![]() So I try my best to use a smaller number of sounds, limit the number of really alien and difficult sounds and instead work more with syllable structure and intonation. With Dothraki, I dropped in a really difficult sound, which is the uvular stop, a voiceless uvular stop Q, and it’s just - it rarely comes out right. For me, it’s more imporant they be able to get the intonation right. It’s not something I’ve done very much of because basically I feel sorry for the actors. Is everything you do in phonemes that would be familiar to a Western speaker, or can you go beyond that - clicks or even sounds that would be possible only with different, alien vocal parts? At this stage of the game, Dothraki has become second nature so I really don’t have to do to much work when I’m translating it. Why is that not a thing you can say too loud? I don't want to say this too loud because Tony Curran’s right there, but Irathient is one of my favorites. Actually, this is kind of strange - I did like twice as much work for season three as I did for season two and only one line of Dothraki.ĭo you have favorite languages you've created? I guess they go to the East at some point? It's been a while since I read the books. I’m creating other lanagues now, shall we say. Is your work for "Game of Thrones" just Dothraki or are you creating other languages for that show? Everything he does seems to hang together so well. He just seems to unconsciously do a lot of the advice I give to them, which is create a consistent sound system, consistent word patterns, the series of consonants and vowels, and don't use too much. He seems to be unconsciously doing a lot of the things that I give to writers when they say “I don’t want to create a full language but I want to have these langauges in here, what do I do?” I don't know how he has the skill because there are other fantasy writers that just do an awful, terrible job. Now, I know he said lots of times that he doesn’t create the languages, that he doesn’t do anything like that. So I knew that I had to integrate everything and make it so that what was in the books didn’t need to be changed, so that I wasn’t coming along and saying, “That’s not how it should be said.” Everything in the books is correct. There wasn’t that much of it in the books, actually, but I did integrate everything, because, as you know, the books had a huge fanbase and still do. Tolkien, who famously drew up whole families of internally-consistent languages for "Lord of the Rings." Was it hard to turn Martin's improvised Dothraki into something that sounded authentic? Martin has said he made up the bits of Dothraki dialogue in his books on the fly, unlike, say, J.R.R. Right now I’m working on "Defiance" and "Game of Thrones" and also a movie project, so I’m constantly busy. Is creating languages a full-time business for you?
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