All language subtitles for Icons.Unearthed.S09E04.A.Hero.Unprepared.1080p.AMZN.WEB-DL.DDP2.0.H.264-BTN_track4_[eng]

- "Harry Potter
and the Prisoner of Azkaban"

opened to rave reviews,

not to mention the series'
largest opening weekend to date.

- So, now I'm excited, because
the movie's not mine anymore.

Now it belongs to the audience.

- Characters were moving on

from the Chris Columbus
childlike innocence...

- He's only a baby after all.

- ...to Alfonso diving deeper
into the dark side.

- I'm gonna kill him.

- It felt like you were watching
a different film franchise.

It felt edgy, gritty and dark.

- It's full of dark magic.

- After three films
in four years,

producer Chris Columbus faced
a choice

- Do we choose to stay here for
another 10 years or we go home?

- And so, Chris Columbus was...

- Gone.

- And Alfonso Cuarón,
the director of the last film?

- Gone.

- Perhaps it had something
to do with the coming

of he who should not be named.

- Kids were kinda freaked out
by him.

- As for the core cast,
surely they wouldn't be, uh...

- Gone.
- Sort of.

When we were finishing
the third movie,

the cast had some doubts
if they were gonna come back.

- Suddenly, one Friday
they came round.

They sacked everyone
and we thought it was a joke.

- There was a lot
of shouting that day.

- "Harry Potter
and the Prisoner of Azkaban"

had taken the series
to new creative heights.

But they hadn't reached the top
yet, because the next book,

"Harry Potter and the Goblet
of Fire," was waiting.

- I remember sitting
there thinking, "Oh, wow, okay.

We've got a top hat, have we?
Whew.

This is gonna be tough."

That wiped
the smile off my face.

- And there it goes.

Because, as well as the mounting
pressure of expectation,

the team had a big problem
in the most literal sense.

- I do remember
when "Goblet" was published,

picking it up and going,
"Oh, my God!"

- Like every "Harry Potter" book,

"The Goblet of Fire" was longer
than any of its predecessors.

- It's about 3 inches thick.

- Especially with Book Four,

all the books just became
ungodly long.

- When I saw the book
on the shelves,

I thought, "That's gonna
be two films, surely."

- "How the hell
will you cut that down?"

- Concerned!

- "Goblet of Fire"
is a very interesting point

in the storyline,
because, for the most part,

it's kind of just
this adventure book,

where the kids are going through
the Triwizard Tournaments.

- The Triwizard Tournament
brings together three schools.

- And each school picks
a representative

who must overcome...

- Three extremely dangerous
tasks.

- The first, to snatch a
golden egg guarded by a dragon.

The second, to retrieve
a valuable from the bottom

of the Black Lake.

And the third, to be the first

to make it through
the trap-laden labyrinth

and be crowned the champion
of the tournament.

- But then you get to the end
of the book.

- One, two, three.

- Suddenly, everything changes.

- Oh, right!

The Dark Lord and Cedric's
death and all that.

But, before we discuss
those grim topics,

decisions had to be made
about what could be cut

from this massive book.

- Isn't that awful?

- And sadly, for Chris Rankin,
his character, Percy Weasley,

was one of those things
that disappeared.

- Excuse me.
I happen to be a school prefect.

- And having read the book,

you know, Percy's got a fair bit
of storyline, actually.

I have a conversation
with David Heyman about Percy

not being in "Goblet of Fire."

You look at Percy being
a Triwizard judge

in the fourth "Harry Potter"
book,

which would have been
a great storyline for Percy.

- You seem to have given
this a fair bit of thought.

- And he explained it to me in
a way that made perfect sense.

The way he explained it was,

the film is called
"Harry Potter and."

And, literally,
what it comes down to

is does it matter
to Harry's story?

Yes or no?

- And, for Chris,
there was only one answer.

- Gone.
-

- So, "Goblet" was down
one Weasley.

- Now I'm really depressed.

- "The Goblet of Fire" was a big
movie, with a budget to match.

- The budget was very big
on the fourth film.

- $150 million--

the biggest to date.

But, despite a big budget, it
would still be a tight schedule.

- Shooting a film for 50 weeks

and then editing
for another 20 odd

is enough to keep one awake
at night.

-

- But it wasn't only the size
of the book

and the budget that had grown.

The cast were
nearly fully grown up

and the reliance
on computer-based visual effects

was growing even faster.

So, David Heyman and
Warner Bros.

needed to find a director

that could navigate
these growing challenges.

- The first two movies are about
the wonder of being a wizard.

- You're a wizard, Harry.

- Chris Columbus was, obviously,
brilliant with young kids.

- Alfonso made a
very smart choice to say,

"We're gonna start talking
about the anxiety

of being a teenager."

- Shut up! Shut up!

- The actors are now getting
older, their acting is changing.

- So, by the time
you to get to "Goblet of Fire,"

their relationships now becomes
almost that on an adult drama.

- Oh! Oh, oh, oh! Oh!

- Finding a director

that could serve the maturing
characters would be key.

