Prepare for enchantment in Part 3 – Creatures of the “Creating the World of Harry Potter” series. This episode delves into the magical beasts, mythical creatures and extraordinary artistry that lived in the corners of the wizarding universe. From animatronics to CGI, from tiny pixies to towering spiders, see how the teams made the creatures real on-screen. A fascinating behind-the-scenes journey for fans across Australia, the UK, the USA and the Philippines.
Harry Potter creatures behind scenes, making of Harry Potter creature design, Harry Potter documentary Part 3, Wizarding World beasts
#HarryPotterCreatures #BehindTheMagic #MakingOfHarryPotter
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Harry Potter creatures behind scenes, making of Harry Potter creature design, Harry Potter documentary Part 3, Wizarding World beasts
#HarryPotterCreatures #BehindTheMagic #MakingOfHarryPotter
Thank you for supporting our channel
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Short filmTranscript
00:00:00Come closer. Less talking if you don't mind. I've got a real treat for you today.
00:00:07Don't panic.
00:00:13A hypocrite? Exactly what is that?
00:00:16That Ron is a hypocrite.
00:00:23You're not going mad. I can see them too.
00:00:26What is that? A dragon?
00:00:34Oh, stop it.
00:00:39Demento! Demento!
00:00:44Seriously misunderstood creatures, spiders are the eyes, I reckon.
00:00:49Not to mention the pincers.
00:00:56Demento!
00:01:06Demento!
00:01:08Cool.
00:01:09The core concept of these creatures was to make absolutely certain that they had a lot of character.
00:01:15And we wanted to create creatures that we had never seen before on screen.
00:01:19We never thought of them as creatures. We always thought of them as people.
00:01:27The whole goal was to try to create an organic universe.
00:01:31You're always encountering new creatures.
00:01:34And he sees one of them.
00:01:35You know, he steps back and it's kind of like, wow, is it going to eat me or what?
00:01:39Because there's something really intimidating but mesmeric about it.
00:01:47Creatures are the wild side of the magical world.
00:01:50They're raw, visceral, part of the Harry Potter world.
00:02:00You've got to believe that Harry is going to get eaten.
00:02:03Or fried, or drowned.
00:02:09We haven't gone to a different world.
00:02:11There is magic in this world.
00:02:12But it's just that we muggles don't see it.
00:02:15But it's there.
00:02:17You believe that these ancient creatures could be roaming the English landscape forgotten by society and culture.
00:02:23There's a world of magic and creatures that lurks beyond the sight of normal people like us.
00:02:30I say, no other age wizards allowed in today.
00:02:33Shut the damn door!
00:02:35So rude.
00:02:37The primary goal is to make it believable.
00:02:39This has got to be grounded in reality.
00:02:42They're not just fantasy films despite the fact that Harry fights dragons.
00:02:46I think the reason the books first of all and then the films have found such a wide audience is because they resonate with the personal and human story.
00:02:55We have to stay true to the books and then build on that and hopefully open it out.
00:03:01Creature design can be challenged to say the very least.
00:03:07Blank sheet of paper as intimidated as can be.
00:03:11For me personally, the most fun part of the job is when I start work on a creature because you can let your imagination just run riot.
00:03:19We're thinking, what's it going to have to look like? What's its character? Is it good, bad, you know, intelligent, stupid?
00:03:25I think we all paint a picture of the creatures of Harry Potter in our minds when we read the books and the filmmakers go to great lengths to achieve a look that is as close to the book and hopefully as close to everyone's image of that creature as possible.
00:03:45Welcome to the creature shop.
00:03:48We do things like producing the live action creatures that would be required to actually be there on the set and any prosthetic makeups as well as supplying the visual effects department with painted models.
00:04:01If it's a sort of organic form, then it probably originated in here.
00:04:07When people go into the creature shop, they see these creatures they have never seen before except in Harry Potter coming to life.
00:04:14I mean, so much concentrated in this one place is amazing.
00:04:18I just think the creature department is one of the most imaginative departments that we have here at Leaveston.
00:04:26It's so creative what they're doing, seeing things that they've never dreamed or imagined before, and it's just breathtaking.
00:04:34It's just amazing to touch these things.
00:04:37They can literally just build, make anything you want, really.
00:04:40The hippogriff is just really cool, and the aragog, the big spider, which is horrible.
00:04:49It's sad that some of those sort of beautiful puppetry things are sort of dying out, but what I think is exciting about visual effects and where it's going now is that it allows you to put a dragon on the top roof of Hogwarts and fly them around.
00:05:06I always wanted to see the dragons, because I remember reading Harry Potter and the Goblet of Fire.
00:05:14I can picture my room, my bedroom back home. I was laid there for like four days just reading this book.
00:05:19I wanted to see the dragons desperately.
00:05:21The horn-tailed dragon, Paul Capling, is the concept artist.
00:05:27And it became apparent very early on that you could take that sort of horny addition and then extend that into the ridge of his back.
00:05:35And so these spines that come off his face and off his neck and his body were an extension of the horn-tail.
00:05:41And I think in inventing that, he had latched onto something which is immediately unique, interesting.
00:05:48Oh, my God, look at that creature.
00:05:49The dragon is a great creature to work with because his scale is massive.
00:05:58He's the most aggressive of all the dragons.
00:06:01So, really, the key to the story was developing this persistence that the dragon had of the chase.
00:06:07It was absolutely single-minded in what it wanted to do.
00:06:15He's not an intelligent creature in the sense of, he's just gonna go and try and kill you.
00:06:21You know, it's a real sort of rip-roaring sort of ride as far as a sequence to work on.
00:06:26The great care is swishing round now!
00:06:30I think developing that sequence was very exciting for Mike because I don't think he'd done anything really like that before.
00:06:37This dragon chase, I couldn't get right at all.
00:06:42And I wandered all over the map.
00:06:44I was gonna have the dragon burn down a forest.
00:06:47And everybody was looking at me saying, hmm.
00:06:51And it was also beginning to cost too much.
00:06:54And then it was Jimmy who said, what we're gonna do is, we're going to have this dragon chase.
00:06:59The dragon is gonna go skidding round, and he's going to grab onto roofs, and he delivered this brilliant sequence, which was his invention.
00:07:12The dragon sequence had to just be something a little bit bigger than what was written in the book.
00:07:17And so, when we came up with the sequence of flying around Hogwarts, it really put the pressure on us,
00:07:24because we really wanted to up the ante, basically.
00:07:28You saw this quivering character that's hung to the edge of the castle like a bat, and you thought, yeah, that's a lovely detail.
00:07:36You believe this dragon is something that's come from the real world, and that makes it even more stunning.
