and how heirs named Arthur or Eustace never managed to survive).
Then in another response to a remark about how much involvement he has in the production compared to other authors who sell the adaption rights to their works, George cites that his previous Hollywood experience certainly proves helpful in his being involved in a meaningful basis. On top of that, he notes that many SF/F authors don’t make much money from their books, so are just happy to have someone interested in the rights and willing to cut a check. His personal preference, however, is to meet the would-be producers and see what they have to say, rather than just accepting an offer without deliberation.
The latest economic article in the Belfast Telegraph on the film and television industry in Northern Ireland reveals that HBO’s Game of Thrones is a definite boon to the economy, along with the other productions Northern Ireland Screen has brought to the region. Previously, NI Screen estimated that a single season of Game of Thrones would bring £20 million into the local economy.
Compare this figure to the total of the gain to the economy in the 2009-2010 year, in which the highlights were the pilot for Game of Thrones and the film Your Highness. Northern Ireland Screen’s £3.9 million investment in bringing productions to Northern Ireland is said to have returned approximately £22 million pounds, a 5.5:1 ratio. If the £20 million estimate holds out, Game of Thrones alone will nearly equal the economic impact of all 2009-2010 productions together.
One other figure from the article? It’s said that HBO’s network (including their foreign channels) will bring Game of Thrones to 35 million viewers worldwide. With broadcast rights still being sold to third party channels, that figure is doubtless going to be rather higher.
Back in March, the Well Educated Pony blog wrote a terrific post interpreting what sort of modern fashions that various characters in HBO’s Game of Thrones might wear, if they were placed in modern dress. Well, now she’s back with a follow-up, covering a number of characters she didn’t deal with the first time around. This includes Littlefinger, Sansa, and the rather curious case of Lysa Arryn (whom has been cast as rather less zaftig than the character as described in the books).
A great, fun read. But… when are we going to see what sort of fashions Lord Renly Baratheon or Ser Loras Tyrell would wear… ?
It was recently noted by an extra, known as Rimshot, working on the production that the show was preparing to film a three-episode production block. This has led to a good deal of confusion as to just what that means, but thankfully Adam Whitehead, U.K.-based book blogger, steps in to explain this over at the A Song of Ice and Fire Forum. Here’s the key paragraph:
“The block system sees several episodes combined into one solid block of filming and production lasting many weeks, maybe a month to two months. This block will involve the same behind-the-scenes personnel, and will be designed to maximise efficiency and minimize costs, so episodes set in the same location, using the same guest or recurring actors and so on will be combined, regardless of the actual transmission order of the episodes. Most notably, the same director will be assigned to the entire block. The block will be prepped, read-through, go through pre-production and budget meetings and then filmed and put through post in one long process. Usually whilst one block is filming, the next director will be stepping up and prepping the next block so the actors go from filming one block to the next (sometimes with a short break between them).”
Do check the rest of his post, as Adam compares to the more usual American network production method, and details how Doctor Who has used the production block method.
Sometime in the wee hours of the North Ireland morning, production began on HBO’s Game of Thrones. It doesn’t sound like the first day’s shooting will be taking place at the Paint Hall studio in Belfast, given this tweet from production secretary Paul McAnearney where he realizes that he’ll be standing in the rain come today.
The Wall Street Journal has published an article about the cable studios and their costly productions. HBO’s Game of Thrones is mentioned only in passing, as one example of the high-end epics that are coming, but it’s interesting to look at the figures that have been batted around for other productions in light of what we know of Game of Thrones‘s budget. The one that surprised me most was that was the claim (unsourced, mind you) that Starz’s Camelot was in the region of $7 million an episode. That’s half again the projected per episode budget of Game of Thrones, from a much smaller cable provider.
This leads us to wonder ... Camelot was announced after Game of Thrones went into production and likely had its budget projections made. Is it possible that some of the reshoots—reshoots which GRRM calls, in some cases, an attempt to do things even better—are motivated by HBO opening up the purse strings and increasing the show’s budget to be more in line with the latest crop of costume dramas? Assuming, that is, that Camelot‘s alleged budget isn’t a lot of hype over substance. The figure bandied about in the article is certainly a substantial leap up in production budget for the show compared to Starz’s previous original costume piece, such as Spartacus: Blood and Sand.
In a follow-up to our recent item about the legendary fight choreography William Hobbs being involved in training Miltos Yerolemou for his role as Syrio Forel in HBO’s Game of Thrones, Miltos has commented over at Winter is Coming that while Hobbs is not officially associated with the production, he’s taken a hand in helping Miltos develop the Braavosi waterdancing style. Miltos also confirms that Buster Reeves—who was Christian Bale’s stunt double in the Batman films, and helped develop the superhero’s unique fighting style—is still involved as fight choreographer in Game of Thrones after having arranged the fights in the pilot.
