‘House of the Dragon’ cinematographer talks dragons, ‘Succession’ inspiration, and more

Cinematographers on House of the Dragon face a tall order each episode, working on everything from massive crowd scenes to draconic set pieces to hushed Small Council sessions.

Season 2, episode 6 features several such standout moments, all with their distinct sense of rhythm and movement from behind the camera. In an interview with Mashable, cinematographer Vanja Černjul broke down how he shot three key sequences, along with classic film influences and drawing on Succession for inspiration.

The riot in King’s Landing

Olivia Cooke in “House of the Dragon.”
Credit: Theo Whitman/HBO

While episode 6 features two extended dragon set pieces — both of which required extensive collaboration with House of the Dragon‘s VFX team — the most planning on Černjul’s end went into the King’s Landing riot. Here, an angry mob surprises Alicent Hightower (Olivia Cooke) and her daughter Helaena (Phia Saban), and the two must fight their way through the crowds to escape in their carriage.

“We must have had 300 extras, and we had two days to shoot it,” said Černjul on preparing for the scene.

Shooting on location added further complications: “With medieval architecture, it was a very challenging place to move the camera, because first, [Alicent and Helaena] run down very steep stairs, and then they [go] through the square, and then they hop into the carriage, all while being chased by a huge crowd of smallfolk,” Černjul said. “We had wanted [the scene] to have flow, so we shot it in order, and as much as possible consecutively.”

The riot sequence locks us into Alicent’s point of view until she and Helaena get in the carriage. A remotely operated camera awaited their arrival in the carriage to provide coverage for the interior section, keeping us trained on their anxiety as they departed the scene.

Aemond’s Small Council meeting

Ewan Mitchell in “House of the Dragon.”
Credit: Ollie Upton/HBO

Small Council meetings are a staple of House of the Dragon, with episodes often showing the fraught Council sessions from both Team Black and Team Green. Černjul relished these kinds of scenes in particular, saying, “The most special scenes in that episode were scenes that only included a couple of characters in the room, talking and discussing how this war is going to unfold.”

For these scenes, including a meeting of Aemond’s (Ewan Mitchell) Small Council, House of the Dragon drew on another HBO heavy hitter for inspiration: Succession. Episode 6 director Andrij Parekh — who Černjul attended film school with — directed several episodes of Succession, even serving as cinematographer for the pilot.

“Andrij brought his experience from his previous projects of shooting these rooms where powerful people discuss the fate of other people,” Černjul said. “He had a very good sense for developing a camera behavior that gives you a seat at the table, basically a fly-on-the-wall approach, where the camera also becomes a character that is subjectively reacting to whatever is happening.”

In the Greens’ Small Council meeting, that often meant the camera reacting to Aemond as he prowls around the room. “We had wanted to shoot the scene in that observational style, but we also had wanted Aemond to be at the center, so we granted him the power to move the camera in the scene,” Černjul explained. “We designed blocking where Aemond was walking around the table throughout the scene while addressing the council. Two cameras were following him all the time, circling around the table on a so-called “dance floor,” but then they would react to whoever Aemond was addressing. The camera movement appeared more observational, which worked well in contrast to House of the Dragon‘s overall style, which has a more intentional and designed feel.”

Seasmoke chases down Addam of Hull

Clinton Liberty and Abubakar Salim in “House of the Dragon.”
Credit: Ollie Upton/HBO

It wouldn’t be House of the Dragon without any dragons, and episode 6 features a first for the show: Seasmoke, a riderless dragon, chasing down a prospective rider in Addam of Hull (Clinton Liberty). The scene plays out with a fair bit of suspense, as Addam tries desperately to escape. It makes sense, then, that Černjul and Parekh drew on the work of the Master of Suspense himself, Alfred Hitchcock.

“To jumpstart the process of shot listing, we would use references from classical cinema, just to get us going,” Černjul explained. “For that particular scene, we had wanted to look at the famous scene from North by Northwest, where Cary Grant’s character [Roger Thornhill] is being chased by the cropduster. We thought, ‘It’s just like the dragon in our scene, this plane.'”

The similarities extend to Roger and Addam as well. “[Roger] doesn’t understand what’s going on or why he is being chased. Same with Addam,” said Černjul.

While the North by Northwest cropduster scene served as a jumping-off point, the Addam and Seasmoke scene grew into its own once Černjul and Parekh had began developing it for its specific shooting location in Anglesey, Wales. However, they still had wanted to maintain the cropduster scene’s “kinetic energy,” as Černjul said. Different shooting techniques proved key here.

“In that scene, we moved the camera in every possible way,” Černjul said. “We shot handheld, we were on a dolly, we had a techno crane moving from an extreme high angle to an extreme low angle, a drone. We were moving the camera to match the energy of the scene.”

New episodes of House of the Dragon air Sundays at 9 p.m. ET on HBO and Max.