As an Emmy-winning director on “The Sopranos,” “Mad Men” and “Game of Thrones,” Alan Taylor has made a reputation for himself on a few of tv’s most extremely regarded collection. Nonetheless, when he discovered that he could be helming probably the most consequential motion sequence within the historical past of “House of the Dragon,” he took a second to think about the enormity of the duty at hand. “I hadn’t really realized what a big deal it needed to be,” Taylor mentioned.
Motion set items not often come greater than the three-way dragon battle that concludes “The Red Dragon and the Gold,” the fourth episode of the fantasy collection’ second season. A landmark occasion in “Fire & Blood,” creator George R.R. Martin’s fictional historical past of the royal Targaryen clan that impressed the present, the so-called Dance of the Dragons sees a trio of fire-breathing beasts conflict within the sky, resulting in the demise of 1 main character, the hideous disfigurement of one other and numerous troopers killed within the fallout.
Digital camera operator Claire Pie, left, with director Alan Taylor.
(Theo Whiteman / HBO | Max)
To deliver the roughly 12-minute sequence to the display required a critical battle plan, one which concerned a number of departments and took greater than a 12 months to execute. “Everything I was doing with the dragons was trying to make them feel real and palpable and alive,” Taylor mentioned. “Dragons have to be characters, not just transportation or weapons.”
The sequence begins with Ser Criston Cole (Fabien Frankel) main a military towards the fortress of Rook’s Relaxation. He intends to assert the territory on behalf of King Aegon II Targaryen (Tom Glynn-Carney), who’s at battle together with his half-sister Rhaenyra (Emma D’Arcy). However the assault is known as a strategic ruse. Cole and Aegon’s mercurial brother Aemond (Ewan Mitchell) anticipate Rhaenyra to launch an offensive of her personal on the web site and plan to make use of Aemond’s monumental dragon Vhagar to kill her.
As a substitute, Rhaenyra’s lieutenant Rhaenys Targaryen (Eve Greatest) arrives on her dragon Meleys to tackle Cole’s forces. To her nice shock, the king himself rides his dragon Sunfyre into battle, hoping to show his valor. As soon as Rhaenys orders Meleys to assault the king, Aemond rushes ahead, commanding Vhagar to unleash a torrent of fireside. The blast strikes Aegon and sends the younger monarch and his dragon plummeting to the bottom.
Locking talons, Meleys and Vhagar collide, however the bigger beast positive aspects the higher hand. Quickly, Rhaenys, Meleys and Sunfyre are useless, whereas Aegon barely clings to life.
Alan Taylor directs actor Ewan Mitchell, who performs Aemond Targaryen.
(Theo Whiteman / HBO | Max)
“We had to dramatize this thing that everybody’s been so afraid of, which is dragon-on-dragon war,” mentioned showrunner Ryan Condal, who wrote the episode. “You see how terrible it is, and also how stunning and spectacular, as these gods are fighting in the sky.”
Working together with his longtime accomplice Jane Wu, director Taylor started storyboarding the sequence within the early weeks of 2023. Throughout their analysis, the pair found footage of birds of prey partaking in midair, they usually selected to include these actions into the dragon combat. “One usually turns upside down, so they meet talon to talon,” Taylor mentioned. “That means they’re locked together, so then it becomes a death spiral. The idea of doing that but with [creatures the size of] two 747s seemed like it would be appropriately big.”
Wu’s photographs turned the inspiration for the previsualization, or “previs,” of the Rook’s Relaxation battle. Serving as a sort of street map, the “previs” allowed the filmmakers to plot out each element of each scene — from what digital camera angles could be used to how the CG dragons would transfer. Understanding exactly how and when every creature would financial institution, tilt, soar or nosedive was essential for planning the dragon-riding scenes.
VFX manufacturing supervisor Adam Lawrence on set.
(Theo Whiteman / HBO | Max)
For these pictures, largely filmed at Warner Bros. Studios Leavesden, the collection’ manufacturing headquarters, the actors had been seated on a buck atop a motion-controlled base surrounded by giant blue screens. The bottom was then programmed to simulate the precise actions of every character’s dragon, whereas wind machines and particular lighting re-created aerial circumstances.
“Trying to find a way to make these clashes look as violent as they would really be while keeping the actors safe was a challenge,” mentioned visible results producer Thomas M. Horton. “How do we shoot this with a buck and a motion-controlled camera so it looks like they’re being spun around at 90 miles per hour but actually they’re not?”
It’s not the best setting by which to create genuine emotional moments, famous Taylor, who singled out Greatest for delivering heartbreaking work underneath tough circumstances. “She’s doing a very intense, subtle performance while she’s being slammed around on this bucking bronco with wind machines and a robotic camera,” Taylor mentioned. “She was a trouper.”
Mitchell described the buck work as one thing of a thrill trip that vastly knowledgeable his efficiency. “Having that feedback from what is effectively a machine, it really brings the scene to life,” the actor mentioned. “It’s almost like a horse jockey. I’m leaning over as opposed to sitting back handling the reins, really putting all my body into it.”
Behind the scenes of “The Red Dragon and the Gold.”
(Theo Whiteman / HBO | Max)
To seize sure pictures of Aemond and Vhagar in opposition to the Rook’s Relaxation tree line, a makeshift buck was dropped at Bourne Woods within the English county of Surrey, the place the bodily battle was filmed — the primary time the collection tried to do buck work on location. “To be suspended 30-40 feet up in the air? Nothing beats it,” Mitchell mentioned. “It’s escapism to the max.”
Throughout the roughly 10-day shoot, which happened in August 2023, drones approximated the dragons’ flight path so the actors on the bottom knew the place to look once they craned their necks towards the sky. Stunt performers posed as knights, donning layers of protecting gear beneath their costumes in order that they may safely be lighted on fireplace and burn for as much as 15 seconds earlier than being extinguished.
The bottom was additionally affected by synthetic burning our bodies to simulate the dragons’ victims. “Obviously, there’s a safety issue with real fire, but for the most part, it’s a help because it motivates the ability to put lots of atmosphere through [the shots], and putting lots of atmos and smoke into the shot helps photographically,” mentioned cinematographer P.J. Dillon.
The varied parts of the sequence had been stitched collectively throughout postproduction, with the ultimate scenes accomplished simply weeks earlier than the episode aired. “Three dragons, buck shots, fire, we had to create the castle, the whole cliff and the sea, there was a big army enhancement as well — the ratio of super complex, very heavy-lift shots in that episode is off-the-charts high,” mentioned VFX supervisor Daði Einarsson.
