‘House of the Dragon’ Sound Designer Used Seals, Pigs, Birds and Infants to Give the Creatures ‘Beautiful Voices Even in Death’

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To craft the distinctive voices for the main characters, known as the fire breathers, in HBO’s “House of the Dragon,” sound designer Paula Fairfield first pens a narrative for them.

Instead of directly naming each character as “old lady” Vhagar, “white boy who thinks he can rap” Caraxes, or “fidgety” 13-year-old Taylor Swift fan in Syrax, Fairfield introduces and distinguishes them by describing their unique traits or characteristics.

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Whether it’s the ancient dragon Vhagar, the confident rapping boy Caraxes, or the excitable young fan of Taylor Swift residing in Syrax, this is how Fairfield learns to recognize and remember these beings.

In Season 2, it was pivotal to witness an unprecedented number of dragons flying through the “Game of Thrones” world, as two rival branches of the Targaryen dynasty waged war from atop their dragon steeds. However, followers of George R. R. Martin’s book “Fire & Blood” understand that this storyline actually serves as a historical account of the demise of the Targaryens and their dragon lineage.

Fairfield notes that this conflict seems to mark the final chapter for everyone involved, which is why it’s fitting to celebrate the memory of these dragons by discovering and showcasing their finest, most resplendent vocal abilities, even beyond life.

As a movie critic, I find myself captivated by the unique vocal design of every dragon under the care of Fairfield. This sonic composition is meticulously crafted, drawing upon an extensive library of animal noises amassed over countless hours of recordings. Remarkably, these auditory creations are brought to life before I even lay eyes on their visual manifestation in the final effects.

Sometimes, I employ a human voice, but I have a strong preference for incorporating earthly creatures, as their emotions are raw and genuine,” she explains. “They don’t pretend or have hidden motives; they simply are what they are, much like infants.

I’m tuning into the noises coming from Vhagar, as they seem fitting considering she’s portrayed as weary, grumpy, and with irritable bowel syndrome (IBS).

After choosing the sounds that make up a dragon’s vocal range, Fairfield proceeds with adjusting, stretching, and altering those tones using pitch shifting. This particular technique turned out to be crucial during Season 2, as it was used to recreate Meleys, the dragon ridden by Rhaenys (Eve Best), after its demise in battle.

She mentioned that there were mostly seals, pigs, and various bird calls. Sounds that are high-pitched, able to be altered, and have distinct features, making them suitable for her use.

One significant hurdle that Fairfield encounters is not just selecting suitable vocals, but also expanding her vocal range sufficiently to cut through Ramin Djawadi’s powerful music composition, which she notes could potentially overpower the unique roars of the dragons if she isn’t properly prepared.

In Season 2’s episode titled “The Red Sowing,” we witness a pivotal scene featuring Queen Rhaenyra (Emma D’Arcy), who strengthens her forces by recruiting dragon riders from among her less-direct relatives. These seemingly small instances in grand spectacles are crucial for character development, such as when Rhaenyra presents the colossal Vermithor, and they establish a heartfelt connection through a gentle hum that he later repeats when selecting his rider, Hugh (Kieran Bew).

“That’s his tell,” Fairfield says.

In the very same series of events, Fairfield emits a beep noise whenever Vermithor releases his fiery breath to burn off his competition. She chuckles as she shares her logic behind this sound, referring to it as the “pyro-squeak.

Regardless if it’s a soft chirp or a powerful roar, the impact of Fairfield’s work is unmistakable, and at times, it’s all that’s necessary to convey a dragon’s tale. After the fiery introduction of Vermithor, the more refined Silverwing selects her rider, Ulf (Tom Bennett). This significant moment was initially set to a piece by Djawadi, but it was removed to give Fairfield’s work center stage and let it truly shine on its own.

She expressed great satisfaction, mentioning that the event occurred infrequently throughout her professional journey,” she said. “The part about her recognizing him was removed from the narrative since it was conveyed via her own voice.

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2025-06-08 22:16