TOM GLYNN-CARNEY INTERVIEWED BY VANITY FAIR MAGAZINE.
KING AEGON COULD BE A VERY ONE-NOTE VILLAIN CHARACTER, BUT IN YOUR HANDS IS NOT. HOW DID YOU APPROACH CALIBRATING AEGON?
"I think anybody who has the darker side to them as the more prominent side — the side that people see first —there’s always a reason for that."
"I dug into that and found a lot of his boyish vulnerability, insecurities, and self-hatred — stuff that he’d been drip-fed his entire life."
"He wasn’t even a spare, you know? He was just completely ignored."
"He was invisible to most people, which is why he behaved in such a way — to numb himself."
But also to say: "Hey, I’m here as well."
"Any attention was good attention for Aegon."
"I find him less of a villain and more of a tragic case."
CAN YOU TALK A LITTLE BIT ABOUT WHY AEGON DECIDED TO FLY TO ROOK'S REST AT ALL?
"It was that moment — well, it’s an accumulation of moments — but that one in particular where Alicent says, 'Do exactly what is required of you: nothing'."
"That was the final dagger in the heart."
"A real cold reminder that he really is seen as being useless."
"A pawn for Alicent and Otto [Rhys Ifans] to use as a puppet."
"But at the end of the day, the law of the land states that he’s the monarch."
"He’s the king."
"He’s the person to call the shots."
"And no one’s gonna fucking stop him from getting on that dragon if he wants to."
"So he got absolutely obliterated drunk and thought, I’m gonna show them."
WHAT WAS YOUR EXPERIENCE LIKE SHOOTING THE BIG DRAGON FIGHT SCENE?
"Cool, man."
"It’s kind of a little boy’s dream."
"It’s just something that you think of when you’re a child as being the coolest thing in the world."
"And it really was."
"They basically build a screen around you so you know where to look: what’s expected, what’s coming at you, what’s leaving you."
"Your entire perspective is quite clear."
"And then amongst that, you’re clad in all this armor that has been expertly crafted by some amazing workmanship."
"But then again, you’re crouched over this big saddle, strapped in, feeling like you can’t move."
"That crane has really got a lot of work to do to make it look like you’re moving."
AT THE BEGINNING OF THE SEASON, AEGON SAYS THAT AEMOND IS HIS CLOSEST CONFIDANT, AND BY EPISODE FOUR, AEMOND HAS BASICALLY TRIED TO KILL HIM. WHERE DO THEY STAND NOW? AND WHAT'S YOUR RELATIONSHIP WITH EWAN MITCHELL, WHO PLAYS AEMOND?
"Oh, Aegon and Aemond’s relationship is very different to Tom and Ewan’s relationship."
"Let’s put that out there." [laughs]
"Look, that is sibling rivalry on a very intense scale, isn’t it? It’s the flip of the switch that can happen when somebody feels pushed out or somebody feels like there’s been injustice."
"I always felt like Aemond saw himself being in that position of power and dealing with it better than Aegon would deal with it."
"But then again, his birth certificate states otherwise."
"It was bound to happen at some point, wasn’t it?"
WAS THERE A PARTICULAR SCENE THAT YOU FELT EXTRA CHALLENGED BY OR INVIGORATED BY?
"He’s never in the same frame of mind twice in one day."
"He’s all over the place."
"Keeping up with his erratic mood swings was the hard part, and was this thing that I was having to stay really focused on."
"There wasn’t particularly one scene that I thought, Oh God, not this one, because all of them are challenging in different ways."
"Even the ones where he’s still and more focused are difficult, because you’ve got that sort of inner Aegon rhythm that is rapid."
"It’s very different to mine."
"It’s maintaining that, but still keeping the tension of the scene."
"I relished the opportunity to play someone with such range and creative potential from an acting point of view."
OLIVIA COOKE, WHO PLAYS ALICENT, HAS NOTED THAT YOU TWO ARE NOT VERY FAR APART IN AGE AT ALL, AND YET ARE PLAYING MOTHER AND SON. HOW DID YOU GUYS WORK TOGETHER TO CREATE THAT FILIAL DYNAMIC?
"Every scene that I’ve had with Olivia, there is never a moment that isn’t filled."
"Everything is just so complex and deeply entrenched in her."
