A Knight of the Seven Kingdoms Will Be the Most Faithful Series to George R.R. Martin's Universe

Westeros' arrival in Italy passes through the red carpet of the Cinema Moderno in Rome. In one of the capital's most famous cinemas, on the occasion of the platform's launch event in Italy, HBO Max previewed the first two episodes of A Knight of the Seven Kingdoms, with the platform's top executives and main cast in attendance.

The extensive work behind the series, which marks the third television foray into the world of George R.R. Martin's A Song of Ice and Fire, was first recounted by showrunner Ira Parker, who worked closely with "his friend George" to adapt the eponymous novella trilogy into a new show. Parker explained how the necessary expansion of the short original novellas came from the opportunity to "have fun in Westeros." The tournament at the heart of the story becomes the starting point for an exploration into the chaotic and popular world of Ashford and its fair, where nobles and servants coexist amidst mud, tents, and communal drinking. This context allowed for greater depth to characters only hinted at in the books (from the Fossoways to Ser Lyonel Baratheon) and, above all, to explore the relationship between Duncan and Egg more deeply, before their dynamic is tested by events.

For Peter Claffey, who plays the protagonist Duncan "Dunk" the Tall, entering such a beloved franchise was both an honor and a responsibility. The actor emphasized how important it was not to betray a beloved character like his hedge knight, claiming a fidelity to the text that he considers central to the series' success. Even the tone, more ironic than other chapters of the Westeros television universe, stems from the protagonist's point of view: a hedge knight, accustomed to the road and direct contact with common folk, who brings humor without sacrificing the typical harshness of that world.

Claffey then spoke about his relationship with Dexter Sol Ansell, the young boy who plays his squire Egg: a bond developed between the two over time and built even off-set. This element is directly reflected on screen, where the relationship between the two characters is the true emotional axis of the series.

Return to Westeros, via Rome: Voices from the Red Carpet of A Knight of the Seven Kingdoms

Ira Parker – Showrunner

The series has been very well received by early reviews, which speak of great fidelity to the literary material. How did you work on adapting the novellas and expanding them?

A big part of the expansion was simply having fun in Westeros. It's a tournament: it's the medieval version of Glastonbury, of Coachella. Everyone camps together, nobles and servants, they're all in the mud drinking. It's impossible not to have fun. We were able to delve deeper into characters only hinted at in the book, like Ser Lyonel Baratheon or the Fossoways, and especially spend more time with Duncan and Egg, exploring their relationship before turning it upside down.

If budget hadn't been an issue, is there anything you would have liked to do that wasn't possible?

There was a flashback sequence in the fifth episode. I wanted to tell a long story set in Redgrass Field, with looting and chases in Flea Bottom. It would have been a lot of fun, but also very expensive. In the end, it was cut down, I think to the benefit of the story: what remains is more solid, and I hope the audience agrees.

Peter Claffey – Duncan “Dunk” The Tall

How does it feel to enter such a beloved and followed franchise?

It's a huge honor, but also a little scary. I'm a big fan of the original series and I know the passion of the fandom. I really wanted to do justice to the material, especially the hedge knight. The thing that makes me most proud is that we stayed as faithful as possible to the book: I don't like it when literature is "corrupted" in the transition to the screen.

The tone of the series is very ironic, while remaining faithful to the Game of Thrones universe. How did you work on this balance?

The story is told from the perspective of a hedge knight, someone who comes from the road, from the dust. This naturally brings a lot of humor into relationships with other common folk. Ira wanted to push this aspect without losing the brutality and harshness typical of Westeros. The result is a balance between epic and irony, which I think perfectly defines the series.

What was it like working with such a young scene partner as Dexter Sol Ansell?

When I met him, he was nine years old. I thought I would have to protect and guide him, but he immediately impressed me with his maturity. It was an honor to act with him and watch him grow: he's eleven now, and I feel a very strong bond, also with his family. He has a huge future ahead of him.

Sam Spruell – Maekar I 

The series embraces a very physical and almost chaotic idea of the Middle Ages, especially in scenes of excess, violence, and celebration. How did you work to embody this "medieval" energy on set?
One of the things I love about this world is how concrete, how direct it is. Life is cheap, and there's a gallows humor that runs through everything. Medieval settings often require big, over-the-top characters, but what really interested me was the messiness: bodies sweating, drinking, dancing, losing control.

Finn Bennett - Aerion Targaryen

Many actors say that playing a villain is fun. Was that the case for you too?

In part, yes, because it allows you to unleash aggression. But at the same time, it means living with very dark feelings, and that sometimes kept me awake during filming. Also, the villains of Game of Thrones and House of the Dragon are so iconic that I felt a lot of pressure not to live up to them.

Did you feel the weight of the Targaryen legacy?

Yes, very much so.

What was the most difficult part of the role?

Paradoxically... riding a horse. I had never ridden a horse before. They are beautiful animals, but when they hear "action," they immediately take off. Sometimes I found myself entering the frame when it wasn't my turn.

Tanzyn Crawford – Tanselle

What struck you about Tanselle as a character?

I like her because she's very introspective and values skills that are often not considered in that world. She is aware of what she can do and what she is worth.

How did you prepare for the role?

I tried to enter a calmer, more observant dimension. I started using oil pastels to stimulate creativity, even though I'm not a painter. In reality, I'm much better at sewing. The key for me was learning to listen and observe: that's where Tanselle lives.

Did entering a universe with such a strong fandom scare you?

A little. I had never seen Game of Thrones before the audition; I caught up on a few episodes to prepare. But my idea was to be honest with the character. I'm proud of the work done and I hope the audience appreciates it.

Daniel Ings – Lyonel Baratheon

What convinced you to accept the role?

The nickname: The Laughing Storm. They got me right away. Then I read that he was described as "Jack Sparrow meets Ernest Hemingway," and at that point, I was completely won over.

Your scenes are often very chaotic; your character likes to party. How much room was there for improvisation and his whims?

The chaos you see on screen is actually constructed with extreme precision, and it's precisely this structure that allows you, as an actor, to be completely undisciplined within it. You choreograph the movement just enough, then you leave room for instinct. It's a privilege to be able to bring that chaos and have a crew ready to capture it.