“We owed it to the audience to make sure we reference the visual legacy from Game of Thrones, both in design and quality.”
The Big Picture Despite the ongoing SAG-AFTRA and WGA strike, it had been revealed that the massively successful Game of Thrones spin-off, House of the Dragon would continue production according to renowned author and screenwriter, George R.
R. Martin. House of the Dragon was faced with a number of steep mountains to climb in its first season. For eight seasons of Game of Thrones, a significant number of House of the Dragon viewers had been mesmerized by the storyline and visual representations of Martin's work, so it meant the prequel would need to respect that legacy while crafting its own. This was a responsibility not lost on the leading crafts head for this highly anticipated series and one they executed to perfection as seen in the resulting eight Emmy nominations for the HBO series this year, including Outstanding Drama Series. Speaking to Deadline, about what the task set before them entailed, visual effects supervisor Angus Bickerton says, House of the Dragon expanded the visual lore of Westoros beyond Game of Thrones while digging deeper into the dragon-riding family that once ruled the Seven Kingdoms. “The approach was to embrace and expand the world while at the same time retaining an audience familiarity with that world,” says production designer Jim Clay. While we saw fire-breathing dragons in the original series, House of the Dragon took the scaly beings to an entirely new level with the number of them that needed to make an appearance. The trio of Queen Daenerys Targaryen's dragons had distinct qualities, however, the beasts of the prequel were paid extra attention. "It was always George R. R. Martin’s intention that the dragons were diverse and colorful, so the primary design goal at the start of pre-production was to create the distinct characters,” Bickerton says. The Game of Thrones Connection Miguel Sapochnik's sudden departure in the aftermath of the prequel's premiere was a shock to fans and actors alike. However, having him and other Game of Thrones veterans on the creative team was something that greatly helped the reception of its prequel sound supervisor Al Sirkett. “I knew having them on the team would help create a world that was not specifically identical to that of Game of Thrones, but it definitely helped to have them as part of the continuing DNA of this new show,” he says. “With Paula [Fairfield]’s fantastic work on creating the dragons’ voices and personalities, and the rich textured crowd work and attention to detail that Tim [Hands] always brings to his work, building these new grand scale environments was always going to come from the same headspace as Game of Thrones.”
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