00:07:42The most important thing was to get across to the audience that Harry was in danger.
00:07:48It wasn't Harry Potter's world, so he had to rise to the task in order to survive.
00:07:53With the dragon, some of the looks that you see of peril are genuine.
00:07:59There were times when I was actually quite scared.
00:08:02But we have got a fantastic stunt department on Harry Potter.
00:08:05Who will not let me die.
00:08:10The big creatures we store in here, because there's, quite frankly, nowhere else to put them.
00:08:15So we have the horn tail from Goblet of Fire.
00:08:17And this is a functioning mechanical creature.
00:08:22It has a flamethrower in it that our special effects department constructed, so it can actually breathe fire.
00:08:28With something like the horn tail, you read the script and you go, well, it's CG, it has to be.
00:08:33But there's a scene where it's in a cage. There's nothing there that can't be done for real.
00:08:39And so we built a fire-breathing dragon, partly because I've always wanted to build a fire-breathing dragon.
00:08:46Mike loved the dragons.
00:08:47Got some lovely video, and the first time he saw this dragon in the cage, and you could just hear Mike Newell go...
00:08:51Oh, no!
00:09:01And then he was like a kid in a sweet shot.
00:09:03All right, save the ride.
00:09:06You're still looking at the spiders, and then you have to save the arrow.
00:09:10The first shot we did in the spider's hollow, me and Rupert were just gonna go over this ledge...
00:09:14...and we got over there, and there's a four-ton mechanical spider waiting for us on the other side.
00:09:18And it's got these amazing pincers things.
00:09:22Oh, it's really creepy.
00:09:24I think not.
00:09:26Aragog worked wonderfully in the book.
00:09:27It was the one creature in both books that we were all really sort of terrified about designing.
00:09:34Because a talking spider gets into a cheesy territory.
00:09:38Who is it?
00:09:42So we worked long and hard with our conceptual artists in designing a spider that felt incredibly old.
00:09:48Yet, a spider that we knew we could keep in the shadows a little bit.
00:09:52I thought that if we were in a brightly lit situation, we would be dead in the water...
00:09:56...because the audience would be laughing at this talking spider.
00:10:01Hagrid, is that you?
00:10:04I did some illustrations of Aragog. He was based, I think, on a wolf spider.
00:10:10And once you scale up a wolf spider, they're pretty scary looking creatures.
00:10:15I always thought he should have had white eyes, because he's blind.
00:10:18You're Aragog, aren't you?
00:10:21Yes.
00:10:23In the movie, you see Aragog climb out of his hole and deliver dialogue.
00:10:27And that was all real. That's not digital.
00:10:29It was a complete mechanical beast.
00:10:31They made an exact replica of what a spider would look like, right down to the hairs and the legs.
00:10:38And the mouth is one of the most repulsive things you've ever seen in your lives.
00:10:41It's just about your worst nightmare come true.
00:10:44Dan was just going, that's really horrible. I don't like being near it.
00:10:47And Rupert, absolutely freaked.
00:10:50And you think, people are not reacting to it with the fear of being near a large mechanical thing.
00:10:55It triggered the same responses that spiders trigger.
00:10:59I'm really scared of spiders.
00:11:02Um, so I didn't know really what to expect.
00:11:05But when I saw Aragog, it was really scary, because it was massive.
00:11:10Goodbye, friend of Hagrid.
00:11:14Can we panic now?
00:11:16It really did make me feel uneasy. I didn't really like looking at it at all.
00:11:21We saw that scene in the cinema. They kind of added visual effects.
00:11:24All these kind of moving ones on the ground.
00:11:27And I just couldn't, I still can't watch that scene.
00:11:30It's absolutely terrifying.
00:11:32Let's match the power of Lord Voldemort against the famous Harry Potter.
00:11:40The Basilisk is one of the most terrifying magical beasts that we've ever encountered in these films.
00:11:49What were you trying to do to make the snake look more magical?
00:11:51We're just elaborating on the textures.
00:11:54And we're just making things a little bit more exaggerated than, say, a normal snake.
00:12:04Take it up as far as it'll go, and then give it some left and right.
00:12:08On number two, the Basilisk, we built the first 25 feet so that we could put it on a massive ram and put it on tracks.
00:12:14And we could really run it at Dan.
00:12:18I was concerned about building the real Basilisk.
00:12:21I felt that a gigantic snake needed to be mostly CGI.
00:12:27But Nick Dudman was very persuasive that a realistic, giant mechanical version of the Basilisk could be very useful for Dan's performance.
00:12:35So Nick built this horrific, frightening version of the Basilisk.
00:12:40And, I mean, Dan was able to key off of that creature.
00:12:43And when those young actors have something tangible to interact with, it makes their performance much more realistic.
00:12:48Fire!
00:12:49If you've got something with fangs hurtling at you and you know it weighs three-quarters of a ton, you actually do react to it in a much better way.
00:12:58When Dan is fighting on top of the stone head, he was actually fighting a mechanical version of that snake at times.
00:13:06And that was very intimidating, because the thing weighs hundreds and hundreds of pounds.
00:13:09But it was awe-inspiring to actually see that Basilisk in person. It was pretty, pretty amazing.
00:13:22Troll! In the dungeon!
00:13:26That's all you ought to know.
00:13:30First thing you think about a troll is, okay, a troll is frightening, it's scary, it's horrifying.
00:13:35But the thing I loved about Joe's writing is that Joe created a troll that was kind of stupid, dumb, almost like some of those Warner Brothers cartoon characters that I grew up loving.
00:13:48It wasn't the most intelligent creature, was it?
00:13:51The troll was about 15 foot tall or something and with a brain the size of a peanut.
00:13:56We wanted to create a troll that would be comedic as well as frightening.
00:13:59So, if this troll killed you, it killed you because of its immensely dumb fury.
00:14:07The original American edition, it had little illustrations in them.
00:14:11And the troll had spiky legs.
00:14:13I remember, I kept on leaving it out because I couldn't make sense of it.
00:14:16And then Chris Columbus kept on insisting, can we have those spiky legs?
00:14:19So it was like, okay, so how do we make this practical?
00:14:22In the end, it was, just imagine they were very long warts that were on his legs.
00:14:26That troll was built, there was a full-grown troll lying on that bathroom floor for the kids to interact with.
00:14:37Oh, troll bogeys.
00:14:40Trolls then didn't appear until we were discussing on Half-Blood Prince.
00:14:45They were going to do a sequence where trolls ballet dance.
00:14:48And so we actually built two troll suits that were designed so that you could do ballet in them.
