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House of the Dragon

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Buongiorno a tutti!

Nel trailer a mio parere si intravede Harrenhal e penso che sarà la parte relativa al Gran Concilio del 101 con Re Jaehaerys, o almeno spero che si tratti di questo... Altra scena del trailer è il funerale di Laena (???) nel Driftmark al quale sono presenti molti personaggi principali... Che vi ricordiate è in quell'occasione che avviene la lite tra Aemond e Lucerys?

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Il 9/5/2022 at 11:31, Metamorfo ha scritto:

Mi pare non sia ancora stata rinnovata (come altre serie tv, prima ancora del debutto).

Credo abbiano un minimo di timore di flop e, in quel caso, non sprecherebbero le tante risorse e la cancellerebbero (assieme a tutti gli altri progetti del franchising di GOT).


Sembrerebbe che HOTD sia stata ufficiosamente rinnovata:




Il che, nondimeno, non esclude l'ipotesi di una cancellazione d'emergenza, nel caso la serie fosse un clamoroso flop.

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E' normale che la parte della scrittura sia già iniziata, sia perchè non costa praticamente niente, sia perchè altrimenti perderebbero mesi. Anche altri preparativi saranno già iniziati. 

Non lo definirei un rinnovo non ufficiale: solo comuni preparativi per questo tipo di grosse produzioni.

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GRRM e Ryan Condal (showrunner principale di House of the Dragon) hanno partecipato a un podcast condotto da Idris e Sabrina Elba:




Di seguito la descrizione di ciò che hanno detto riguardo HOTD. Mi sembrano significativi i passaggi sul fatto che la serie TV sarà molto fedele al materiale originale (Fire & Blood), anche se alcune cose sono state modificate di comune accordo fra Ryan e GRRM.



(12:15) Sabrina: So how did you start the process of adapting the book together?

Ryan Condal: I mean, after we got the business stuff done, I flew out to meet George at his secret bunker location. where he was working on the book for a long time. And, um, yeah, we, I mean kind of in an old school way, we sat down together in a room with the book open and just talked through where things had been. And the first creative challenge was about where we're gonna drop people into the story, where are we gonna start?


GRRM: Right. Oh, yeah. Where to begin, because this particular book that, you know, there is no book called Dance of Dragons. House of the Dragon is drawn from a book I wrote called Fire & Blood, which is not a conventional novel. It's written in the form of a fake history, an in-world character called Archmaester Gyldayn has written this history of Targaryen dynasty. So that's like the history of the United States or the history of England. Where do you start if you're writing a history of England, do you start with Picts and the Celts and the Romans invading? No, I'll skip them. I'll start with the Saxons invading and king Arthur? No I'll skip them. I'll start with William the conqueror. We faced the same issues here. And indeed that had been a major issue with me and some of the other writers who had preceded Ryan on this project that we could not agree on exactly where to begin the story. I usually wanted to begin earlier and other people wanted to begin later, but I think we found a great place to begin this story.


Ryan Condal: Yes, it is definitely a challenging adaptation. It's not a straight narrative. So the challenge in it is to pull the material that you need out of it, but also then to invent the made up narrative that stitches this history together. But I think that also gives you a lot of latitude and freedom as a writer. So it's really interesting, cuz if you can really serve the adaptation and be extremely faithful to it, but still bring a lot of invention to it just because of the way the story is told.


(14:26) Idris: So George, since you know, you're not in the writer's room, did it ease your mind knowing that you would hand in the show over to a fan, someone you knew bought into your original view of this world, or would it have felt comfortable to anyone who had the, you know, accomplished television credits?


GRRM: Yes. I was very happy that Ryan knew my world so well. because HBO also I've put in production four other shows with four other writers who were excellent writers, television, film writers with excellent credits behind them, you know, and they didn't really know my books. Now. I gotta admit, I'm not the most objective guy in this. Uh, in this discussion, I'm the author of the original material. When you get a writer who is hired to do an adaptation, but is not familiar with the material, in some cases, they hire people who don't even like the original material and you have language in Hollywood. I'm gonna make it my own. I have my own vision for this and that sort of thing. Not, not even just discussing my work, but discussing myself as a viewer, as a consumer of things. If I go to see The Great Gasby, I don't want someone's take on The Great Gasby. I don't want him to make it their own. I want Scott Fitzgerald brought to life in front of my things. I want Daisy and Tom and Gatsby and the roaring twenties. Uh, and you don't always get that. So to, to be able to work with someone like Ryan, not just he knew my books, but the fact that he knew fantasy and loved fantasy is also a big thing.


(16:24) Sabrina: Was that easier because Ryan, you were a fan of the work. So you could kind of translate it in maybe a way that George could really appreciate, what does that writing process together look like?


Ryan Condal: For me, it was all about trust. It was a unique writing relationship because George was the author of the source material, the original materials. And I promised him from the outset, I'm going to render as faithful an adaptation of this material as I can, understanding that certain things have to shift and change and be invented because we're putting this into a visual medium, it's no longer a history book. So for me it was a trust building exercise and the way Miguel and I approached the show are as fans of the original show. So what we're all trying to do is just create the thing that we as fans would wanna see. For me as a fan, that meant a very faithful adaptation. So, you know, I was very lucky in this case. I had George's ear, you know, I shared every outline that I wrote with him, for the pilot and then every draft of the pilot I wrote. And then once that started getting going, and HBO was happy, I think George was happy and knew where the story was going and what the plan was. So that's really what I just tried to do is just keep him as abreast of the information as I could. And then at some point we wrote a series bible and he came to Los Angeles to join us and heard how that was all going. So I think at every step of the way, he always knew where the story was going. So that for me, it was just keeping him involved and keeping his eyes on it as much as I could, because I felt like, look, if George blessed this and said, yes, this is good, or we debated something. And if it's not the thing that he wanted, some kind of compromise or some kind of mutual solution. And then I felt like I had done my job as the author of the adaptation.


