Most Harrowing House Of The Dragon Season 2 Scene Took 300 Extras And 2 Days To Shoot

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As a prequel to Game of Thrones, House of the Dragon has etched its own name as a stellar fantasy drama series. The story mainly revolves around the Targaryen civil war known as the Dance of the Dragons and was penned by the legendary George R.R. Martin. Based on his Fire & Blood novels, the series was an instant hit when it appeared on HBO screens in 2022.

While the second season faced a lot of backlash, it cannot be denied that the show featured several distressing scenes. However, one such episode in season two took around 300 extras and 2 days to shoot.

Cinematographer Reveals House of the Dragon’s Most Grueling Scene

House of the Dragon featured several extraordinary scenes that required heavy special effects work. Given the show was based in an era where dragons were a thing, the series had to bring forth an incredible team of cinematographers to bring life to Westeros. The show also featured several heart-hitting moments; however, the sixth episode of the second season can easily top the list.

As revealed by cinematographer Vanja Čenrjul, the episode titled Smallfolk treated the viewers with two grand dragon sequences that required heavy special effects and VFX work. But in the same episode, the most distressing scene would be the riots scene set in King’s Landing. In this scene, a violent mob attacks Alicent Hightower and her daughter Helaena.

In the midst of chaos, both the ladies are forced to navigate through the dangerous atmosphere to safely reach their carriage. Čenrjul recalled the complexity of filming this scene and added that it involved around 300 extras and took almost 2 days to complete the shooting.

The medieval setting of the show also didn’t help the cameraman, who had to follow both the characters through steep stairs and crowded squares. This was while also being followed by a large group of extras. But to ensure the brilliant flow of the happenings, the entire team filmed everything in sequence as it unfolded.

The King’s Landing riot scene immerses us in Alicent’s perspective. Additionally, specialized cameras were also installed within the carriage to capture the fear and distress of the mother-daughter duo.

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Why Did George R.R. Martin Blast the House of the Dragon Makers?

George R. R. Martin, with his imagination and creativity, brought some of the most intriguing novels out in the open. While Game of Thrones was an instant hit, his work on Fire & Blood played as a blueprint for House of the Dragon. In the show business, directors straying away from the original source material is quite common.

However, when the same happened with HOTD, Martin, who was initially a strong supporter of season 2, blasted Ryan Condal. The author, in a now-deleted post titled Beware the Butterflies, described his dissatisfaction with Condal’s decision to remove Prince Maelor.

Interestingly, in the original books, Halaena and Aegon had three kids. However, in the adaptation, only twins Jaehaera and Jaehaerys were shown. Martin revealed the reasoning Condal gave him for removing Maelor. He added:

What seemed to be practical reasons … they did not want to deal with casting another child, especially a two-year old toddler. Kids that young will inevitably slow down production, and there would be budget implications. Budget was already an issue on House of the Dragon, it made sense to save money wherever we could.

Martin’s book, Blood and Cheese, forces Halaena to choose who among her three kids would die in front of her. She then selects Maelor, sparing the twins. But they trick her and kill Jaehaerys instead. Martin also recalled that Condal assured him they were not writing Maelor off but were simply postponing his appearance until season 3 of the show.

This plotline satisfied the writer, and he withdrew his objections. But he later learned that all of this was false, and Maelor was no longer a part of the story. Then he started showcasing his dissatisfaction by revealing how his arc could have affected the second season.

 

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