James Norton on Ormund Hightower: ‘We went big and bold’

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James Norton talks of the importance of the human story, the dangers of too much research, and how Ormund’s sensitivity to smell was a powerful hook into the character

Published - July 29, 2026 05:15 pm IST

James Norton as Ormund Hightower in House of the Dragon | Photo Credit: Special Arrangement

Season 3 of House of the Dragonintroduces a new antagonist, Ormund Hightower, played with controlled ferocity by James Norton. Ormund is a particular adversary for Rhaenyra (Emma D’Arcy), Norton says over a video call from London.

“They do not come into contact with each other. He is a bully in Rhaenyra’s abstract awareness. When you meet someone, the sting is often taken out of their bite. Ormund and Rhaenyra are not physically in the same space. Rhaenyra projects onto him and he probably becomes more terrifying as a result.”

In terms of inspiration for Ormund, the 41-year-old Grantchester actor says there was not much in the book (George R.R. Martin’s Fire & Blood). “He is described lightly. It was fun because it was a blank canvas, and we were given permission to fill in a lot of the gaps. Ryan (Condal, showrunner) modelled Ormund on a proper English gentleman with a dark, twisted edge.”

Preferring not to lean on other performances as it could lead to mimicking, Norton says, he enjoyed the creators’ permission to go big and bold with Ormund. “After lots of good discussions, a clear character had been found. Sometimes it’s tough and it’s forced. Ormond, on the other hand, happened organically.”

Matt Smith as Daemon in House of the Dragon | Photo Credit: Special Arrangement

Ormund’s sensitivity to smell, Norton says, was a hook. “It was something I could lean on. If someone is that sensitive to smell and that terrified of its power, he is constantly on the edge. There is a tightness, paranoia and fear undercutting everything. It is almost like every sinew of my body was ever so slightly taut all the time, which was a helpful thing to play with as an actor.”

His particularity around smell, food, sensuality and taste, Norton says also led to his clothes needing to be incredibly well controlled. “They had to be neat and elegant, as well as clean and smelling beautifully,” Norton says with a laugh.

“The costume and the props departments gave me this incredible costume. My armor and sword were so ornate and beautifully crafted, that it was almost like Ormund had gone to the blacksmith himself and specified exactly what he wanted. The props department would spray my pomander with lavender oil. We collaborated with different departments to make this odd man.”

We first see Ormund’s duplicity in episode 3. “There was a moment when Ormund is facing up to Daemon (Matt Smith) and he hands over Daeron, or who we think is Daeron. If you were to re-watch that, I would hope that some of the audience would see a little hint of the lie, which Daemon doesn’t.”

The challenge, Norton says, is to find that subtle, small space where you’re inviting the audience in, but not obvious enough to let the lie be known to your scene partner. “Ormund is aware that he’s going to take Tumbleton. He’s not giving up the fight. He’s obviously lying to Daemon, when promising allegiance and fealty to Rhaenyra.”

James Norton as Ormund Hightower in House of the Dragon | Photo Credit: Special Arrangement

Stepping into a large, well-loved franchise such as House of the Dragon does not require a change in approach, Norton comments. “Walking onto a monumental set like the one in House of the Dragon was humbling. The Tumbleton set, which was built in a back lot in Leavesden Studios, was massive, like a town in itself.”

Apart from the scale of the production, Norton says, there is also the loyalty of the fans. “I’ve never been in one of these big, fantasy, world-building franchises, which have folklore and family trees around them.”

At one point, Norton thought he should learn as much about Westeros as the most diehard fan. “As an actor, that can be quite dangerous because too much information and research can paralyse you, as you then want to show everything all at once.”

It is the same as when researching a role, Norton says. “If you’re playing a soldier in the Second World War, there is an infinite amount of research you can do. But when you’re playing the character, you have to throw it all away, and all you’re playing is the human story. And in that moment, you realise it is just like the smallest job you’ve ever done. The one day’s work you did on the tiny soap opera or the first job you ever did is exactly the same as playing Ormond in House of the Dragon.”