00:14:57When you look at the design of a troll, it's insane. You know, I mean, complete lummocking things.
00:15:04It was completely hysterical.
00:15:07The whole department were just fooling about.
00:15:08In the end, it didn't happen, because just any scene you put it in, it just destroyed the floor.
00:15:19When the pixies move like this, they shoot across the room and then shoot somewhere else.
00:15:25What I need you guys to do is be looking all around the room and freaking out.
00:15:28I remember in the second film, there's a scene in Gilderoy Lockhart's classroom where there are these little pixies.
00:15:35No harm can befall you whilst I am here. I must ask you not to scream.
00:15:42It might provoke them!
00:15:44The pixies for me were a little homage to a film I wrote years ago called Gremlins.
00:15:48So the pixies were flying gremlins. But I wanted them to have a sense of humor like the Tasmanian Devil in the old Warner Brothers cartoon.
00:15:56So for me, the pixies were just the opportunity to recreate some of those characters that were part of my past.
00:16:02I think the description in the book said they were blue.
00:16:05And I think it was just making them creature-y as opposed to little people.
00:16:09Because it was a creatures class, you wanted to have these mischievous little blue creatures.
00:16:14I think it's probably like getting to meet a very small blue monkey.
00:16:16Cornish pixies fleetingly appear in an explosion of havoc to sort of show up Lockhart's incompetence.
00:16:25I mean, no one in their right mind would even think about opening that cage door because it's worse than unleashing a hornet's nest.
00:16:33When you see them for the first time unveiled in this cage and you see all these guys with these big eyes and these cute little faces, you don't really expect them to do anything.
00:16:41Cornish pixies?
00:16:43The moment you open the cage, everything explodes.
00:16:48They attached wire to bits of my hair and I had to pretend they were like pulling my hair.
00:16:53Lots of excitement and action!
00:16:56Get off me!
00:16:57Stop! Hold still!
00:16:59I was like ducking and diving and like hitting them with books.
00:17:02And cut!
00:17:04I just remember having loads of fun with that scene.
00:17:07Chris Columbus had several iconic images that he wanted to put in there.
00:17:10He wanted to see the pixies ripping up the books and bringing the skeleton and the dinosaur crashing to the ground.
00:17:16And I think it kind of represents all the dastardly things that children really want to do if they let loose.
00:17:22They kind of embody that repressed mischief that we all have as children.
00:17:26Immobilize!
00:17:27Grasp your mandrake firmly, you pull it sharply up out of the box!
00:17:35I know there are much bigger and grander, more magical things, but I love the mandrakes and how they scream.
00:17:42This mixture of plant and animal. It seems conceivable to me.
00:17:46The mandrakes are completely mechanical.
00:17:50And those things, sometimes you can get away with complete puppets because of the texture of their skin.
00:17:54They look like a radish and a turnip and they're covered with dirt.
00:17:58So in a situation like that, you don't have to resort to CGI because the mandrakes are completely believable.
00:18:03The mandrakes, you know, are plants with personality and it's a tricky thing.
00:18:07I remember talking to Stuart about it and saying they have to look sort of babyish.
00:18:12So there has to be a quality of nastiness in them.
00:18:16Because if you feel they're cute and they'll cut them up, it's kind of not very nice.
00:18:20So you look at it, you do not feel sympathetic to these things. They're just horrible.
00:18:25Our mandrakes are still only seedlings. Their cries won't kill you yet.
00:18:29But they could knock you out for several hours, which is why I've given each of you a pair of earmuffs for auditory protection.
00:18:35I remember they asked me to faint and I've never ever seen anyone faint before.
00:18:39So I had no idea, really.
00:18:40So I just copy what I've seen on TV and, you know, the really comedic, like...
00:18:44Oh, dear me, that kind of faint. And I did it and Chris Columbus seemed to quite like it.
00:18:48So we kept it with the eyes rolling back.
00:18:50But it was funny.
00:18:51And the mandrakes, they were amazing. The animatronics used in those were pretty special.
00:19:00With the brindlewops, I had two stuntmen in blue suits on either side of me.
00:19:04Grab him. Look up, Dan.
00:19:07Each of them would grab one of my legs and just sort of pull me to and fro.
00:19:11So that was quite exciting.
00:19:12No!
00:19:14They were described to us as the Cornish pixies of the underwater.
00:19:18So the sense of mischief and desire to sort of create havoc was central to their reason.
00:19:23They are half-octopus, half-human, very interesting little creatures.
00:19:30There's something that I think all of us are afraid of...
00:19:32...is putting our feet in the seaweed.
00:19:34Putting these creatures' grindalos in there...
00:19:36...is as of playing off people's fears of the darkness under the water.
00:19:41Because, you know, you think, Oh, my God, what's in there?
00:19:43The hippogriff is a kind of half-horse, half-eagle creature.
00:19:55Hagrid is obsessed with having pretty much lethal creatures as pets.
00:20:02The creature, the hippogriff, exists in folklore and in mythology, so that's not my creation.
00:20:07But I really thought hard about this because it could have been an absurdity...
00:20:10...and, indeed, it really could have been in the film as well.
00:20:14The hippogriff scared me because I thought, How are you going to bring this to the screen?
00:20:17It's just an odd combination of animal elements.
00:20:21And Alfonso and I wanted any kind of scene to be character-defining in some way.
00:20:27These different creatures, they are just extensions of the characters.
00:20:31Da-da-da!
00:20:33The hippogriff, in a way, was one extension of Harry's coming of age...
00:20:38...which he discovers his inner power and his freedom.
00:20:42What J.K. Rowling did so beautifully is that she just explored the archetypes...
00:20:47...of what it is to grow up.
00:20:51You go back, you stop.
00:20:53But it's the kind of stuff that you think, you know, when it's like...
00:20:56Any moment is coming, any moment is coming.
00:20:58Keep still.
00:20:59You have to earn the right to fly on him.
00:21:03So it's all about teaching respect and learning respect for Harry.
00:21:07It's that excitement of being able to slightly tame a wild creature...
00:21:11...that you wouldn't normally be able to even touch.
00:21:13That's like being out in Africa and the lion lies down and lets you pet it.
00:21:25They let you ride him now.
00:21:27What? Come on.
00:21:29Hey, hey, hey, hey!
00:21:30I just remember thinking, it's kind of like a parrot...
00:21:33...taking their guide wheels off the kid's bicycle for the first time.
00:21:36They say, you'll be fine, you won't fall off.
00:21:39You think, please, God, don't let them fall over and break a limb.
00:21:43The Fly with Buck Piggy is about the empowerment of Harry.
00:21:47It's a 13-year-old kid who's just realizing that there's an inner power...