As with many of the actors, Miltos has been in Belfast for read throughs and rehearsal, and apparently has run through some of his fight choreography with Maisie Williams, who plays Arya Stark.
One other thing mentioned is the fact that Hobbs discussed the Rob Roy fight with Miltos “at length”, which may give a sense of the approach they’ll be taking with Syrio’s superlative waterdancing skills. For your edification (and because we really think it’s the best bit of fencing choreography we’ve ever seen), the climactic fight scene from the film, choreographed by Hobbs:
Over at “Not a Blog”, George R.R. Martin runs through several of the actors cast in roles related to the Vale of Arryn—Lysa Arryn, Robin Arryn, and Ser Vardis Egen. More notably, he touches on the fate of Ser Brynden Tully, the Blackfish. George explains it best, so we’ll quote him:
“... alas, his appearance has been postponed. Even with such a huge project as ours, there are budgetary constraints that require some characters to be cut, combined… or deferred to later seasons. That’s what is happening with the Blackfish. The plan, I am told, is to delay the introduction of the Tullys (Lord Hoster and Ser Edmure as well as Ser Brynden) until the second season. Brynden’s part in the events of A GAME OF THRONES will be filled in part by Ser Vardis Egen, and in part by Ser Rodrik Cassel.”
So, if the show gets a second season, we’ll be seeing the rest of the Tully clan.
As we recently learned, Castle Black was set to be built at Magheramorne Quarry. Now, a fellow fan by the handle of silverjaime has shared the first photos of the site, taken about a mile away from the building site (the nearest the public can get to it). The first picture is here, while a zoomed and cropped version can be found here. It looks like the quarry wall will serve as the Wall, either colored to look more like ice in CG, or perhaps used as a base on which to lay greenscreen.
Silverjaime also visited the Paint Hall area, and fell into discussion with the dialect coach for the production, Brendan Gunn. Gunn informed her that while the production would us “UK accents”, he did not provide details of whether there’d be regional variations other than to confirm that Aidan Gillen (cast as Littlefinger) would not use his native, Dubin accent. Gunn has previously worked on a very large number of films, including Michael Collins, The Butcher Boy, Meet Joe Black, and Snatch (where he helped Brad Pitt develop his Tinker accent). He also happens to have served as the dialogue coach for A Shine of Rainbows, a film which featured Jack Gleeson, cast as Joffrey Baratheon.
A video of Gunn discussing the dialects of A Shine of Rainbows is embedded below:
Over at “Not a Blog”, George R.R. Martin responds to a query regarding a potential composer for the HBO adaption of Game of Thrones. What GRRM indicates is that the production team has already narrowed down the list of candidates for the job and have interviewed the leading contenders, and that no new names are going to be looked at. Which suggests to us that the decision is probably quite imminent, presumably with an eye towards having the composer start his or her work as soon as possible.
George says he has his own favorite among the leading candidates, but we shall see what develops.
Following up on our previous report, we’re happy to see George confirm that actress Natalia Tena has won the role of Osha. As George writes: “When I saw that she was reading for Osha, my first thought was, “She’s great, but no way, she’s too young and too hot.” Then I saw her reading, and none of the other Oshas had a chance. Her charisma grabbed me by the throat and I could not take my eyes off her. David and Dan felt the same way. We’re all thrilled to have her.”
It sounds like an auspicious start to her time in the series!
Wow. Double wow, actually. We’ve been amazed and delighted with the casting, production, and writing team ... but this is the first time we’ve had our jaws drop.
From a tweet by Miltos Yerolemou, we discover that the legendary fight choreographer (this is not an exaggeration), William Hobbs, has been training Miltos ahead of his role as the Braavosi waterdancer Syrio Forel, formerly First Sword for the Sealord of Braavos. Hobbs has been responsible for just about every memorable fencing duel on stage and screen for 30 years. Memorable examples? Richard Lester’s The Three Musketeers and The Four Musketeers, The Duellists, and especially Rob Roy, as well as the award-winning stage production of Hamlet from 1995 which won notice from the New York Times and led to a profile of the fight choreographer.
What’s most noticeable is that Hobbs has no professional TV/Film credits these last 5 years, so his involvement in the background of Game of Thrones is a remarkable coup.
Below, we leave you with a video featuring what I consider to be the very finest duel ever put to film, from the finale of Rob Roy: