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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! Producer David Barron, working alongside David Heyman, plays an integral role in bringing the Harry Potter adventure to life In the following exclusive interview, David offers his views on The Half-Blood Prince. Movie Magic: After so many successful Harry Potter films have been produced, I think the attitude that people take on is that the challenge is gone, that there must be a well-oiled machine in place that can crank them out. What I'm wondering is whether or not the films are still perceived as being challendging. David Barron: They all present challenes, because even though it's another episode in the life and times of Harry Potter, you can never stand still. We continually kick the tires of our operation and try very hard to make sure that we do everything we can the best way we possibly can given the facilities at our disposal - and Jo [JK Rowling] with the source material. Because Harry and everyone is another year older in each book, it enables her to each time take a look at different themes and change the tone of each book. Each film feels very different, and we're confronted all the time with big set pieces, the possibility of achieving brilliant effects, huge sets, big crowds they're all challenging and we never get bored with them. Movie Magic: Is there anything about Harry Potter and the Half-Blood Prince that stands out for you in terms of challenges that had to be met? David: To be honest with you, sometimes I get a bit blase about what we do, because we do these things everyday. Things at times do not appear to be challenging, even though when you take a step back from them you can see that they are challenging. One of the big challenges, funny enough, is that we had a lot of night exterior shooting in the English winter, which is a huge challenge. But technically speaking, we have things like the underground cavern at the end of the film where Harry and Dumbledore go on one of their journeys. Technicaly, it's very difficult and challenging to pull off, because it's another digital set. There are actually loads of challenges, and sometimes when I'm asked about them, I just draw a big blank. What's particularly new and exciting about this film is this core of wonderful adolescent romance; the entanglement that is sort of new and fresh. We touched upon it very briefly in Goblet of Fire and the Yule Ball. in visual effects terms, the cavern is the most challenging aspect of the film, which is fun. It's a tremendous sequence because in it we have the inferi, who are the zombies of our world. Movie Magic: Is that worrisome at all given the fact that there have been so many movies in the last few years that have focused on zombies? David: To try and come up with something that is not a generic zombie and not something that immediately makes you think of George A. Romero [who directed Night, Dawn and Day of the Dead] is difficult, because the moment the words 'living dead' are mentioned, the image that springs to mind is things like Romero and Simon PEgg [who helmed the Shaun of the Dead movies]. Obviously, that's the last thing one wants to conjure up. So that's been really challenging, but I think we've come up with something quite special and scary. I think it's going to be an exciting sequence. Movie Magic: And no doubt one filled with all kinds of visual effects. David: We do things like that in every film, but it doesn't mean that they're any less differeent or we're any easier on ourselves in terms of trying to achieve the very best, but they're the kind of things we try to achieve every day. It's very rewarding when we pull it off, and we try never to rest on our laurels because we need to do justice to this marvelous material. And Jo didn't rest on her laurels as she went through the series of books. Movie Magic:Ever since Chris Columbus left the series after the second film, Chamber of Secrets, you've had a different director on each entry. David Yates, who directed Order of the Phoenix, is returning for Half-Blood Prince and has been announced as the director for the two-part Deathly Hallows. Do you think he'll be able to bring something different to each film? David: I think they have to feel like different films. David wouldn't want to make four films the same. It's very important to us that they are very different films, and it would be to the audience. Jo, again in speaking to the way she approaches the books tonally, always makes them different, which is why they're always exciting to read. It's not that difficult to make the films different, because we start with source material that is the same, but different. It's the same with David. He very definitely wants to make films that feel very different and are stand-alone films - even though you can look at Order of the Phoenix, Half-Blood Prince and Deathly Hallows as being the end of the franchise, really. Things started to gear up in Order of the Phoenix, they take a big step further in Half-Blood Prince and come to the final conclusion in the two parts of Deathly Hallows. But they will feel very different. Movie Magic: Do you feel that this ahs been a unique opportunity to present a group of characters from childhood to adulthood David: It is, inteed. It's the most expensive home movie ever made, as they can look back and see their complete adolescence unfold on film. It's extraordinary as characters, actors and people, and it's kind of thrilling. The whole franchise, I think, is unique. I can't imagine there being anything quite like it again. There never has been before. Frankly we're all really lucky to be a part of something that's so unusual and unique. Movie Magic: You certainly sound enthusiastic about it. David: We just love the whole process. People ask us if we get bored doing another of the same again, but we don't, because they're so challenging and they're so rewarding. As we're coming to the end of the production schedule and getting into post, you see the visual effects start to unfold in front of your eyes and you start to listen to music. The process is so exciting that I just can't wait to see the finished film. That's especially true with visual effects films, because it's such a huge leap from beginning to end, because it's not really until you're very close to the end that you get a complete picture with everything in it on how it's going to be. And I get really excited at the prospect of seeing the film. We see it countless times as we go, obviously, but by the time we finaly get to the final print, it's almost ike seeing something new for the first time. It's just brilliant. Please do not copy this transcript, it took me a long time to do. Just link to this page. Thanks! |
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