00:21:50...that he has to learn how to control.
00:21:52He needs to learn how to surrender in order to fly.
00:21:59He's up in the air and he just sort of extends his arms...
00:22:02...and he's no longer earthbound.
00:22:04And he's no longer burdened by all the problems that he has when he's on the ground.
00:22:09If he could only fly forever, he'd be all right.
00:22:12He represents a certain wildness.
00:22:15And I had a real sense that he was real.
00:22:18The way he moved, everything about him, I just loved.
00:22:22We want to do an animal that is, it's an animal.
00:22:25You know, it's nothing fancy.
00:22:26It happens to be very gracious when he's flying.
00:22:29Very clumsy when he's walking.
00:22:31And sloppy.
00:22:33I remember one of our favorite designs actually we discarded...
00:22:36...because it was too wriggle, it was too precious.
00:22:40This is still a working process because that is too playful, too light.
00:22:44Alfonso is very fluid in the way he works...
00:22:47...which means it's very difficult to tie designs down.
00:22:49The detail, you know, which feathers were what colour, which feathers would be slightly longer...
00:22:55...went on month after month after month with me going, we have to build this.
00:23:00And I actually really enjoyed working with Alfonso.
00:23:04But it was a real battle because Alfonso never really wanted that design process to end.
00:23:09It was a really wonderful exercise to go through, but there were days when it was the closest I've ever come to thinking...
00:23:15...you know, the reason this hippogriff isn't going to be ready is because I'm going to have inserted it into somebody.
00:23:21But I'm delighted with the result.
00:23:24It could move. It just looked alive. You've just never seen anything like it.
00:23:28There was a kid that actually visited the set one day and the head suddenly went down like that.
00:23:34And the kid absolutely, I thought they were going to die with excitement.
00:23:38Buckbeak.
00:23:39It was pretty ambitious. We would build an animatronic Buckbeak.
00:23:43And not only build him, but we took him to Glencoe in Scotland, stuck him on a mountainside in blizzard conditions...
00:23:50...and expected all the animatronics to work.
00:23:54It was a challenge, to say the very least.
00:23:58But even though he was a physical animatronic creature, he was enhanced and replaced with a digital creature.
00:24:04With the half-beard, half-horse creature, we were looking at golden eagles, basically, and the way it moved, the physiology...
00:24:12...capturing the way that the wings move and the chest moves.
00:24:16A very proud, majestic creature that had this sort of dangerous side to it.
00:24:23We wanted to make something that would be realistic.
00:24:25I mean, it's so realistic that if people watch carefully, Buckbeak actually pussed, you know.
00:24:31But it's not a big deal, it's just like, as a matter-of-fact thing that Buckbeak does.
00:24:34Fawkes is a very noble creature.
00:24:45And what we try to achieve with him is really making a physical embodiment of that sort of Dumbledore noblesse.
00:24:56He's one of those creatures who is essentially wild, who has, out of respect for that particular human, deigned to be their familiar.
00:25:08Fawkes is a sort of very inscrutable bird.
00:25:18And like Dumbledore, just full of surprise, it's like it suddenly catches fire.
00:25:26He does indeed burst into flames and he ends up as a pile of ash on the tray beneath his perch.
00:25:32And then this tiny little creature is reborn out of a pile of ashes.
00:25:37And I think the wit and the charm of this creature actually is in the rebirth.
00:25:41It's in this funny little chick that kind of pops his head up through the ashes.
00:25:46Harry needed to experience these creatures as if he's seeing something unique and totally out of his world for the first time.
00:25:53When the reborn fox comes out of the ashes, there's a wonderful expression on Dan's face when he's looking at this thing.
00:25:58Oh, fascinating creatures, phoenixes.
00:26:03And I really think Dan's performance captured that sense of wonder in seeing something that he's never seen before.
00:26:08There's this magical thing that happens with kids who are that young.
00:26:12They really were able to tap into that wonder.
00:26:15Fawkes the Phoenix was a lovely thing to do because it was a complete creature.
00:26:19We had to build him on the stand.
00:26:21And he had to be able to move about and shuffle on the stand and all this and react to stuff.
00:26:25You couldn't get a matchstick inside because of all the electronics.
00:26:30But he could stretch open his wings and move his head.
00:26:32He could blink. His beak could move. Sort of everything.
00:26:35For Fox, it was finding a puppeteer who could actually convey the warmth and the movements of the bird.
00:26:41And then getting the CGI version of that bird to match that.
00:26:44I remember one of the funniest moments was working with Richard Harris, who was a little older in the second movie.
00:26:52And it was the first day of shooting in his office with Fox.
00:26:56Richard Harris comes over to us and he says,
00:27:00It's absolutely amazing how they train these things, isn't it?
00:27:03Chris and I stood there for a minute and thought,
00:27:05Ah, is it dumb? No, no, it's a puppet.
00:27:10And he went, bleep off.
00:27:13He believed that Fox was real.
00:27:16And I thought, well, we've done a good job if our actor who's standing two inches away from this thing believes that it's real.
00:27:22Cut. And pull B, camera.
00:27:24Pretty good, huh?
00:27:25What is it?
00:27:34Thestrals are sort of inextricably linked with death.
00:27:38And so they're quite a morbid thing, but there's something rather beautiful about them as well.
00:27:43You're not going mad.
00:27:45I can see them too.
00:27:47I always see Thestrals as sort of like the character of Edward Tissorhands,
00:27:50because they're really strange looking, they're really creepy,
00:27:52and you probably wouldn't go near them because they're so skeletal and black and just alarming.
00:27:58But when you're nice to them, they're really gentle and they're really loyal.
00:28:02And I think they're misunderstood, like a lot of creatures are.
00:28:07There was something haunting and mysterious about them, something other.
00:28:12And at that point in the story, Harry had lost his parents.
00:28:16So they reflected an experience that was becoming a regular occurrence for him.
00:28:20But why can't the others save him?
00:28:23They can only be seen by people who've seen death.
00:28:26Joe knows her mythology and she twists it in her own brilliant way.
00:28:30The Thestrals were a brilliant personification of death.
00:28:34There's something strong and frightening, winged death-flying, this sort of skeletal figure,
00:28:41and yet there's something kind of romantic, kind of fatalistic way,
00:28:45and I think it taps into something really deep and unconscious.
00:28:48We spent a lot of time developing the character of the festivals themselves.
00:28:53We really had to get inside the head of these creatures.
00:28:56They do represent death and we intended them to look quite almost grotesque in a way,
00:29:01but we didn't want to make them scary in a gratuitous way.
00:29:05They had to be regal as well, they had to be very serene and have a soul.
00:29:08I think that was important, that you had to feel these characters had a soul.
00:29:13Especially for David Yates, that the relationship that we were going to develop between Luna and Harry and the Thestrals was very important.
00:29:20They're quite gentle really, but people avoid them because they're a bit different.
00:29:26That relationship between Luna and Harry is really special.
00:29:29She's another outsider, but Luna's sort of made a friend of death, but she's accepted this as a fact of life.
00:29:35J.K. Rowling, she said to me once, Luna's the most adjusted to death in the whole series.
00:29:42And I was saying, even more than Dumbledore? And she said, yeah, definitely.
00:29:45It was that juxtaposition of seeing Luna, this small, timid, defenceless little girl with this great big beast,
00:29:54to understand that these things are not dangerous and they're not frightening.
00:29:58But actually Luna shows that they are very, very beautiful creatures.
00:30:03Luna's very wise because she's not afraid of death.
00:30:07She's able to stare it in the face and talk about it. That helps Harry a lot.
00:30:16Joe is really interested in exploring the role of the outsider and giving them a place and giving them a voice.
00:30:23Ron, Harry, Hermione in their own way are outsiders and creatures that she's created are part of this world.
00:30:30Some have been ostracized. Some people respect them.
00:30:36And there's a big divide in the world between those that respect those creatures and those that don't.
00:30:41Hello.
00:30:45I think Dobby the house self will steal all the scenes he's in.
00:30:49Dobby.
00:30:51I'll deal with you later.
00:30:53If I'd realized he was going to be such an upstager, I might have gone a bit bigger.
00:30:57Dobby. Shush. I'm sorry. I didn't mean to offend you or anything.
00:31:01I saw Dobby as sort of combination between E.T. and Bugs Bunny a little bit, you know, someone who is endearing but also slightly mischievous and annoying.
00:31:09With Dobby it's this Dickensian kind of humility, depressed little figure.
00:31:16I mean, the big doe eyes and the big pixie ears, pointed ears.
00:31:20The second one was there was a devious element to him.
00:31:23He was protecting Harry but he was sort of causing all these problems for Harry in an attempt to save his life.
00:31:28Well, the first time I worked with Dobby I said, so where's Dobby going to be in the room? Where should I look?
00:31:35And they went, well, wherever you look, that's where we'll put him.
00:31:39Come, Dobby.
00:31:40So we're up on a little platform for me to walk down and I swung my leg viciously.
00:31:45And as I got down the steps I went, the cane like that.
00:31:48And so Chris goes, cut. Okay, great. Did you slip or something? And I went, no, no, no.
00:31:53No, I just kicked Dobby down the stairs. And he went, really? He said, what was the thing with the cane?
00:31:58I said, well, when he tried to get up, I bashed him on the head. He went, cool.
00:32:01But let's be honest, it's no fun showing the screen with characters that are much loved.
00:32:07Particularly if you're trying to bully them.
00:32:10Our goal for Dobby was to create a character that the audience would fall in love with.
00:32:15I wanted the audience to actually feel real emotion for Dobby.
00:32:19There's a vulnerability about the character and, if you like, a humility about the character that seems to complement the magical qualities of the character.
00:32:27So it's a magic that's sort of humble. And I think that that endears the character in a way.
00:32:34Our actor who came in and did the voice of Dobby, he just nailed it completely.
00:32:39Of course, Dobby is still treated like vermin.
00:32:44His performance was kind of heart-wrenching.
00:32:48So our animators worked on that through that performance and were able to create a Dobby that was very emotional.
00:32:54He's like a child, so what we do then is find those little things, find very naturalistic movements that convey this idea of childhood.
00:33:04Through the little quivers of the lips and the way that, you know, he might get so caught up that he's almost oblivious to everything else.
00:33:13You know, that's how a child is.
00:33:15It's going to give you a sense of something real that the audience will respond to and end up loving this character.
00:33:21Dobby, get back here!
00:33:24When I got the part, I had no idea the fondness for all the characters, but Dobby in particular elicits a degree of loyalty from fans that I'm now very aware of.
00:33:36And so I feel very honoured to play a part in realising Dobby.
00:33:41You shall not harm Harry Potter!
00:33:46Potter!
00:33:50It's odd when kids come to the set. Dobby's one of the first people they want to meet.
00:33:54And you don't want to pull the curtain back in Oz too much, so sometimes I say he's in his trailer.
00:33:59All I ever wanted to do to Dobby when I read the book was kick him. I'm sorry, I must have been in Slytherin, but I like Creature.
00:34:10Creature's a bastard, and that's fine.
00:34:13Nasty breath standing there as bull's brass.
00:34:17Creature and Dobby are both elves, but you've got a good version of it and a bad version of it.
00:34:22They've obviously gone to different schools, followed different paths, and ended up in different places, you know.
00:34:31Rob List did some lovely stuff, and he did a little head, you know, it was just a little quick little head, but he captured it.
00:34:37You know, it was like, ah, yes, yeah, bastard.
00:34:41He's not as wide-eyed and youthful as Dobby. He doesn't have that sort of inspirational creature, really.
00:34:46He doesn't care about anything, and it shows through his body. His face is wrinkled into this scowl that is fixed on his face.
00:34:55His body is crooked, and I feel like he's in a lot of pain.
00:35:00And that's what gives him his bad nature, but perhaps, you know, that's not who he always was.
00:35:06He's had a history that has made him into this very twisted, gnarly character.
00:35:11Harry Potter, the boy who stopped the Dark Lord, friend of mudbloods and blood traitors alike.
00:35:20I think Creature's bitter about his lot in life.
00:35:24But also, I think that he's a nice person waiting to happen.
00:35:28Creature lives to serve the noble House of Black.
00:35:31In our version of a centaur, we wanted to incorporate more of a mysterious sort of magical horse-like quality in their features.
00:35:46We were actually able to create a much more malevolent, much more frightening, much more powerful centaur by giving the centaur these horse-like features and finding a voice that was extremely powerful for that centaur.
00:35:57You're safe now. Good luck.
00:36:01The centaurs seem to portray the best and worst aspects of human nature.
00:36:06They sort of show our basic instincts and how they can serve as well, and how those same instincts can go against you.
00:36:12Pride, being protected, being territorial. The centaurs, they're not free to roam, and they're aggressively protecting what territory they have left.
00:36:19I warn you, under the law, as creatures of near-human intelligence, protect them! How dare you!
00:36:28And I think what's special about what JK's done is she sort of said, well, you know, it's our nature that has damaged our relationship with these creatures, and we're the poorer for it.
00:36:37Filthy half-breed! Incautious!
