The Dragons Should Sound ‘Like You Can Pop Them on the Nose’

As a sound designer with roots in Canada and years spent in the United States, I’ve found myself at the crossroads of two distinct linguistic worlds. This unique vantage point has allowed me to bring an unusual twist to the dragons’ vocalizations on “House of the Dragon.”

As a movie reviewer for the past dozen years, I’ve had the privilege of working alongside sound designer Paula Fairfield, who breathed life into the dragons of George R.R. Martin’s HBO-adapted world. On “Game of Thrones,” it was a challenging task, but manageable: three dragons with three distinct vocal ranges consisting of approximately 30 animal noises. However, on the new series “House of the Dragon,” Fairfield is faced with an unprecedented challenge. She can’t even begin to estimate the number of sounds she’s working with to create the unique vocals, wing sounds, and movements of these creatures as they soar through the air and traverse the land.

As a film enthusiast, I’ve come to appreciate Ryan Condal’s unique flair this season in ‘HotD’. What stands out is his passion for crafting grand, prolonged roars, which, as he aptly put it, are the most challenging to execute. The last thing you want is an audible loop; instead, you yearn for a progressive build-up of aggression or a gradual lessening, creating a dynamic and immersive audio experience.

As I delved deeper into season two’s portrayal of the devastating Dance of the Dragons among the Targaryen dynasty, the dragons themselves became the focal point, showcasing their unique personalities, emotions, grudges, and lifestyles. It was Fairfield’s meticulous sound designs that truly brought these beasts to life, allowing them to emote through chirps, screeches, sighs, songs, or laughter.

Are there specific themes or approaches you adhere to when determining how each dragon should be vocalized in “House of the Dragon”?

As a seasoned artist with years of experience under my belt, I firmly believe that creativity thrives on the freedom to explore and experiment. In my line of work, every project is a fresh canvas, a blank slate waiting for my touch. It’s crucial not to get stuck in old patterns or ways of thinking, as it can stifle innovation and limit the potential of the final product.

In House of the Dragon, unlike Game of Thrones where only three dragons were featured, there are a total of 17 dragons. When I joined Game of Thrones in its third season, I didn’t realize the dragons would grow so much until season five. This time around, we spend more time on the backs of dragons, which has influenced how I approach the vocal performances, particularly for Caraxes and Daemon during their journey to Luigi’s Castle. This led to a change in my demo submission, and Ryan expressed a desire for a more immersive dragon-riding experience. Consequently, I reworked Rook’s Rest, giving the wings more definition and push motion to mimic the sensation of rocking and rolling on the dragons’ backs. This upgrade has been quite significant in this season.

Are you able to estimate the variety of sounds or types of animals within each mix? To be honest, I’m not sure. The most complex one is Caraxes due to his deviated septum issue. He has multiple layers: His voice has four layers, and each layer contains five or six layers. Creating extended roars, some lasting up to 12 seconds, is quite challenging. You don’t want repetition. I’m using material that isn’t typically used for dragons, pitching it down, and stretching it out. Normally, I adjust the sound so you can hear the dragon breathing in, becoming harder and harder as it builds up aggression.

In that final scene of seven characters, they were all cheering loudly together, which Ryan felt should be extended. We’ve never heard Syrax scream for such a lengthy duration before, and he requested an extension with more intensity and aggression in her scream. Although she’s not typically aggressive, she exhibits a hint of intimidation here and there. So, how can I creatively adjust the sounds to develop organically and escalate the tension? I strive to put in a lot of effort to match the visual grandeur with something equally stunning in terms of sound effects.

Do only natural and animal noises comprise the dragon sounds, or does the mix include any unnatural or mechanical sounds as well?

What are the unconventional noises made by the animals in House of the Dragon?

As a long-time fan of the intricate storylines and captivating characters in Game of Thrones, I find it fascinating to delve into the behind-the-scenes secrets that even the production team may not be aware of. The intriguing statement made by the author suggests a level of creativity and dedication that is truly remarkable.

I’ve noticed that when dragons prepare to breathe fire, it sounds like a car engine revving up to me. Is this part of their unique way of making noise? Previously, we hadn’t been close enough to observe them during this process, but this season, I encountered two dragons in Rook’s Rest who kept knocking each other with flames. This presented a challenge for me because fire is just white noise from a distance. To make the scene more distinct, I started thinking about the structure of dragon’s fire-producing parts, like their “fire sphincters” or “fire holes”. [Laughs] It made me wonder how these parts work in dragons anatomy.

I recently revisited a scene from episode 109, where Meleys bursts through the floor, seemingly ready to attack Alicent with an explosive force. Prior to her scream, there’s a distinct chirp-like sound that caught my attention. This was the first time I started contemplating the concept of fire sphincters and what she does is close her fire channel before exploding. I incorporated this idea in Rook’s Rest, which you’ll notice in both Vhagar and Meleys, with a hint on Sunfyre as well. However, his fire control isn’t as robust. In my imagination, it resembles a blowhole like that of a dolphin or whale but instead expels fire.

In your interpretation, did the sounds resembling dolphin or whale blowholes find their way into the dragon’s roars in the series? Throughout the show, you can hear the dragon-like noises that remind you of dolphins, such as in baby Drogon and the smaller dragons experimenting with their fire holes. To me, those dolphin-like squeaks seem to originate from the fire holes rather than the vocal cords of the dragons. This creative liberty adds an interesting twist to the dragons’ sounds, providing some structure for future use in the series. The upcoming battles promise to be epic, and I am both excited and apprehensive about season three.

In the seventh episode, is it more about display or actual communication between Syrax and Seasmoke? To what extent is this verbal exchange and how much is simply show of power?

In the subsequent episodes, Vermithor exhibits a sense of grandeur reminiscent of the chaos in “Jurassic Park.” To make him menacing yet intriguing, we focused on building an atmosphere of awe and fear around him. Although he was only briefly seen at the end of season one, his immense size was emphasized by depicting him as a colossal creature brushing against walls, causing everyone to gaze anxiously into the darkness.

Initially, when I beheld the tableau, I greatly underestimated the events happening off-camera. To effectively expand the story beyond the screen, you need to remain attentive to the sounds that emanate from it: the crackling, munching, snacking, footsteps, and then the scene with Vermithor and Hugh. I’m still reeling from its impact.

As a movie enthusiast who has spent countless hours immersed in the world of cinema, I can confidently say that the scene you’re referring to is nothing short of extraordinary. It masterfully weaves through various genres, taking us on an emotional roller coaster ride that leaves us both exhilarated and moved.

In the final scene, we encounter Sheepstealer, a wandering dragon without a permanent home. As you listen to its roar, what message do you think it conveys?

2024-08-05 16:54

The Dragons Should Sound ‘Like You Can Pop Them on the Nose’

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