Anyone who takes a hit for Adrian Ivashkov deserves some credit.
We were talking about the prince,' Sansa said, her voice soft as a kiss. Arya knew which prince she meant: Joffrey, of course. The tall, handsome one. Sansa got to sit with him at the feast. Arya had to sit with the little fat one. Naturally.
My ultimate game - or at least one I would really like to see - would be something where it was like the beginning of George R. R. Martin's 'Game of Thrones', where you're Ned Stark, and you know that one of your friends has been murdered, and you go to the capital city and you have to navigate this web of court intrigue.
I wanted the feel in these books to be like an epic fantasy, with kings, queens, dukes and court politics, but of course like what I was explaining before, about making the science make sense, you have to make the politics make sense, too.
While princes do rule the empire, they have to work within certain boundaries, and they're also always in a contest with each other to become the next emperor. And this contest includes actually killing each other, doing anything they can get away with to each other.
I hated historical novels with fluttering cloaks.
Louise de Keroualle, being a Frenchwoman from the French court, was feared by most Englishmen for how she might influence their king, and that fear quickly turned to hatred.
When I was a little boy in Worcestershire reading history books I never thought I should have to interfere between a king and his mistress.
It’s Adrian Ivashkov logic. Don’t try to understand it. Just roll with it.
What do I want in a good fantasy book? Court politics and social interactions based around houses and cities. Powerful women and devious men. Drama and action with emotional ramifications. Frocks. Kissing. Swords. An intense impression of history in the world-building.
I love historical movies. I want to make a violent medieval epic.
It's going to be very, very different from 'The White Queen.' Rather than it being a follow-up, I think 'The White Princess' is definitely a standalone show.
We are definitely modernizing 'The Three Musketeers' without compromising the fun of shooting a period piece. But in our film, corsets and feathered hats don't take center stage. Our version is rich in eye-popping action, romance, and adventure.
He [Merlin] is slightly from another world and place, so it [challenge in bringing the role to life] is about having fun and presenting it in a new way. He's more of a politician, and slightly Machiavellian, but there's also a lovely relationship going on between Merlin and Arthur. There's so much to be had, really.
Before we made films about gangsters, everything was about the royal families. They contain so much drama.
There are always signs that a reign is ending, and they are usually spotted not in the king himself but in his court. In the inner circle, latent jealousies between advisers spill into open conflict, as they angrily debate who is to blame for the calamity, chewing over each other's past errors and pointing the finger at old and nascent enemies.
Thou knowest not the endless artifices of a court. Invented crimes are often there alleged; but real ones, and those especially, which may offend his pride, are oftentimes not to a king divulged.
It turns out Dimitri had a friend, who had a friend, and despite the best security in the Moroi world, we managed to get into the Court's prison facilities.