"She means everything she says."
"It’s a rare skill to have."
"As an actor, she has that in truckloads."
"It’s a gift to be able to work with her, to play her son."
"Yeah, [it’s] hilarious."
"She’s only a year older than me."
"I think we manage it because we get on so well."
"We’re pals as well, you know."
"I love Olivia to bits."
"Trust her wholeheartedly."
"We have a laugh. We don’t take it too seriously."
"We have common ground on that."
"But then in the moments where the work is happening, it’s all we care about."
"We care immensely."
"It’s one of those things where in the downtime, after we wrap, we can go for a drink."
"We can have a laugh."
"We connect on a personal level as well as a professional level."
"I think that’s what sort of breeds a healthy and believable performance thing relationship-wise."
THERE'S AN AMUSING SCENE WHERE AEGON IS SITTING AROUND WITH THE LADS AND TALKING ABOUT WHAT HIS SOBRIQUET SHOULD BE. SHOULD HE BE 'AEGON THE BRAVE,' 'AEGON THE WHATEVER,' ETC. WHAT DO YOU THINK HE SHOULD BE CALLED?
"Aegon Toast, probably."
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marauders era girls as taylor swift lyrics!
lily evans: I hate it here
“I hate it here so I will go to secret gardens in my mind / people need a key to get to / the only one is mine / I read about it in a book when I was a precocious child”
✩��˚.⋆☾⋆⁺₊✧
mary macdonald: slut!
“but if I’m all dressed up / they might as well be looking at us / and if they call me a slut / you know it might be worth it for once / and if I’m gonna be drunk / might as well be drunk in love”
✩₊˚.⋆☾⋆⁺₊✧
marlene mckinnon: cowboy like me
“takes one to know one / you’re a cowboy like me”
✩₊˚.⋆☾⋆⁺₊✧
dorcas meadowes: gold rush
“if you fail to plan, you plain to fail / strategy sets the scene for the tale”
✩₊˚.⋆☾⋆⁺₊✧
pandora lovegood: snow on the beach
“and it’s like snow on the beach / weird but fucking beautiful / flying in a dream / stars by the pocketful”
✩₊˚.⋆☾⋆⁺₊✧
alice fortescue: nothing new
“how long will it be cute? / all this crying in my room / when you can’t blame it on my youth and roll your eyes with affection”
✩₊˚.⋆☾⋆⁺₊✧
emmeline vance: the last great american dynasty
“there goes the maddest woman this town has ever seen / she had a marvelous time ruining everything”
✩₊˚.⋆☾⋆⁺₊✧
hestia jones: carolina
“and you never did see me here / no, they never did see me here / and she’s in my dreams / into the mist, into the clouds”
✩₊˚.⋆☾⋆⁺₊✧
emma vanity: I did something bad
“I can feel the flames on my skin / crimson red paint on my lips / if a man talks shit then I owe him nothing / don’t regret it one bit cause he had it coming”
✩₊˚.⋆☾⋆⁺₊✧
sybil trelawney: cassandra
“so they killed cassandra first cause she feared the worst / and tried to tell the town”
✩₊˚.⋆☾⋆⁺₊✧
narcissa black: would’ve, could’ve, should’ve
“give me back my girlhood / it was mine first”
✩₊˚.⋆☾⋆⁺₊✧
bellatrix black: fortnight
“I was supposed to be sent away / but they forgot to come and get me”
septima vector: vigilante shit
“draw the cat eye sharp enough to kill a man”
✩₊˚.⋆☾⋆⁺₊✧
lucinda talkalot: the bolter
“but as she was leaving / it felt like breathing / all her fucking lives / flashed before her eyes”
✩₊˚.⋆☾⋆⁺₊✧
amelia bones: this is me trying
“I was so ahead of the curve / the curve became a sphere”
✩₊˚.⋆☾⋆⁺₊✧
charity burbage: bejeweled
“I can still make the whole place shimmer”
✩₊˚.⋆☾⋆⁺₊✧
aurora sinistra: the lakes
“I want auroras and sad prose / I want to watch wisteria grow / right over my bare feet / cause I haven’t moved in years”
rita skeeter: but daddy I love him
“and I’ll tell you something about my good name / it’s mine alone to disgrace”
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