Alfie Allen joins the cast and reunites with Game of Thrones creators David Benioff and D.B. Weiss.
Liam Cunningham is returning in season two.
In the show’s first season also made appearances John Bradley and Jonathan Pryce, along with cameos appearance by Conleth Hill and Mark Gatiss.
Game of Thrones production designer Deborah Riley and composer Ramin Djawadi were involved in sci-fi series. In addition, Thrones director Miguel Sapochnik is reuniting with Benioff and Weiss to executive produce and direct multiple episodes along with fellow Thrones alum Jeremy Podeswa, who also worked on season one.
Bernie Caulfield (exec producer), Michele Clapton (costume designer), and Deborah Riley (production designer) talked about the yellow shirt and blue neckerchief! Iain really loved that set costume! XD
- - - - - - - -
Deborah: Does he get his blue neckerchief back, Michelle?
Bernie: It's all contaminated.
Michele: Many celebrated that finally Jorah has lost his yellow shirt.
*Bernie and Deborah laugh*
Deborah: I'm sure he did too.
Michele: Finally I've ?"now to pries"? the shirt and the neckerchief away from Iain. He loved them very much but I'm like finally going... "You can't wear it anymore! You have to let me give you a new costume."
Bernie: You must've had to peel that costume off.
Michele: Yeah hehe. He now moves on.
HBO designer Deborah Riley created Meereen Palace using Wright-inspired designs.
The linked article above is originally from 2019. Good reading never grows stale.
If you noticed a Frank Lloyd Wright influence on Game of Thrones, particularly in connection with Daenerys, you’re not alone.
The Frank Lloyd Wright Foundation was quick to spot Wright’s influence on the Game of Thrones set design, so they reached out to HBO to learn more. Turns out, production designer Deborah Riley drew on her knowledge of two Wright-designed homes while creating the show’s Meereen Palace – the Ennis House and the Hollyhock House.
They’re both located in Los Angeles, but the elements Riley drew from are also central to the architecture for the Arizona Biltmore, a landmark hotel that opened in Phoenix in 1929. Riley used Wright’s textile block design, which was also integral to architect Albert Chase McArthur’s Arizona Biltmore project, where Wright served as a consulting architect.
The New Times Phoenix article referenced one at the Frank Lloyd Foundation which featured GoT producer Deborah Riley. She had this to say:
One of my great joys working as a production designer is being able to create spaces that make reference to various periods and designs. Although I didn’t realize it at the time that I left architecture school, I feel I have been able to deeply explore and appreciate the design principles of someone like Wright more than I ever could have, had I continued into a career as an architect.
She began her studies with architecture but later switched to production design. Her appreciation of Wright is no accident.
When Meereen was first described to me, I was told it was a pyramid city and that its wealthiest residents lived inside the pyramids. Having visited Mexico City a number of years ago, I first started revisiting my photographs of Mayan pyramidal architecture and I suddenly recalled Frank Lloyd Wright and his Mayan Revival Period of the 1920s. As we had to work so quickly on Game of Thrones, at first it felt like cheating, but it gave me great comfort to think that he had already solved the problem of how to make the monolithic structures also feel domestic. Just as importantly, his work, to me, does not speak of a particular period, and it was possible for us to translate the spaces so that they felt simultaneously medieval and modern.
At Contact Magazine at the University of Queensland we learn that Deborah Riley designed the Season 7 Dragonstone sets – including the Dragon Throne which we’ll probably be seeing more in House of the Dragon.
If you’re new to the work of American architect Frank Lloyd Wright (1867-1959), here’s a photo of Unity Temple in Oak Park, Illinois. It would fit in well in Meereen.
According to the newly published book The Art of Game of Thrones by Deborah Riley, the original intent was to make the Night King appear more “regal”.
However the Night King in the series ended up having more of a military bearing than a regal one. He was more Genghis Khan than Louis XIV. Though the concept image does vaguely resemble Ivan the Terrible who participated in a few battles.
It would be difficult trying to imagine the more elaborate Night King throwing a dragonglass spear at Viserion.