- And I think they picked
the perfect person.

- And the person they picked...

- They brought Mike Newell in.

- Mike Newell would be the series
first British director.

But more than that...

- He's very much
an actor's director.

- We knew each other very well

and
I felt extremely comfortable,

because I felt very secure
in Mike's direction

and under his wing.

- His work got this incredible
funny, but heartfelt tone to it.

- And Mike Newell
had directed the funny,

heartwarming "Four Weddings
and a Funeral."

- I love doing a comedy.

-
- What are you laughing at?

- But not so fast.

Because Mike Newell
also had an edge.

- This is a guy
that can do "Donnie Brasco."

- Quite a dark edge.

- Will you stop that?

- How else am I supposed
to open this?

- Big budget, big New York set,
Al Pacino, big stars.

Although the
"Harry Potter" movies are huge,

it wasn't going to faze him.

- But as for the second
unit director,

like every "Potter" movie
before it,

Peter MacDonald would be back.

And that was good news
all round.

- Peter directs action very well,
so with some of those sequences,

he was designing the cameras,
basically.

They were, you know, very much
his ideas for the shots.

- The unit that I spent most
of my time,

and we really were the unit
of scallywags.

We always had the most fun.

- Dan and, you know, the actors
really liked working with us,

you know, because it was
a little less pressure.

- But for the "Harry Potter"
visual-effects department,

the pressure was growing
by the day.

- As we went through the films,

visual effects became more
and more powerful and necessary.

- "Harry Potter" made as much
demands on visual effects

as perhaps "Marvels"
or the "Star Wars" did.

- That's impossible,
even for a computer.

- But in a different way,

because it's a combination
of terrestrial

and historic and real,
fantasy and fantastic,

and then creatures throughout.

- What we did then
seems easy now.

But then, the people
were breaking new grounds

and deciding whether a thing was
possible or not possible.

- Everything,
from creepy crawlies...

to usual wizardry,

to dragons, a collapsing maze,

transformations
and underwater worlds...

- Never do
underwater sequences.

- Shouldn't be a problem

with experienced director
Mike Newell leading the charge.

- When we first sat
in the production meeting

for the first time, he said,

"I know nothing
about green screen and CGI

and all that sort of stuff."

-

- Considering the importance
of visual effects,

no one was more confused
by the hiring of Mike Newell

than Mike Newell.

- We were doing a green screen

and I was talking to
Maggie Smith and Mike

wandered over and Maggie said,

"Here, Mike, how does
this green-screen stuff work?"

And Mike just went...

- He said, "I don't know
what I'm doing here."

He said,
"I have to rely on all of you."

- Which made life
a little bit difficult. Phew!

- And what's harder
than making a "Harry Potter"

without a tech-savvy director?

Making "Harry Potter"
without Harry Potter.

The intimidating schedule was
a concern

when it came to the boy
who played the boy who left.

- I think his parents were
just worried

that it would have been so much
and so little time off.

- And while every child dreams
of going to Hogwarts,

Daniel Radcliffe had
a dream of his own.

- He wanted to go to school.

- A quiet year at Hogwarts?

- No.
- No.

- Regular school.

- If accommodations
couldn't be made,

Hedwig the owl just
might need a forwarding address.

- They had an agreement
with the studio

that he would
get to go to school,

I think almost a full year.

- This meant Daniel Radcliffe
would be back,

along with Rupert Grint
and Emma Watson.

- And it pushed the schedule
three or four months and so,

I think that was very helpful
for Dan and for all the kids.

- But as the deadline loomed,

decisions had to be made
about what to film first.

- The Triwizard Cup.

- The tournament would bring
every corner

of the wizarding world
to Hogwarts

and every actor in England
scrambling for a job.

- What a cast, you know?

We were just lucky,
rubbing our hands with glee,

looking for the days

when some of the greats we have

were gonna be
on our movie screen.

- Hogwarts latest defense against
the dark-arts instructor...

- It's Mad-Eye Moody.

- ...would be played by
"Braveheart's" Brendan Gleeson.

- Brendan was just amazing.

I mean, he's just a
very easy man to deal with.

- When casting Hogwarts'
champion Cedric Diggory,

producers looked for
a fresh face and, in doing so,

discovered a future star
in Robert Pattinson.

- This strapping young lad
must be Cedric, am I right?

- Yes, sir.

- When they cast, like, Robert
Pattinson as Cedric Diggory,

I was like,
"Yeah, he's gorgeous."

- Then we had Miranda Richardson
as Rita Skeeter.

- But, of course,
you know that, don't you?

- More murder.

- The role of the sinister
Barty Crouch Junior

would go to who?
Dr. Who, to be precise.

- David Tennant
as Barty Crouch Junior.

- Yeah, I mean,
he's an amazing actor, isn't he?

And he went completely
over the top on that.

- Argh!
- Which is required,

because the influence of he
who cannot be named.

- A.K.A. he who remained to be
cast.

- The casting director
probably went crazy.

- It would be a work in progress,

along with all
the other complicated matters

regarding the Triwizard Cup.