(23:50) Idris: do you ever have to give George notes? And what it like for you?


Ryan Condal: We've had, look, we've had a couple of healthy debates on the show, more in the early going and the kind of formation of how the show was going to be structured and how this particular story was gonna be told. So it involved a deep and introspective look into the material that you wouldn't necessarily have to do if you were just reading it or discussing it as a history. But because it's one guy trying to sift through the accounts of three other guys who all have an incomplete account of the history that happened, trying to figure out what actually happened, because we're telling the objective version of this story, we had to make decisions of how this was gonna happen and how that was gonna happen. So there, I would say not notes, but there was debate. And there was what if we did this? And, and there were some things that I think, you know, weren't exactly what George intended, but that I think he came around to and liked in the end. So if you wanna call that a note, I, you know, I'll take that.


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1 ora fa, Jacaerys Velaryon ha scritto:

anche se alcune cose sono state modificate di comune accordo fra Ryan e GRRM.

Ma ai tempi di Got Martin aveva questo pseudo potere di veto ?? Oppure HBO ha cambiato le condizioni dopo la stagione 8 e la delusione della maggior parte dei fan ??

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Penso di no, ma più che di potere di veto parlerei di una maggiore coinvolgimento nel processo decisionale e una maggiore sintonia tra GRRM e Condal rispetto a D&D, dovuta all'amicizia fra i due e all'essere fan di ASOIAF di Condal, oltre che dovuta a come è finito GOT.

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Il 20/5/2022 at 20:24, Jacaerys Velaryon ha scritto:

Penso di no, ma più che di potere di veto parlerei di una maggiore coinvolgimento nel processo decisionale e una maggiore sintonia tra GRRM e Condal rispetto a D&D, dovuta all'amicizia fra i due e all'essere fan di ASOIAF di Condal, oltre che dovuta a come è finito GOT.


Certo che la scusa ufficiale di George per il maggior coinvolgimento in GOT era che doveva scrivere TWOW e non aveva tempo, e poi si è capito che TWOW non lo stava scrivendo, quindi poteva benissimo aiutare nella scrittura.

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Intervista a GRRM in cui parla della presunta rivalità fra House of the Dragon e The Rings of Power:




Commenting on the supposed rivalry between the two shows, Martin said he hoped both shows could be a success to prove the demand for more than one epic fantasy. “I know a lot of articles, the minute the dates were announced, it’s: ‘Oh, the battle for fantasy supremacy. It’s Rings of Power versus House of Dragon, who will win?’ I don’t know why they always have to do that.”


He added: “I hope both shows succeed. I’m competitive enough. I hope we succeed more. If they win six Emmys, and I hope they do, I hope we win seven. But nonetheless, it’s good for fantasy. I love fantasy. I love science fiction. I want more shows on television.”

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1 ora fa, Metamorfo ha scritto:


Certo che la scusa ufficiale di George per il maggior coinvolgimento in GOT era che doveva scrivere TWOW e non aveva tempo, e poi si è capito che TWOW non lo stava scrivendo, quindi poteva benissimo aiutare nella scrittura.

Come si diceva nell' altro topic, per un maggior coinvolgimento di Martin sarebbe stato necessario che D&D non pretendessero di fare troppo di testa loro, concordando con lui le modifiche e i tagli più importanti, ma mi pare che abbiano fatto diversamente.

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  • 2 weeks later...

Nuova dichiarazione entusiastica di GRRM su HOTD:




HOUSE OF THE DRAGON? Glad you asked. I’ve now watched rough cuts of nine of the ten episodes, and I continue to be impressed. I cannot speak to the SFX, many of which are not in yet, but the look of it is great, and the acting, the directing, and writing are first rate. And yes, for all you book fans, it IS my story. Sure, there are some changes from FIRE & BLOOD — we could not present three alternative versions of every major event, not and keep our sanity — but I think Ryan Condal and his writers made good choices. Even some improvements. (Heresy, I know, but being the author, I am allowed to say so). For years, as some of you may recall, I have been saying the TV version of Shae, as portrayed by Sibel Kekilli, was a deeper, richer, and more nuanced characters than the Shae in my novels. In a similar vein, I am vastly impressed by the show’s version of King Viserys, played by Paddy Considine, who gives the character a tragic majesty that my book Viserys never quite achieved. Kudos to Paddy, Ryan and his writers, and Miguel and the other directors. (There are a lot of great performances in HOUSE OF THE DRAGON — or HOT D, as I hear some are calling it. You may never have heard of some of our actors, but I think you will learn to love them, just as you did with the cast of GAME OF THRONES).

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Paddy Considine in Peaky Blinders è stato magnifico, impossibile non odiare il personaggio di Father Hughes.

Molto molto curioso di vederlo come Viserys, sperando che Martin abbia ragione.

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Il 2/6/2022 at 11:14, Jacaerys Velaryon ha scritto:

Nuova dichiarazione entusiastica di GRRM su HOTD



Beh, George è annoverato come creatore e produttore esecutivo della serie, è sotto contratto con HBO, e dalla risposta del pubblico a HOTD dipendono tutti gli altri progetti legati a Planetos che lui vuole vedere realizzati.

Non esattamente la persona più imparziale nel giudicare la serie e fomentare gli spettatori.

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