‘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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When designing the distinctive voices for the main characters, known as the dragon riders, in HBO’s “House of the Dragon,” sound designer Paula Fairfield initially crafts a narrative for them.

Fairfield identifies and distinguishes among her diverse companions – from the ancient dragon Vhagar, the self-assured rapper Caraxes, to the enthusiastic 13-year-old Taylor Swift devotee in Syrax – in a way that ensures she can manage them effectively.

In Season 2, it was pivotal as more dragons soared through the skies than any other time in the “Game of Thrones” world, marking the start of a war between two branches of the Targaryen dynasty riding their dragons. However, readers of George R. R. Martin’s “Fire & Blood” understand that this prequel actually tells the tale of the decline and eventual extinction of the Targaryens and their dragon lineage.

Fairfield states that since we understand this conflict marks the final chapter for everyone involved, it’s fitting to celebrate the memory of these dragons by uncovering their finest, most enchanting vocal expressions, even beyond life.

The sound composition of every dragon under Fairfield’s supervision is typically an amalgamation of various animal noises gathered over countless hours of audio recordings. Usually, she finalizes the sounds before she gets to see the completed visual effects that portray their appearance.

Sometimes, I opt for a human voice, but I have a strong preference for animal expressions instead,” she notes. “Animals show raw emotions directly, without any pretense, and it’s the same with babies. There’s no need for acting, no hidden motives, just genuine representation.

Vhagar was the one who heard those baby noises, as they seemed fitting considering she’s described as ‘tired’, ‘cranky’, and suffering from Irritable Bowel Syndrome (IBS).

Or, more concisely:

Vhagar heard those baby sounds, fitting for her being described as tired, cranky, and having IBS.

After choosing the dragon’s range of sounds, Fairfield begins manipulating these sounds by compressing, stretching, and adjusting pitch. The pitch shifting technique turned out to be crucial in Season 2, as it was employed when Meleys, Rhaenys’ (Eve Best) dragon, was slain in battle.

She mentions that there were many seals, pigs, and various bird calls. Sounds that are found in a higher pitch, which can be altered and shaped, and have enough distinct features for her to utilize.

One significant hurdle for Fairfield is not just selecting suitable vocals, but also expanding her vocal range significantly to stand out amidst Ramin Djawadi’s powerful music score. She notes that without proper preparation, his grandiose composition can occasionally overshadow the unique dragon voices if hers are not strong enough.

In Season 2’s episode “The Red Sowing,” we witness a significant scene where Queen Rhaenyra (Emma D’Arcy), by selecting horseback riders for unclaimed dragons, strengthens her forces. This includes relatives who are not immediate family members. Subtleties within large-scale events like this play an essential role in character development, such as when Rhaenyra presents the colossal Vermithor. There, they share a heartfelt interaction, and he responds with a gentle hum, an action that will later be repeated when he chooses his rider, Hugh (Kieran Bew).

“That’s his tell,” Fairfield says.

In the same series of events, Fairfield emits a chirping noise as Vermithor uses his fiery breath to eliminate the competition for his domain. She chuckles while describing the logic behind this sound, referring to it as the “pyro constriction.

Regardless if it’s a soft chirp or a powerful roar, Fairfield’s work stands out distinctly, and at times, it’s the sole element necessary to portray a dragon’s tale. After Vermithor’s dramatic entrance, the more reserved and elegant Silverwing selects its rider, Ulf (Tom Bennett). Originally, this crucial scene was complemented by some of Djawadi’s music, but it was replaced to give Fairfield’s work a chance to shine on its own.

She expressed great pride, as this event occurred rarely in her professional journey, she explains. They removed it from the narrative since the account of her identifying him, following his trail, and ultimately recognizing him as her match was conveyed via her own voice.

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2025-06-08 22:46