Hodor Hodor Hodor Hodor, Hodor Hodor Hodor Hodor Hodor. Hodor Hodor — Hodor Hodor Hodor (Hodor Hodor, Hodor) — Hodor Hodor Hodor Hodor Hodor. Hodor Hodor Hodor: (a) Hodor Hodor Hodor; (b) Hodor Hodor Hodor Hodor, Hodor Hodor Hodor; Hodor (c) Hodor Hodor Hodor.
“In the book, there are more intonations,” he explained, “and on the show, it’s more body language, because you can’t really do all of them without body posture.” As proof, Nairn said that he has a board up in the ADR room listing all the variations of body posture and intonation that he uses to express “Hodor,” with only 10 of the 70 being derived from pure intonation itself. Nairn started to rattle off some examples: “There’s angry Hodor, happy Hodor, sad Hodor, frightened Hodor, curious Hodor, bashful Hodor, sheepish Hodor … and naked Hodor.”
Kidding (somewhat) aside, I will say this: We all make a big deal when an actor loses or gains 30 pounds for a role, or when Daniel Day-Lewis lives in Oslo as a blacksmith for five years as research for a film, but if you ask me, coming up with 70 different ways to deliver a single two-syllable word is just as impressive. Either that, or it’s a sign of mind-numbing boredom. I mean, he does have a lot of time to kill while everyone else is learning the lines. Maybe this is what he does to keep himself from going mad. This and DJing, obviously.
But anyway, the real story here is HOW GREAT IS THAT BANNER PICTURE, RIGHT? LOOK AT HIS T-SHIRT. LOOK AT IT.
I want a Hodor-mixed libation immediately.