- The Triwizard Tournament
required real up-front

design work,
in a very compressed schedule.

So, you had to move
very quickly through it.

- The second unit started six
weeks before the main unit did,

to do the underwater sequences.

- The stuff that's gonna
be time-consuming

and visual effects, shoot early.

- The underwater sequences
for the fourth film,

we first looked at whether
we could do it dry for wet.

- Used in films such as James
Bond, dry for wet is a technique

that simulates underwater
filming, achieved by...

- Hanging the actors on wires.

Shooting slow motion.

Adding a bit of smoke
in the air.

- And we rehearsed
on a Saturday morning.

- It didn't look viable.

- It's not going to work.

- It was never gonna
look any good.

- Special effects had
simply evolved past dry for wet,

which meant it was time
to find another solution,

and time meant money.

- The point about "Harry Potter,"

I mean, it's had made
an absolute fortune,

so, without being indulgent,

you should have been
able to do whatever you wish.

Being told that, "Yeah,
we couldn't afford this

or didn't have the time for
this," it's ridiculous really.

- So, while the VFX
department could conjure

up magic, the muggle minds
of the producers

and the director
simply could not comprehend.

- "Know nothing
about green screen and CGI

and all that sort of stuff."

- Peter's well-oiled
ship was sinking fast.

- I used to lay awake at night
thinking, "Oh

What am I into here, you know?"

- The filming of "Harry Potter
and the Goblet of Fire"

was under way, and they began

by tackling the film's most
difficult set piece--

the second challenge
in the Triwizard Tournament.

- It was decided we'd shoot
it underwater.

- Well, obviously.

- Yeah, you have to get
the actors wet.

- Again, obvious.

- Like most professions,

acting is traditionally done
on land,

so there was a learning curve.

- It's quite difficult
to breathe underwater.

- Potentially problematic.
- "Potentially problematic"?

When's the last time

you held your breath
underwater for an hour?

- We built a 20 foot by
10 foot by 10 foot deep tank.

- But all the kids,

they had to go through
all the scuba-diving lessons.

- The tank would serve
as a submerged rehearsal space.

- They used it to do
practices and rehearsals.

- But, to actually film
the scene,

they were gonna need
a bigger tank.

But, how big?
- I was pushing for a tank

that was 60 feet square
and 20 feet deep.

- If constructed,
it would be the largest

underwater filming tank
in all of Europe.

- We had a long in-depth
conversation with the producers

about how big the tank
should be.

- And John would know,

because he had some experience
filming underwater scenes.

- "Superman,"
nine "James Bond" films.

- Not to mention...
- A film called "Aliens."

- But a big tank would mean
a big bill,

something producer David Heyman
and line producer David Barron

were not too keen on.

But in John's corner
was Peter MacDonald.

- Really had to stand up
against the producers and say,

"No, you don't understand.
This is what we need."

- But if they didn't
listen to John,

why would they listen to Peter?

- Peter was great.
He ran a very tight ship.

He didn't take any prisoners.

Someone not to be messed with.

- "If you want this sequence,
I need this."

- And so,
both men stood their ground.

- And that's what
we ended up building.

- The tank's still in operation
today.

- And, with that, "The Goblet of
Fire" jumped in the deep end

and filming began
on May 4, 2004.

But, very quickly,

it was evident that they were
all in over their heads.

- The children could
only be underwater for so long.

- If you took him to the top,

you had to take
a slow journey up

and then have to spend
an hour up above

and then come down again.

- It was a painstakingly slow
process

that was putting the already
fragile schedule in jeopardy.

- There was a point, I think,

whereas Daniel
had got an ear infection.

So, that was quite
a big problem.

It was decided
to build a chamber down

in the base of the tank.

- So the actors didn't
have to come up

to the surface between takes.

- They could go in there
and rest,

and it would be
like an air pocket in there.

- It was better for everyone,
including them.

When they were under,
they stayed under.

- Dan, he wasn't
a natural swimmer,

but it turns out he's
much better underwater.

And, by the end, he was
easily capable of doing a minute

and a half to two minutes.

I actually got to spend
four to five months underwater

in the world's biggest bath.

- They could go into the habitat

and talk to the director
through a microphone link.

- Him and David used to sit
in there and have a laugh,

you know, until we called them.

- It was a huge challenge,
but made easy

because of the enthusiasm
of the youngsters, you know?

- Congratulations.

Your performance
in the Black Lake was inspiring.

- We had grownups in there.

They were more of a problem
than the kids.

- It was challenging.

I sat behind that glass
for six weeks.

It drove me nuts.
Like working in a coal mine.

- Filming underwater provided
unique challenges

for every department.

- Things like webbed fingers,

which we discovered how
to do that by sheer accident,

because we tried putting
little silicone pieces

between the fingers,
they fall off underwater.

Then you try a little membrane-y
thing and it doesn't work.

And then, one of my crew were
washing their tights in the sink

and realized that if
you put your hand in your tights

and you stretch the material
around your fingers,

it webs and it looks amazing.