00:36:40To be called a filthy hard-breed negates your heritage and your history, so there's that idea of wounding from the past.
00:36:48The centaurs in the books are imbued with such wisdom that I don't think I've seen that before, but we've kind of struggled with the representations of them on the screen.
00:36:56They are impossible creatures. They have six limbs, which makes them impossible to render in our terms, because you step over into this area of non-credible, non-real.
00:37:12But nonetheless, we made a considerable effort to make them seem real.
00:37:17Tell them I need no help!
00:37:19I'm sorry, Professor. I must not tell lies.
00:37:23Hagrid? What exactly are these things?
00:37:28They're goblins, Harry. Clever as they come goblins, but not the most friendly of beasts.
00:37:38The goblin world doesn't like to really associate with the wizarding world particularly.
00:37:43You know, goblins will take whichever side feels best.
00:37:47They're happy to kind of hold the wizard's money, but I don't think they want to get involved.
00:37:51The goblins have elements of greed. They are fairly vicious at times. Sort of menacing kind of quality. Somebody you wouldn't trust.
00:38:00When we did the goblins for the first time, David Heyman, from the very beginning, you know, said to me, this is not a fantasy film.
00:38:06These goblins have got to feel totally real. They've got to feel like real people in their own environment.
00:38:12You know, they're very stylized, but they do fit the flavor of the first movie.
00:38:17We had to find little people and apply prosthetics onto them.
00:38:22And that was a very difficult kind of situation because when we got to the location where we were shooting Gringotts,
00:38:31some of the actors weren't really happy about this really kind of extensive makeup that they had to go through in the morning.
00:38:38Some of them two and a half hours, three hours.
00:38:40So by the time the day was wearing on, some of our goblins were getting a little grumpy.
00:38:45And I remember one guy, I was trying to get a performance out of him.
00:38:49And I said, you need to convey that you hate Harry, that you hate him.
00:38:56And he nodded and I said, you know what that means.
00:38:59And he goes, yeah, I hate you. And I said, excuse me. He goes, I hate you. I was at a loss for words.
00:39:08When we came back to it in the last movies, we sat back and thought, okay, it's been nearly ten years.
00:39:15They've got to be so much better.
00:39:17There are 60 goblins and I wanted every single one to be different. So 60 were sculpted.
00:39:24It's a team effort. It's the person who originally drew the concept art.
00:39:30It's the person who then took that and sculpted the clay and created the shape.
00:39:36It's the person that then paints that makeup and then applies it to the face.
00:39:43There's a huge amount of people involved.
00:39:47Characters are multi-layered things, so you need to sort of put that in, even if it's completely artificial.
00:39:53Saying, this is the grumpy one, you know, I think this one doesn't like that one.
00:39:57This one can't sit down easily. Let's give him a bit of an Elvis or, you know, let's have a bit of a comb over.
00:40:02There's no logic to it, but that can drive a sculpt.
00:40:05I don't think anyone's ever done anything like this in Britain before, on this scale.
00:40:10Yeah.
00:40:11It's just insane.
00:40:13Peter Pettigrew is a man who's been a rat for the last 13 years. And so he has to behave still like a rat.
00:40:32He had 12 years as a rat. You know, it's going to rub off, isn't it?
00:40:37In your habits. It wouldn't make you very clean in your habits, would it?
00:40:40I've had been a good friend, a good pet. You wouldn't let them get me into the Dementors, will you? I was your rat!
00:40:45Tim went for it. Let's do the ears a little pointier, and let's have hair in the ears, and let's have a lot of hair coming out of your nose.
00:40:53And let's add, like, two big teeth in the front.
00:40:57He's always got his hands sort of out like that, and there is a sort of thing that happens to him.
00:41:03You know, it's like a cringing, you know, so it's a rat in human form.
00:41:09Wow, I think of him, and he's still, he's creepy.
00:41:13Flesh. Servant. Willingly. Sacrificed.
00:41:21Kind of quite protective of one. Although he's a dastardly beast.
00:41:25Malevolent, craven, two-faced swine. I've got affection for him.
00:41:31Yes, he can't help it. He's got to survive. There's not a career scheme down in the sewer.
00:41:36You can't retrain and become a guinea pig or a fluffy rabbit.
00:41:41And Pettigrew is the ultimate survivor. He'd probably survive a nuclear explosion.
00:41:49I think Lupin is perhaps Joe's greatest creation in some ways as a character.
00:41:54I think he's so heartbreaking in many ways.
00:41:57Your mother was there for me at a time when no one else was.
00:42:00She had a way of seeing the beauty in others, even and perhaps most especially when that person could not see it in themselves.
00:42:10When you think about the werewolf that is Professor Lupin, it's nothing but that dark side that is behind this very sweet character.
00:42:19We always used to say that he's your favorite uncle that has, like, a dark secret.
00:42:25You know, you don't know if he has skeletons in the closet.
00:42:28Or some weird secret that the family tends to just keep quiet.
00:42:33He's a werewolf! That's why he's been missing classes!
00:42:36It was a way of showing that grown-ups, too, are flawed, because Lupin is flawed.
00:42:43He's not completely honest about what he is.
00:42:45He's vulnerable. He's afflicted by his past.
00:42:48He's very vulnerable to public opinion, and he tries to compensate for that.
00:42:52You know the man you truly are, Remus. This flesh is only flesh. This heart is where you truly live.
00:42:59There's no real point in playing Lupin overtly as a werewolf that there would be anything that his character shows.
00:43:07I mean, physically, he's scratched, and, of course, then there's the transformation, which there's a lot to think about then.
00:43:13One, two, three, four, rest!
00:43:18Having all this reference of great werewolves in many, many, many films, we wanted to challenge the concept.
00:43:25We had an American guy called Wayne Barlow came on.
00:43:28Wayne did a drawing that was of a werewolf that was looking a bit more pathetic and a bit more kind of sad...
00:43:33...and a bit kind of messed up and hairless, as well.
00:43:37And that kind of had a spirit that Alfonso liked.
00:43:48We did build a werewolf suit.
00:43:50That was, I think, the worst nightmare I've ever had.
00:43:54The design was very, very skeletal.
00:43:57And I kept saying, well, yeah, but to put somebody in it, you know, we can't cut bits off actors that don't like that.
00:44:03So, you know, we're gonna have to make some concession.
00:44:05At one point, I was gonna hang from chains, and these animatronic legs they'd built were gonna stretch and come out of my knees, so I had to be hung from chains.
00:44:14And that turned out not to be practical, much to my relief, because it looked really very uncomfortable to do that.
00:44:19We had a kickboxer and a dancer, and they were both very, very slim.
