When Ryan Condal decamped for the U.Ok. in 2020 to start work on a Game of Thrones spinoff, it hadn’t occurred to the screenwriter that he, his spouse and their two younger kids wouldn’t return to Los Angeles anytime quickly. “It was about two years later, when the present got here out and everyone watched it, that I lastly thought, ‘Oh, OK, we’re going to be right here for some time,’ ” he says.
The “everyone” in query was 29 million viewers, per episode, throughout platforms, a stat that minted House of the Dragon as HBO’s new flagship. It returns for a second season June 16, with not less than a 3rd and a fourth all however given. Luckily for Condal, he introduced a bit of of Hollywood to his house workplace in Central London. The showrunner — who acquired his begin engaged on a slew of unproduced scripts earlier than penning blockbusters (the Dwayne Johnson autos Hercules and Rampage) and a preferred primary cable drama (Colony) — has amassed a big assortment of movie and TV memorabilia. “The whole lot in right here is mainly from 1977 to 1989,” he says, gesturing to props from such franchises as Star Wars, The Muppets, Batman and Indiana Jones. “It’s on this very particular interval, all style, all of the stuff that made me need to write and work within the film enterprise.”
The New Jersey native, who initially made a dwelling shilling prescription drugs, remains to be a fan at coronary heart. That helped him earn the approval of Recreation of Thrones supply materials creator George R.R. Martin and the arrogance from HBO to let him produce a second spinoff (A Knight of the Seven Kingdoms). However being the steward of one among TV’s largest properties, as Condal’s the primary to confess, is a hell of a number of work.
You’ve labored over 5,000 miles out of your company bosses for 4 years now. Is that house from Hollywood or unhealthy factor?
It definitely has its advantages, being bodily eliminated. However there’s this bizarre factor the place I don’t really feel like I work in Hollywood at occasions. It’s been 5 years since I’ve pitched one thing aside from a season or an episode of this present. It’s like I’ve been despatched off on an embassy project.
That’s acquired to be odd for somebody who as soon as had a fame for being a pitch machine.
I used to be a self-starter, engaged on a studio project, an unique pitch or a spec of my very own, and at all times some TV factor. When one venture ultimately blows up, that helps preserve down the frustration. Being monogamous for this lengthy is remarkable for me. By the tip of this present, it’ll be eight years or 9 years of my life. However there are advantages — strong floor beneath my ft when the business’s in upheaval.
Was that early method a byproduct of the way you got here to work within the business? You first labored in advertising and marketing and promoting for large pharma. Fairly a pivot!
I at all times wished to be a screenwriter, however I used to be a secure and conservative particular person. I offered my first spec and didn’t inform anyone, simply saved going to my day job and writing on nights and weekends. It wasn’t till I booked my third studio gig that I lastly fessed as much as this double life. I didn’t need to let anyone down, however I confirmed [my bosses] articles in regards to the offers, they usually had been like, “Wait, what? That is superb.”
How does that secure and conservative method manifest in the best way you’re employed now?
Oh, plenty of anxiousness. (Laughs.) I’ve realized to channel it, make it helpful for me, as a form of reverse procrastination. Perhaps we must always name it “precrastination”? It’s ability set for a showrunner: trying far down the street, envisioning a attainable word that may come and having 3 ways out of it. Having labored in company America, it was not an alien expertise for me to be one artistic cog in a collective that’s making an attempt to make one thing for a company grasp. You pitch your concepts, defend them and generally watch them get crushed to dying.
I’ve seen you confer with this because the “most worrying job” you’ve had. So, what makes you signal on to provide a second sequence of this scale?
How may I not? It’s such a rewarding sandbox to play in. I acquired this job by being an excellent nerd and a fan of George’s world and primarily stalking him. So, sure, generally it runs me into the bottom, however I’m fortunate to be right here.
In your individual self-assessment, what do you suppose you probably did effectively and never so effectively within the first season?
I’m very pleased with season one, however there are issues that I want we had extra time to work on in postproduction.
One criticism was the lighting.
Oh, for positive. We went into season two very aware of that suggestions. Season two is rather more in keeping with my explicit aesthetic and what I feel the present ought to appear like. It’s not an enormous distinction, however I don’t anticipate getting the “it’s too darkish” word once more.
You co-ran the primary season with the director Miguel Sapochnik. What’s your tackle his exit, and had been you able to go it alone?
It was my suspicion that Miguel was going to do one season and doubtless be finished. He’d finished the unique Recreation of Thrones. He climbed that mountain, and I don’t suppose he had something left to show. So whereas I used to be ready for it, it was an adjustment. But it surely was one thing that I feel I used to be able to tackle.
How does the strain shift between seasons one and two?
I heard a This American Life interview the place they talked to one of many comedy acts that adopted The Beatles on Ed Sullivan. They bombed, as a result of they had been taking part in to an viewers of 16-year-old women who simply wished The Beatles to return again. I’m glad I didn’t hear that earlier than our first season as a result of I’d’ve collapsed in on myself. We had been following one of the crucial profitable TV sequence of all time. I knew that we made present, so I used to be not shocked that there have been good evaluations. What shocked me was 29 million individuals exhibiting up. However I’m not taking that with no consideration, considering they’ll all come again.
You’ve been connected to a number of large initiatives that by no means acquired made. In case you may take the defibrillator paddles to 1, which wouldn’t it be?
Paradise Misplaced. I developed it with Alex Proyas, director of The Crow, for Legendary [which pulled the plug on it in 2012]. We had been in Sydney for eight weeks of prep and preproduction, Bradley Cooper was going to star, and it simply fell aside. It was too costly, the VFX individuals filed Chapter 11 or no matter, all these enterprise causes. It was my most devastating second as a author as a result of I assumed the prepare had left the station. But it surely’s after I realized that I’m chargeable for my very own happiness and sense of value.
As a fan of many issues, what IP do you most need to adapt?
I really like Hellboy. Very merely, Hellboy is an X-File who investigates X-Information. He’s a mystical detective. And I just like the Guillermo del Toro films, but it surely’s a kind of properties that’s suited very effectively to episodic TV as a result of there’s a monster of the week in the easiest way. It might be an ideal change of tempo from what I’m doing now.
We’ve talked so much about strain. What do you do to de-stress?
I’ve been learning Okinawan karate for a big a part of my life. I’ve this excellent trainer who’s primarily based in L.A. He’s been doing Gojuru, which is the fashion, for 58 years. He works one-on-one with me over Zoom, very kindly, twice every week. It’s been a tough 4 years for lots of causes, however that’s a bit of oasis that I can go to. It’s like a Buddhist pursuit, so that you by no means cease learning, by no means cease studying.
This story first appeared within the June 5 concern of The Hollywood Reporter journal. Click here to subscribe.