It looks like webbed fingers.

- Despite the $150 million
budget,

Nick Dudman had delivered
a dollar-store solution.

- So, when Harry is swimming
underwater

and he's wearing a t-shirt,

he's got a stocking
all the way up his arm,

that's actually glued
up under the shirt.

- It was a winning moment
for practical effects,

but it was short-lived,

as the inevitable shift
to digital continued.

- There were a lot of things
that went more to the CGI world.

- UK-based companies
were no longer relegated

to creating
supplemental effects.

- And suddenly they went
from a tiny piece of the pie

to a big piece of the pie.

So, by the time
you get into film three or four,

it's then being dominated
by UK companies.

- As work shifted to UK firms,
responsibility began

to shift to the UK
VFX supervisor, Tim Burke.

- So, on the fourth film,
I was on set,

just working with the different
HODs, as well as the director.

You see, it really makes
you part of the family

that is making the film.

- While filming underwater may
sound like practical filmmaking,

it turns out the deep blue was
more a shade of green.

- That was challenging and
probably, for the first time,

those kind of things
had been done.

- I remember very,
very elaborate conversations

about what the mermaids
would look like.

- One person not in
those conversations--

director Mike Newell.

- Mike is very non-visual,
I would say.

- "I know nothing
about green screen and CGI

and all that sort of stuff."

- He would simply say,

"Look, they're gonna be mermaids
and they're gonna go underwater.

Deal with that."
- With that,

the character designers
were left to their own devices.

- We say "mermaids" and we think
of "The Little Mermaid."

- ♪ I want more ♪

-
-

- These were a far cry from them.

The surprise of the mermaids
was just how feral and dark

and mean they were.

- Only one.

- There's an amazing design
challenge to make them scary.

Scarier than in a way that
you haven't been scared before.

But also, scary in a way

that's gonna be okay
with family audiences.

- While a good scare can be fun,

there was nothing fun about
the surprise in store for Tim.

- Somebody ran onto set
and just said,

"You've got to call
your brother."

Which was most unusual.

And discovered my mum had
been run over crossing a road.

- During the filming of the
fourth "Harry Potter" film,

"The Goblet of Fire," the
VFX Supervisor, Tim Burke,

had received the worst news.

- Everything falls into,
you know, into significance

and you just, basically,

just focus on what's
important, which is family.

My mum had been run over.

She was in hospital
being operated on

for sort of 12 hours.

And then, sadly, was
on a life support for two weeks

and then we had to turn
the machine off.

So, it was a very
traumatic period.

- And, despite Tim's
absolutely tragic news,

he went back to work.

- It's difficult, you know,

when you've had a serious loss

and, you know, you're grieving
and you have to work,

because you do have to work.

When I came back,

I was wandering
down the corridors of Leavesden

and the first person
I saw was Peter.

Peter just came up to me

and gave me the biggest hug ever

and it really kind of was
quite an emotional thing,

because I'd known him
as this tough, you know,

really hard-nosed film director
and he just gave me a big hug

and said, you know, "It's okay."

And it was really heartfelt and
really made a big difference.

- And while Tim found his feet,

post production continued
its relentless push

to the finish line.

And while time was getting
short,

the movie, much like the book,
was getting long--

a problem
that Mick Audsley had to tackle.

- Enough to keep one awake
at night

and staring at the ceiling.

- But one character
that definitely made the cut

was Argus Filch,
played by David Bradley.

- Mike just said,
"Do what you want to do."

- And feeling like the production

could use
a little lightening up...

- I just remember thinking,
"I've got to make this funny."

So, I just did the silliest
possible run I could think of.

And whispered to Mike Gambon
that the guests had arrived

and we were struggling hard
not to giggle.

Because it was all whispered,

we'd say something
inappropriate to each other.

Mike Gambon,
he enjoyed the banter.

Going off text, let's say.

- And the headmistress
Madame Maxime.

- The entrance
of another character

would have the cast seeing
double.

- Like we'd done Hagrid
as a giant double,

we had to do Madame Maxime
as a giant double.

- Blimey, that's one big woman.

- Only Madame Maxime's
double wasn't a woman.

- We had a guy called Ian Whyte,

who was very tall
at 7 feet whatever.

- But for this former
European basketball player,

there were only two feet
he needed to worry about.

- And we put him in high heels.

- And, with a bit of luck,
they weren't two left feet.

- They both had to dance.

- From basketball moves
to ballroom moves.

In a mask and high heels,

all while embodying
the character of Madame Maxime.

- Ian worked with
Frances de la Tour

to kind of get a bit
of movement coaching from her.

He had to kind of mimic
her performance.

Where their hands are,
where their real hands are,

where their extensions are,
where their feet are.

You know, it was quite,
you know, exaggerated movements,

in order to try and
get that to look quite natural,

which was a spectacular bit
of choreography.

They had to work pretty hard,
those two guys,

to kind of get that together.

- David Bradley,
on the other hand,

had a much smaller
dance partner.

- Well, I'm glad
they kept that bit in.