00:44:25So we made some lovely stilts, and the guys could actually run about on these stilts.
00:44:29But when we put them in the real suit, it was so tight that it actually did restrict their movement slightly.
00:44:34And when you're balancing three feet off the ground, it gives you that sort of the thing.
00:44:41The restrictions of the costume meant he couldn't be quite as athletic.
00:44:46Alfonso wanted something athletic.
00:44:48He wanted this thing coming in fast and, you know, pouncing and fighting with the dog, especially.
00:44:59And eventually, we just found it through this process of back and forth and working with Alfonso.
00:45:10When I think werewolf, I think American Werewolf in London, which is one of my favorite films.
00:45:14But this was scarier, because it looks human. It looks human gone wrong.
00:45:18And that's, I think, always more frightening than a monster.
00:45:22It's got that creepy, spindly, slightly naked look, but it's a beast and it's dangerous.
00:45:34I think the fundamental differences between Lupin and Greyback is that Lupin doesn't want to be a werewolf.
00:45:39And Greyback's just can't wait for the next full moon so he can bite some faces off.
00:45:45But also Greyback is stuck between being a werewolf and a human.
00:45:50I started off looking as a man when I was first infected, but I've changed so many times.
00:45:53And every time I change, I retain a little bit of wolf in me.
00:45:56And so I'm becoming more and more of a wolf.
00:45:58If you saw this guy at a distance, you'd just think it's a big guy and he looks rather threatening.
00:46:11You know, the minute you come here, he's like the lamb and you're the wolf.
00:46:14And I'm just looking for another opportunity to get him.
00:46:16Yeah.
00:46:17And it's only when you get really close to him that you would make a connection as to what's happening here.
00:46:21He's taken on wolf-like characteristics.
00:46:24The character of Greyback, when you read the book, he's a child killer.
00:46:29He's a very, very nasty predator.
00:46:37I think he's probably the most evil man because he is a man.
00:46:40And he doesn't necessarily have to be as horrible as he is.
00:46:43But what I found in him was there's a sense of isolation.
00:46:46That if the world treated him like he was one of them, he might accept that.
00:46:49Because he's an outcast, then he feels rejected and he's going to make everyone pay.
00:47:03I think that the dark creatures are the fear.
00:47:06They do represent our darkest fears.
00:47:10She's maybe latched onto creatures that are naturally scary, such as werewolves and giant spiders and things.
00:47:19But I think the most interesting creatures are the ones that she's completely created herself, such as Dementors.
00:47:26The Dementors are these creatures which drain every person in their vicinity of every joyous feeling and leaves them with nothing.
00:47:46I had a nightmare when I was in my teens in which I saw hooded gliding figures.
00:47:59And that image haunted me.
00:48:01And the Dementors for me were about depression.
00:48:04And I joined the two.
00:48:06When I was looking for something, I thought that's what they would be like.
00:48:09And then I had to decide what was under the hood.
00:48:12What is the final consequence of very, very severe depression, where you exist without hope?
00:48:17I had to make that visual.
00:48:19So I described the eyeless face with just the gaping, sucking mouth.
00:48:34For me, it was more a process of understanding what these creatures are.
00:48:39It's not a monster that's going to come and attack you and rip you into pieces.
00:48:44It's something way more abstract.
00:48:50I remember one point, I think, with Alfonso when he was going on about loads of eyes.
00:48:55There was something he had this big thing about.
00:48:57The Dementors and lots of eyes.
00:49:02I remember there was the storyboards of Dementors approaching the train.
00:49:07A week later, I used to start hearing rumors that everybody was so proud to be working with the genius.
00:49:13And they would say, wow, your surreal imagery is amazing.
00:49:17Until I see the storyboards, there's water.
00:49:22And the water transforms into ice.
00:49:28I didn't know how to tell them that I meant ice like frozen water.
00:49:32Because I was already a genius.
00:49:35It was a difficult one because, essentially, it was a big load of cloth.
00:49:44It was like I personally couldn't find a way of drawing that.
00:49:46We used as reference people who had been embalmed in the cloth.
00:49:55It was wrapped around them, coming away.
00:50:00We even bring this puppeteer from San Francisco.
00:50:04And we did tests, like, for ten days of puppeteering underwater.
00:50:10Then we would shoot backwards to create, like, the whole eerie effect.
00:50:16You know, the first time you see one in the third film.
00:50:18You see the cloth, the hand come around, and the train is very effective.
00:50:23You were scared for everybody sitting on the train.
00:50:28Alfonso was quite keen that they were spectral and almost at a distance all the time.
00:50:33So they didn't have to touch you.
00:50:34They would hover close to you, and the world around you would freeze.
00:50:38But they'd actually be able to just do all of their necessary damage
00:50:42and just purely through the soul suck.
00:50:44Alfonso wanted to scare kids.
00:50:49He wanted those dementors to be terrifying.
00:51:00Because it's not a happy world all the time.
00:51:03Harry Potter is a dangerous world.
00:51:05You're dying. Both of you.
00:51:08We want to tap into that darkness, and Alfonso did that.
00:51:14The Dementors scene was the moment where I first sort of went,
00:51:21This film is gonna be really, really scary.
00:51:24When David talked me through the ideas for the scene,
00:51:26I thought, Wow, this is really, really brilliant.
00:51:29In the book, it's in an alley,
00:51:31and it was David Yates' idea to set it in this underpass.
00:51:35So it was brilliant, you know, this confined, scary, and yet very real place.
00:51:41An underpass is kind of cold and creepy.
00:51:44This is where bad things happen.
00:51:46It felt like a natural fit to introduce the Dementors into that arena.
00:51:51Feeling the cold, icy cold.
00:51:55To juxtapose that with these terrifying creatures made them all the more frightening somehow.
00:52:03Rather than just making it about a salsa, we wanted to give them more physicality.
00:52:10So there's a moment where they pick him up and slam him against the wall.
00:52:13There's always something sensorial about that and about the dampness of them
00:52:21and the way a bony finger can press against Harry's neck
00:52:24and the marks that it can leave
00:52:26and the smell that they have when they get particularly close.
00:52:30When talking to Dan about those things, what does it feel like when that breath
00:52:35starts to brush against your nostril just before they start to try and suck out your soul?
00:52:42There's a moment when the scene sort of holds and both of them are trapped.
00:52:47You know, Dudley's lying down and Harry's up against the wall and you think it's over.
00:52:51And David just sort of lingers on that horrific moment.
00:52:56Why didn't you savor it?
00:53:02Expecto Patrona!
00:53:08Lumos.
00:53:10Lumos.
