Читать онлайн «Inside HBO's Game of Thrones»
Автор Брайан Когман
Contents
Preface: From Page to Screen by George R. R. Martin
Foreword: Seven Questions with David Benioff and D. B. Weiss
I The Wall
White Walkers:
The Prologue
The Night’s Watch
Designing the Wall and Castle Black
Costuming the Night’s Watch
Jon Snow
Samwell Tarly
Beyond the Wall
II Winterfell
House Stark:
Creating Winterfell
Costuming Winterfell
Eddard “Ned” Stark
Catelyn Stark
Robb Stark
Sansa, Arya, and Bran
III King’s Landing
King’s Landing:
Creating King’s Landing
The Iron Throne
Costuming King’s Landing
House Lannister:
Tywin Lannister
Cersei Lannister
Costuming Cersei
Jaime Lannister
Ned vs. Jaime
Tyrion Lannister
House Baratheon:
Robert Baratheon
Joffrey Baratheon
Ned’s Execution
Renly Baratheon
Margaery & Loras Tyrell
Littlefinger (Petyr Baelish)
Varys
Brienne of Tarth
Bronn
Battle of the Blackwater
IV Westeros
House Greyjoy:
Creating Pyke
Theon Greyjoy
House Arryn:
Creating the Eyrie
The Riverlands:
Dragonstone:
Creating Dragonstone
Stannis Baratheon
Melisandre
Davos Seaworth
V Essos
Essos:
Creating Essos
House Targaryen:
Daenerys Targaryen
Costuming Dany
Viserys Targaryen
The Crowning of Viserys
Jorah Mormont
Khal Drogo
Creating the Dothraki Language
The Birth of Dragons
Qarth & The Red Waste
Costuming Qarth
Behind the Scenes
A Game of Pranks
Epilogue: Reflections on
PREFACE: FROM PAGE TO SCREEN
David Benioff and D. B. Weiss are brave men or mad men.
They’d have to be to take on a job like bringing A Game of Thrones (and the rest of my massive epic fantasy seriesThere is no more hazardous task in Hollywood than trying to make a popular or critically acclaimed book into a television series or feature film. Hollywood Boulevard is lined with the skulls and bleached bones of all those who have tried and failed … and for every known failure, there are a hundred you have never heard of, because the adaptations were abandoned somewhere along the way, often after years of development and dozens of scripts.
Now, a story is a story is a story, but each medium has its own way of telling that story. A film, a television show, a book, a comic, each has its own strengths and weaknesses, things it does well, things it does poorly, things that it can hardly do at all. Moving from page to screen is never easy.
A novelist has techniques and devices at his command that are not available to the scriptwriter: internal dialogue, unreliable narrators, first-person and tight third-person points of view, flashbacks, expository narrative, and a host of others. As a novelist, I strive to put my readers inside the heads of my characters, make them privy to their thoughts, let them see the world through their eyes. But the camera stands outside the character, so the viewpoint is of necessity external rather than internal. Aside from voice-overs (always an intrusion, I think, a crutch at best), the scriptwriter must depend on the director and the cast to convey the depths of emotion, subtleties of thought, and contradictions of character that a novelist can simply tell the reader about in clear, straightforward prose.