That was another one
of those little moments in me,

"Oh, he can't be all bad.

He loves his cat enough
to dance with it," you know?

It wouldn't get us
onto "Strictly," but who cares?

- And Warwick Davis,
he danced with everyone.

- Warwick sort of jokingly
suggested

that he could crowd-surf
the audience,

and they basically took him
up on that.

- With green screens nowhere
to be seen,

Mike Newell was in his element.

- Because it was not reliant
on visual effects.

Just very human territory,
which is what Mike's so good at.

- On the fourth film,

I just came back as an extra
for, like, the Yule Ball.

I remember Mike Newell being
quite, like, hands on.

- In fact, Mike was perhaps
a little more than hands on.

- One day, I think dived on the
floor to show them what to do.

That's when I said to him,
"You didn't have to do that.

We've got stunt men to do it."
He was just so enthusiastic.

And then we found out
that he cracked his rib.

- But Mike had a much bigger,
scarier problem.

- What are you going to do
about your dragon?

- Oh!
- The dragon...

- Um...
- ...at the climax of the movie.

- They wanted a full-size head,
so we did a full-size head.

Then they said they needed
full-size claws.

So, we made those.

And then they came back
and said,

"We just want to have
a shot of the dragon in the cage

and we don't think
it needs to be visual effects.

Could you do something
theatrical?"

- Theatrical was right
up Nick Dudman

and the Creature Effects
Department's alley.

- I believe in
a practical approach.

- But could a dragon
be made practically?

- Nick's ambition was
to build the horntail.

- And they say I'm mad.

- It was actually built
on the Basilisk mechanism.

-

- Which itself was built on the
back of the Aragog mechanism.

- We just sculpted the bits
we hadn't sculpted

and made this dragon,
which was a very crude puppet,

but we put it in there

and John Richardson fitted
a flamethrower into it.

- Are you serious?
- Oh, yeah.

- Oh!
- That all looked quite real.

- We tested it in the car park
at night

and Mike Newell just screamed
with hilarity when he saw it.

-
- It was a lovely night,

because I went out
into the woods

and there are no lights
in that sequence.

It's only lit with fire.

And so,
when this dragon kicks off

and is throwing fireballs
around this clearing

in the woods at night...

- I have to admit, that horntail
is a right nasty piece of work.

- Oh, my gosh!
We built a dragon.

You know, brilliant.
It doesn't get better than that.

- But with advances
in digital imagery,

the CGI writing was on the wall.
- There was a sense that, "Yeah,

this is probably gonna be the
last big thing that we build."

- Everything is going to change
now, isn't it?

- It's sad, because there is
something really exciting

about seeing something big
moving that's not real,

but yet appears to be real.

- And even though the battle
sequence would also require

a dragon made of ones and zeros,
Tim Burke and Peter MacDonald

still needed to be
in total sync.

- We shot all of the dragon
sequence in the Rocky Arena.

- It was quite a difficult set
to work on,

because it was very rocky and
gullies all the way through it.

-

- To get the level of precision
needed,

computer-guided cameras
would be used.

- And then he gets on the broom
and flies off.

And that was all done
with motor-control rigs,

to create the background plates.

And then Harry would be shot on
a motion base, on blue screen.

- The team had come a long way

since the Quidditch match
of the first film.

Even still,
nothing was set in stone.

- Initially, it was only going to
be a sort of view of Hogwarts

and then you'd see him go round
and then off into the distance.

- But José had literally seen
a better way.

- Because we had been climbing
over the model set

week after week, I could see
really interesting angles

that, unless you're actually
standing and climbing over it,

you don't get to see.

- And so, José made sure
everyone else could see it, too.

- We put together a load of
stills and then that one

or two shots turned into
a huge fight sequence

with the dragon climbing up on
the roof of Dumbledore's tower.

- And if José had been angling
for more work,

he certainly got some.

- We had to make
a much larger version

of the Dumbledore's roof.

You know,
it went from three shots

to sort of probably 40 shots

and another couple of weeks
worth of shooting for us.

- Another couple of weeks
was not something

producers could afford,
as time was running out.

- Mike Newell,

he could be a bit deflected
from what he really wanted to do

by being told that,
"We couldn't afford this

or don't have the time for
this."

- And with that, the dragon
sequence was put on hold

and Peter was told to move on.

- They thought, "Well,
I'll worry about that later."

- It will, you know, come back
and bite you in the ass.

- For the third
and final challenge

in the Triwizard Tournament,

the production built
an actual maze

at Pinewood Studios in London.

- Because we'd run out of stage
space at Leavesden Studios.

- They built the whole maze.

You know, every now and again,

you lost some
of the crew members.

They were walking around
in circles.

- It wasn't just the camera crew
that was lost.

- I, literally--
and don't laugh--

but got very lost.

- The idea of a maze
is I don't know where I am,

but the audience wants to know
where they are.

- And editor Mick Audsley
was having a hard time

keeping it straight.

- And I thought,
"I'm just not feeling it."

- Thankfully, it was
the music editor

that helped play him a way out.