00:53:11Lumos.
00:53:12Lumos.
00:53:13Lumos.
00:53:14Lumos.
00:53:15Lumos.
00:53:16Lumos.
00:53:17Lumos.
00:53:18Lumos.
00:53:19Lumos.
00:53:20Lumos.
00:53:21Lumos.
00:53:22Lumos.
00:53:23Lumos.
00:53:24Lumos.
00:53:25Lumos.
00:53:26Lumos.
00:53:27Lumos.
00:53:28Lumos.
00:53:29Lumos.
00:53:30Lumos.
00:53:31Lumos.
00:53:32Lumos.
00:53:33Lumos.
00:53:34Lumos.
00:53:35Lumos.
00:53:36Lumos.
00:53:37Lumos.
00:53:38Lumos.
00:53:39Lumos.
00:53:40They're like horrible, like, rotting corpses.
00:53:46They push very hard for them to be scary.
00:53:48Beyond that, I did just think if I had been kept under water for 20 years,
00:53:54I'd come up looking white and skinny.
00:53:58It was really important that you almost felt sorry for these people
00:54:01because they're ultimately the victims of Voldemort.
00:54:04They're not there out of choice.
00:54:05So we wanted to try and tap into a human-looking skeletal form
00:54:12that was more dead-looking, if you like.
00:54:17My chief sculptor, Julian Murray, spent months sculpting in Firae.
00:54:22It's really tricky.
00:54:24You know, you read it and they're all horrible and skeletal, gassy things.
00:54:28It was, yes, they're creeping me out,
00:54:29but are they creeping me out for the right reason?
00:54:32We're making a kids' movie here.
00:54:34We're not making an indictment of human cruelty.
00:54:40At the same time, it was important.
00:54:41We created a pretty scary sequence.
00:54:45When Harry falls under the water,
00:54:47we really wanted to develop the whole extent of how vast this world of in Firae were.
00:54:53We did movement tests with people.
00:54:58They were a combination, I think, of dancers and movement artists that just...
00:55:04We literally said,
00:55:05''Okay, move in an interesting way.''
00:55:08They're dead souls.
00:55:10But we wanted something off and weird about them.
00:55:16At one time, we had these conjoined in Firae.
00:55:19The idea that these bodies had been under the water for so long
00:55:22that they actually had fused together and become like coral.
00:55:25Just the idea that these creatures could become multi-limbed, multi-headed bodies.
00:55:31It was an interesting stage to go through to really try and develop these things.
00:55:36But we ended up with something that was more realistic.
00:55:38I think that's probably the most scary thing, in a way.
00:56:05There's a line in a poem somewhere.
00:56:07It's about the first world.
00:56:09Well, it's Wilfred Owen, I think.
00:56:10Where he talks about a person who has breathed in some horrible poison gas.
00:56:15And it says that he had the face of a devil sick with sin.
00:56:19And I always thought that Voldemort ought to look like a devil sick with sin.
00:56:24That what he's given himself over to world domination,
00:56:29and he was prepared simply to sacrifice any humanity in himself.
00:56:34He had to have been human, but now have regularly pushed aside his humanity.
00:56:48Voldemort was a combination of baby and somebody who is so critically disabled,
00:56:56lost all its power, all its strength, all its vitality.
00:56:59I think the attitude of the feet and the toes and of the hands are absolutely inspired.
00:57:05You know, it's that thing that the best artists have that immediately hits a chord.
00:57:15And I think those shriveled, curled feet do exactly that.
00:57:22When we first sort of get introduced to Voldemort in the fourth film,
00:57:25when he's coming back, when he's being reborn,
00:57:27he's very much a creature, you know.
00:57:31He's not the whole human. And we see the birth of him.
00:57:47He's not human anymore because he's split his soul so many times.
00:57:51He's become this sort of aberration of humanity.
00:57:54He is, you know, a complete unreserved animal side of human nature.
00:58:06And when he's reborn, he really is this sort of out-of-control force of nature.
00:58:16I think Voldemort becomes more of a creature and less and less human as the story goes on.
00:58:24In Order of the Phoenix, I always thought of him as a person.
00:58:27I always wanted to imagine, as unpleasant as it was, what the world looked like through those eyes.
00:58:39Somebody who genuinely believes that love is a joke,
00:58:44that anybody who trusts anybody else is a fool,
00:58:49I think it makes it harder to dismiss him.
00:58:52Because I think there's a little tiny bit of Voldemort in all of this.
00:58:58Do it!
00:58:58So weak.
00:59:10I wanted Harry to have him have that moment of pity.
00:59:13It was not compassion, pity.
00:59:15You'll never know love or friendship.
00:59:23And I feel sorry for you.
00:59:27To me, there's something tragic about him.
00:59:29At some point, he was just a little kid who got abandoned on a doorstep.
00:59:33I can make bad things happen to people who are mean to me.
00:59:43I can make them hurt.
00:59:44If I want.
00:59:47When I saw my nephew, Hero, who played the young Tom Riddle, Voldemort,
00:59:52he has such a wonderful quality of a boy's loneliness,
00:59:55because the world has rejected him,
00:59:56which is the beginning of a sort of rage against the world.
00:59:59When I'm like you, Tom, I'm different.
01:00:06Prove it.
01:00:08He's a lost soul. He's mad. He's lost. He's totally screwed up.
01:00:13And the only thing that fires him is more power,
01:00:16more ability to destroy people.
01:00:18You're a fool, Harry Potter.
01:00:21And you will lose everything.
01:00:32The creatures in Harry's world all present challenges.
01:00:37They're nearly always something that's there to be overcome.
01:00:40They're waystations in Harry's journey.
01:00:43I think the creatures are about that myth of slaying the dragon.
01:00:54It is controlling the uncontrollable or destroying the undestroyable.
01:00:59So the creatures are obstacles that Harry needs to overcome to prove himself.
01:01:03I think he's learning throughout all of the stories that we are defined by actions,
01:01:15not what we say, but what we do.
01:01:17Bobby is free.
01:01:20Harry is the sort of character that learns from all of the creatures.
01:01:25Harry learns respect.
01:01:28And grace under pressure.
01:01:29Don't you turn your back on me.
01:01:33I have an extra trick courage.
01:01:38You'll be okay, Harry.
01:01:41You're a great wizard.
01:01:42You really are.
01:01:44Expecto Patronum!
01:01:59Go.
01:02:01Go.
01:02:06You're a great geek.
01:02:09Go.
01:02:09You're a great geek.
01:02:10Go уже.
01:02:11Go.
01:02:11Go.
01:02:12Go.
01:02:13Go.
01:02:27Go.
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