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Deathly Hallows Part I on November 19, 2010 ------------------------------------------------------------------------------------------ Please do not copy this transcript, it took me a long time to do. Just link to this page. Thanks! For production designer Stuart Craig, the sixth Harry Potter film is one of the most challenging of them all Movie Magic: In your opinion what do you think of the idea of splitting Harry Potter and the Deathly Hallows into two films? Stuart Craig: I think we were al curious where the break between films will take place. Would the first movie end with a slightly anti-climactic ending? Of course we don't have a script yet, so we don't know. I've heard it suggested that the first film ends with the return of Ron Weasley. His return is an emotional high. I guess that could provide a very satisfactory ending. I don't know if Steve Kloves, the writer, agrees, but we'll find out when we receive that first script. Movie Magic: For this film, Half-Blood Prince, what has been the most challenging part for you? Stuart: J.K. Rowling always writes a big scene in a big venue, and this time, Harry and Dumbledore go off into a mysterious cave, and that cave is a big challenge. We only physically built two tiny little parts of it and the rest is a computer-generated set, but for that, we made a small scale model, a huge-scale model and, as I sad, a small physical part of it. Films are made differently these days. Those models are then scanned, and the scans of those physical and three-dimensional models become the blueprint or the structure on which the CG set is finally made and rendered. It's a challenge that it needs to deliver dramatically and yet have this fantastic otherwordliness about it. It's almost entirely computer-generated. Hardware is comaratively easy and organic rocks forms less so. And it's a challenge for somebody of my generation, frankly, to catch up with the 21st century movie technology. Movie Magic: Is there a secret to being able to do what you do and, as you said, catch up to modern movie technology? Stuart: A key to what we did this time was our initial research. We started by saying, "What's interesting about a cave?" Wel, stalagmites and stalactites are probably the most familiar, almost cliched, of limestone caves. S we started to examine crystal caves and looked to the pictures of this incredible quartz cave in Mexico. We did visit one in Switzerland and thought, "What other kind of crystal caves are there?" It turned out to be a salt crystal cave outside Frankfurt in Germany, so we went there, and it's part of a cast phosphate mining complex, but there's also rock salt down there, and in this one area salt crystals, which are completely transparent and glass-like. We took extensive photographs and used that as our inspiration. What it's done is given us this hopefully fantastic set and fantastic world but with a bit of geological credibility at the same time, which we've always tried to do. Yes, it's a magical world, but it's grounded in a recognizablejreality. We've treated the cave as an extension of the architexture in that respect. Movie Magic: Because you have actors performing against the small parts of the cave you have to actually build, what aspects of it did you construct? Stuart: Dumbledore and Harry trave to this island in the middle of this black late, and on this island is, in our case, a crystal reservoir with this liquid in it that Dumbledore has to drink in order to discover the horcrux that lies beneath it. So we built that island, we built the boat that they travel in, and part of the shoreline they leave to get to the island. But they are like one percent of the total that you'll see in the final film. Movie Magic: Over the years, we've seen an evolution of the characters and the actors, but from your point of view, would you say that the look of the films has evolved as well? Stuart: I think they have. Two things come to mind. In the beginning we had to, for practical reasons, shoot on a number of real locations that might have been better built, so Hogwarts is this amalgam of real places and invented places. It's kind of untidy if you don't shoot it carefully, so we've been able to improve and tidy up the world of Hogwarts and slightly reinvent things as we've gone on. We've managed to make things better, so there's an ecolution of that kind. But also, there has been a succession of cinematographers who have wanted, naturally, to do something different from their predecessors. So there's been a tendancy that as the kids have grown up and the stories have gotten darker, the look of the films has literally gotten darker, more mysterious, more monochromatic and more threatening. The new cameraman this time has just had a ball with it. The design - my side of things - has gone hand in hand with that. We physically make darker sets. The most important thing is that these movies deal with death a lot - especially this one - and so we're adjusting the pallettes and the nature of the sets accordingly. Please do not copy this transcript, it took me a long time to do. Just link to this page. Thanks! |
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