- Because I normally
would never put music

onto anything this early.

I prefer to see the problems and
not have the comfort of music.

And when I saw it scored,

looking more like a movie
rather than

just actors running around
a set,

I suddenly saw how to do it.
- Yes.

- "Now I know
where I'm going."

Which is odd, isn't it?
Forgive the terrible pun,

but I knew then
where I was going in the maze.

- And with the maze scene finally
headed in the right direction,

that meant it was time for
audiences to meet...

you know who.

-
-

No, no!

- Except this dark lord
would deviate

a little bit from the books.

- J.K. Rowling has said

that Voldemort
is actually just Voldemore.

So, in the films,

they actually pronounce
this character's name wrong.

- Severus Snape was indeed
a Death Eater,

and prior
to Lord Voldemort's...

- Lord Voldemort.
-

- Voldemort.
-

- Voldemort.
-

- You must be very brave
to mention his name.

- And his name was...

His name was V...

- It's his mark.
- Voldemore.

- And when it came to he
who must not be mispronounced,

teasing was the name
of the game.

- So, there was always
that built-in sense

of excitement and anticipation.

- The fans wanted to see
Voldemore.

- The varied stages
of the dark lord

include half a head,
a teenager...

- Voldemort.
-

- Ha! Can't even say
his own name right.

In the third film,
he didn't even appear at all.

Just a spooky,
ever-present darkness.

Wooo!

- Fans weren't just dying
to see Voldemort,

fans were dying to know
who would play Voldemort.

- We did an early Voldemort test
with a makeup on a actor.

Kids were kinda freaked out
by him.

- Contenders included
American John Malkovich,

as well as Britain's
very own Rowan Atkinson.

But it was another actor
that was to be offered the role.

- Nobody thought, "Ralph Fiennes
as an evil wizard," you know?

This is one of our greatest
classical actors.

- And while that may be,
he also had no problems

playing some
of cinema's greatest monsters.

- Open your eyes.

- So, Ralph Fiennes actually
wanted to turn down the role,

but his nieces and nephews
were like, "Oh, you have to.

You have to do it."
And so, he took the job.

- Now, I remember hearing
who was cast

and I thought "Well,
Ralph would be terrific."

- And, finally,

everyone was invited
to the Voldemort reveal party.

- He's just so evil,
but he has this way of speaking

that you can understand why
people would be drawn to him.

- I can touch you.

- He was creepy and understated.

-
- Ugh!

- He's one of those actors
that you're very wary of.

He has that kind of look.
Quite a scary character.

Everything he does
is totally believable, you know?

And it had to be.

- It seemed the producers had
a good nose for talent,

but there was one issue
they needed to face up to.

- David Heyman said,

"Maybe we should take
the nose off,

because that's what
the book demands."

- There were tests done with
what can we do with his nose?

Can we sculpt a piece
that gets rid of it enough

and gives him that kind of
snake thing?"

But it always looked
a little bit Whosville

and it was just much
more effective

to remove it digitally.

- Which meant,
the already-backed-up

post-production team's workload
just got a little bit heavier.

- Visual effects were going,
"It'll cost the earth.

He's in every shot.
It's a nightmare.

Don't do it." You know,
"Please don't do it."

- The pressure to make
the new deadline was real,

but digital effects weren't

the only monkey wrench
in the schedule.

- You have such a limited time
with the young actors.

Probably a third of the time

with them you'd have
with a normal actor.

- They're just kids.

- The kids have to have
their downtime,

otherwise you're breaking
the law of the country.

You know, what looks like
an easy day's work is not.

- The time constraints
with the kids

and the increase
of the visual effects shots

was putting pressure
on the technophobic director.

- You must be anxious enough
as it is.

- Being on set with him,
I had to lead him a lot

and I frustrated him a lot
because,

you know,
we have to do a lot of stuff

that he would struggle
to understand,

so he would get frustrated
with it.

- But there was one scene

where the time it took to shoot
was all that Mike could swallow.

- We were doing the
Mad-Eye Moody transition scene.

Moody turns into Barty Crouch,
which was David Tennant.

And I had to get
the actors to play both roles.

- Very often, one scene
has to be shot four times.

You know,
they're so complicated.

A quarter of a page
could be three

or four days' work
for two units.

- When Mike's been
used to making normal films

without that process,
of course,

some frustrations arise

and some people were at the
sharp end of those frustrations.

- It was enough to send
Mike Newell into meltdown mode.

- He didn't really understand
what we were doing.

He got quite
annoyed.

He was quite a shouter.
- Aah!

- A lot of swearing.
A lot of effing and blinding.

-

- A lot of shouting that day.

- The only thing
the angry director understood

about digital effects--
they were taking too long.

- There's a joke about that,

it's just you get
two shots a day at the most.

- And even though these were
big visual-effects films,

we were always seen
as the people

who were holding everybody up,
basically.

You know, "You're costing
the production money."

- Peter MacDonald and
First A.D. Chris Carreras

refused to adjust their work
to fit someone else's schedule.

- You can't work any quicker,

and I think Chris
and I understood this.

- If they said they needed more,
they definitely needed more.

There's absolutely no question
about that.

Over anyone at the studios, they
would know more than anyone.

- And as delays mounted,

David Heyman grew
exceedingly frustrated.

- Heyman, keep a tight lid on it
and make sure you do your job.

- They wanted to believe
that it's almost in the can.

- With an uneasy feeling
of a mounting pile

of almost complete scenes,
Peter MacDonald spoke up.

- They wanted to believe
we're done.

We said, "Well, you're not."

- But remember
the dragon-chase scene?

- They thought, "Well,
I'll worry about that later."

- It will come back
and bite you in the ass.

- The dragon was poised to bite.

- "You do realize
that an untold number of scenes

we haven't even touched yet?"
But we weren't listened to,

because they wanted to believe
we're done.

- Despite all his warnings,

it was Peter MacDonald
who got bitten the hardest.

- Soon we must all face
the choice between what is right

and what is easy.

- Suddenly, one Friday
they came round.

They sacked everyone
and we thought it was a joke.

- Peter MacDonald's second unit
was smack in the middle

of a fight between the film's
producers and reality.

- The black-and-white thing is
we're not finished.

You know, "We haven't shot
this, we haven't shot that."

We told it like it is,
as they say.

And very often in life,
people don't want to hear that.

- You're being stupid.

- They wanted to believe
what they wanted to believe.

- It's maddening.

- But would Peter play ball
with the producers?

- I'm an arrogant old sod.

- It was obvious Peter
was going to put up a fight.

And so, the producers opted
to strike him out.

- We're all given our notice.
- It's completely mental.

- A battle the film's editor was
blissfully unaware of.

- We're finished, are we, okay?

That wind didn't blow
into my cutting room.

Probably they--

I suspect Mike shielded me
from it,

because he would have seen
me lying on the floor,

you know,
sort of gasping for air.

You know, the wand
that Dumbledore takes out

and the thought comes out...

and then
he probably dropped it in.

"We're wrapping?"
Oh, yeah." Boomph!

- Meanwhile, post-production
was gaining bodies.

- I was the sole editor,

supported
by my incredible colleagues.

I think there were about nine
of us in the cutting room.

- Welcome, my friends.

- Working together to deal with,
"A," the length of time

and the amount of material
that was coming in.

In the case of a visual-effects
film, particularly this one,

it is a very different animal.

You see perhaps one shot
that's made up of 20 elements.

So, there's an enormous amount
of work.

- Materials
that would each have

their own unique set
of challenges.

- Funnily enough, it was
something that was quite simple,

but it was where
Mad-Eye Moody puts the spider

round the classroom.
- Ugh! Ugh! Ugh!

- Don't worry.
Completely harmless.

- But Mick wasn't editing footage
of a wily spider, but rather...

- It was a tennis ball.

The thing that's difficult is
assessing the value of that shot

which you're going to lock, in
order to develop it at a cost.

So, you're constantly weighing
up in your head

how things are going to play.

And that drive gives you
sleepless nights.

- To keep up with
the demanding schedule,

scenes were edited a la carte,
as they came off the press.

- The machinery of being all
in one place,

of shooting, cutting,
everything,

I had the zoo very close.

I would pass the owls
on my way to work.

- As Mick and his team continued,

it became increasingly apparent
that some of the scenes were...

you've guessed it.

- I put a scene together
and there were more

visual-effect shots
in that sequence

than had been originally
estimated or storyboarded.

- We told you,
you weren't finished.

You should know that, you know?

It's not up to us to tell you,
the producers,

that the film hasn't
been finished.

- Once it became clear how
many un-filmed scenes remained,

production swallowed their pride
and picked up a phone.

- And they re-employed people
for another six, seven weeks.

- A great relief
for the Peter Mac Fan Club.

- Any film
that would lose Peter Mac

would lose
a very special individual.

An amazing human being.

And I opened my Christmas card
from him just today.

- Producers were finally coming
to their senses

and getting Peter
to finish what he started.

- "Oh, by the way, we'll start
again Monday because..."

And I'd already gone onto--
I said, "No."

They said,
"What do you mean, no?"

- You must be joking!
- It seems Peter had put

the producers
on his Christmas naughty list.

- When you weren't being listened
to, well, time to move on.

And I also went on
to other stuff.

- Like these other
mega franchises.

It wasn't the ending
Peter had hoped for,

and he wasn't the only one.

- I had always had a--

what I call sort of narrative
itch I wanted to scratch,

which was the ending
of that film.

- And Mick's itch
only got itchier

after watching the rough cuts
with Mike Newell.

- Clear the runway.

- He and I agreed that
if the story involved an arrival

of the other schools,
it wasn't going to feel potent

if we didn't frame
the ending with their departure.

- It doesn't end here!

- Not only did Mick's concern

mean production would have
one more scene to shoot,

it meant screenwriter
Steve Kloves would have

one more scene to write.

- And when I saw the flying coach
go, I knew, "We're there now."

- But they weren't
quite there yet

because, as Peter had warned...

- It will come back
and bite you in the ass.

- ...many of the scenes
were still...

With the release date
fast approaching,

it was all hands on deck.

- We had to do Harry sliding
down the roof.

- You know, there was
a risk element to that.

- Aah!

- If Daniel's feet
were to dig in

as he's sliding down the roof,

then it would cause him
to rotate over his legs

and then fall into slack
on the wire

and then he'd have,
like, a slap back.

So, thankfully,

because of the years
of physical education

that I'd done with him,
I was confident

that his stomach muscles were
strong enough

to keep his legs off
of the roof surface

that he was sliding down.

I think he thoroughly enjoyed
doing that stunt.

As his stunt double,
I was just really proud of him.

- And I was working on that
sequence probably until the day

we were dubbing and beyond,
probably.

- But nothing was complete
until the longest,

darkest "Harry Potter" film
yet faced its final challenge--

the test screening.

- I had concerns about our film
in the sense of it's quite long.

It's quite dark.

And I though, "Oh, gosh,

is this audience gonna
be okay with this?"

The film started and I was
sitting there biting my nails

and chewing through the back
of the seat in front of me.

Yeah, I hope this is gonna
be alright.

You know, are we the first
to kind of slip up here?

- Harry Potter had to endure
several tests

in "The Goblet Of Fire,"

but none had the producers
as nervous as the one

that awaited
in the American Midwest.

- 15 months into production,
we took, not a complete film,

but a shaped film to Chicago
for a test screening.

- There's no turning back.

- But not just
any test screening.

Nick was about
to experience his very first

"Harry Potter" test screening.

- The audience didn't know
what they were going to see

and the market-research
team got up and said,

"You are the first audience
to see H..."

And the man who was speaking

hadn't even got the word
"Harry" out of his mouth,

when a little kid
in front of me went, "Yes!"

- But the higher the bar,
the bigger the concerns.

- I'm scared for you.

- I had concerns about
Cedric's death.

- Avada Kedavra!
- No! Cedric!

- And I thought, "Oh, gosh,

is this audience gonna
be okay with this?"

At these test screenings

where you have to sit
in the audience with everybody,

as the film played,
you could hear a pin drop.

And I thought, "Oh, gosh,
is it that bad?"

And I looked around

and I saw these young faces
just completely enraptured...

...in a way
which I hadn't experienced

in similar sorts of
test screenings.

- I love magic.

- They love being in the world

and they could stay there
for longer if you wanted to.

And this is unlike
any other film.

- On November 5th of 2005,

London's Leicester Square
would once again welcome

another "Harry Potter" premiere.

But "The Goblet Of Fire"
marked the first time

a British director
would be addressing the press.

- It's really
very difficult stuff,

but a lot of it
was fantastic fun.

- Everyone was on hand,
even Nick Dudman's dragon.

- I fight a dragon and Voldemort
and mermaids and stuff.

- But any concerns were silenced
by solid reviews,

not to mention
an $890 million haul.

But it was a fan base divided,

as fans of the films and fans
of the books began to diverge.

- So, there were a lot of fans

that were disappointed
that certain things

they remembered from the books
didn't make it into the film.

- Where are they, anyway?
- So much was taken out of it.

- It could have been
a better film, I think.

There was a lot that was missed.

- Right. Percy Weasley, for one.
-

- Meanwhile, as long as
J.K. Rowling

was writing hit books...

- Queuing formed outside
bookshops 18 hours

before the books went on sale...

- Oh, my God!
I got a book!

- ...David Heyman
and Warner Bros.

had every intention
of adapting them.

- There's not any risk now

in whether or not are
we gonna continue this series.

- However, one thing was
to be discontinued,

as director Mike Newell would
not be returning.

- It must be very difficult
for any director

walking in on something
that's already established.

- I think he had
an impossible task,

because, again, it's
the first really large book.

So, I have sympathy for him.

- But Mike's digital aversion
did not help matters.

- And when we come
to the end of the film, he said,

"I still know nothing
about green screen or CGI."

- Actually, according to Peter,
it was more like...

- I knew very little
when I started

and less
when I finished.

I don't have to worry
about work anymore,

so I can say whatever.

- And with that attitude,

guess who won't be returning
on the next film?

- Gone.

- That's what happens
when you tell the truth.

- The smooth-running machine

Mike Newell had inherited
was no more.

Peter MacDonald was out,

Warner Bros.
was demanding budget reform and,

once again, the franchise was
in search of a new director.

But Warner Bros.
and David Heyman

were looking for more than
just another directorial fling.

- You suddenly realize that
you're dealing with a new person

and it's going to be different
and I think,

initially, everybody is
slightly resentful of that.

- It was the big names,
like the director and the DOP

that tended to change
on each film.

- So, I do think the studio
at that point said,

"Look, is there someone we
can trust with the rest of this?

Because at this point,
we now know what we want."

- But knowing what you want
and getting what you want

can be two
very different things.

- Things at Hogwarts
are far worse than I feared.