Speaker 1: Hi guys, and welcome to episode thirty one of Behind
Speaker 1: the Wand it's been a little break, so it's really
Speaker 1: lovely that we're back. As always, just a little bit
Speaker 1: about this podcast if this is your first time listening.
Speaker 1: My name is Flick Miles, and I was Emma Watson's
Speaker 1: double in the Harry Potter films and now I speak
Speaker 1: to other people who worked on the films about their
Speaker 1: experience in the Wizarding World. So yeah, that's what this
Speaker 1: podcast is.
Speaker 2: But we've had a.
Speaker 1: Little break and I have been trying to work on
Speaker 1: the next series, but as many of you know, I
Speaker 1: had a daughter back in March and that's been taking
Speaker 1: up a lot of my time. So I was trying
Speaker 1: to record episodes to get them all together to release
Speaker 1: another series. But actually think I am going to just
Speaker 1: start releasing episodes as and when I have them ready,
Speaker 1: so there's not this huge break in between episodes. I
Speaker 1: hope you all agree that that is a good idea.
Speaker 1: We shall see. I'm also going to carry on doing
Speaker 1: the bonus episodes because between when I did lasted bonus
Speaker 1: episode and now I've had some amazing questions which I
Speaker 1: just really want to chat about anyway.
Speaker 2: Because you know, I'm a chatterbox.
Speaker 1: So yeah, just a little bit of like podcast Adamin
Speaker 1: news there. But I hope that all sounds good to you.
Speaker 1: But anyway, onto episode thirty one and Patrick Doyle is
Speaker 1: speaking to me this week. He was the composer for
Speaker 1: Goblets of Fire and it's actually really interesting and the
Speaker 1: music is, I mean always important in every film, but
Speaker 1: it is so important in this film because it's not
Speaker 1: only the underscore, so the music we hear underneath the scenes.
Speaker 1: There's also the Yule Ball, so the music that technically
Speaker 1: you would see being played live. He had to help
Speaker 1: with that. There was also Jarvis Cocker performing in the
Speaker 1: band during the your Ball, so it was just another element. Also, again,
Speaker 1: the film's getting more mature. There's romance, there's death, there's the.
Speaker 2: Fight at the end with Voldemot. You know, I mean,
Speaker 2: you've all seen it.
Speaker 1: So it was absolutely fantastic being able to speak to
Speaker 1: Patrick about his work and sort of creating that light
Speaker 1: and shade throughout the Goblet of Fire.
Speaker 2: So I really hope you enjoy this chat. And here it.
Speaker 1: Is what does a composer do? Or what did you do?
Speaker 1: On Harry Potter and the Goblet of Fire. What was
Speaker 1: your role when it came to being as composer.
Speaker 3: They're all of The composer in general is to capture
Speaker 3: the heart of the film, and is to study the
Speaker 3: characters and the story and to add some icing on
Speaker 3: the cake. On the case of Harry Potter, to add
Speaker 3: some magic to the existing magic. So it really is
Speaker 3: to mirror, very often, to mirror what's going on, and
Speaker 3: to heighten the drama and just to add a third
Speaker 3: dimension to the story.
Speaker 1: If you think right back to the very beginning, how
Speaker 1: did you become involved with Harry Potter.
Speaker 3: Well, I was contacted by Mike Null, the director of
Speaker 3: Harry Potter and the Gurbet Fire. I'd worked with Dy
Speaker 3: before on Dorry Brasco and a film called Into the West,
Speaker 3: and we got onto every well and Mike real liked
Speaker 3: the magic that I brought to this film, this smaller
Speaker 3: picture called Into the West, which is a very very
Speaker 3: famous picture, specificlarly in Ireland. But the magic he felt
Speaker 3: I brought to this I could bring to Harry Potter,
Speaker 3: and my sense and understanding or drama because I worked
Speaker 3: in theater, he felt was an extra bonus for him.
Speaker 3: Plus we got into tails a great man.
Speaker 2: That's all that always helps it if you get along.
Speaker 2: And had you seen other Harry Potters.
Speaker 1: Were you were aware of the films or were you
Speaker 1: coming in completely fresh?
Speaker 3: I was very much aware of this incredible worldwide phenomenon.
Speaker 3: There's no questions about that, and it's still going on.
Speaker 2: Yeah, yeah, exactly. So how does that How did you
Speaker 2: feel with that time then?
Speaker 1: Is that sort of like daunting or is it a
Speaker 1: really exciting challenge?
Speaker 2: Like how did you feel?
Speaker 3: Well? I was very both very excited and very challenged
Speaker 3: and found it very challenging, but I knew that I
Speaker 3: was in very supportive hands, in those hands of MiG You. Also,
Speaker 3: I'd worked before with David Barne, who was one of
Speaker 3: the producers on it. It was the first time i'd
Speaker 3: met David Hayman the picture. It was charming, and all
Speaker 3: of these people were incredibly helpful and encouraging and invited
Speaker 3: you to into give ideas and to to give me
Speaker 3: wonderful sort of open artistic license to contribute and be
Speaker 3: part of this incredible, huge, big families. So they were
Speaker 3: well settled and organized, and they brought me in to
Speaker 3: join this party. So no, I was very, very lucky
Speaker 3: that the team were extremely supportive and gave me such
Speaker 3: wonderful musical wings to fly.
Speaker 2: And then so how does your process work?
Speaker 3: Then?
Speaker 1: So do you sort of meet with to say, you know,
Speaker 1: David Burndot Home and Mike and talk about it, and
Speaker 1: then you take away a script and start reading that, like,
Speaker 1: how do you like to work?
Speaker 3: Well, I read the script obviously, I suppose as you do,
Speaker 3: and you read the script at least twoty times, and
Speaker 3: you study not only the dialogue but the action in between.
Speaker 3: The dialogue is very important to get a real sense
Speaker 3: of filming before the beginnings. But I was involved very much.
Speaker 3: I studied the costumes and had many meetings with my
Speaker 3: opin and PRIs, and I studied the props and we
Speaker 3: discussed the crazy musical intertries that might be you. So
Speaker 3: I was very involved in the process of reproduction before
Speaker 3: filming began, which is not off the case part. In
Speaker 3: this case, Mike knew that's how I like to work
Speaker 3: if I could, so I did, and we discussed in
Speaker 3: particular the music moments that were going to be on camera.
Speaker 3: These are very different from the music you write after
Speaker 3: it's all filmed. The underscore the music on camera. In specific,
Speaker 3: we discussed the entrance of the arrival rather are the
Speaker 3: Dormstrang Boys and the bowbat On girls. What was fascinating
Speaker 3: about that was haven't we seen these? As I explained
Speaker 3: these wonderful costume designs and the props. We are also
Speaker 3: working very closely with Wayne mcgreg at, the choreographer. We
Speaker 3: discussed these two very important entrances of these schools of magic,
Speaker 3: and having seen these drawings were the boat. The Darmstrang
Speaker 3: boys were very masculine at the big funny coats, these
Speaker 3: Bulgarians Frey winter coats and this very eloquent French batle outfits.
Speaker 3: So that was two clear distinct styles of music and
Speaker 3: each both had to be a strong entrance. So we
Speaker 3: all discussed this, all these different elements, and what was
Speaker 3: very satisfying was when we came up with the idea
Speaker 3: for the boat for the Damastrang boys to have staffs
Speaker 3: rather than one, to make them even stronger. And the
Speaker 3: first piece of music I presented was the music for
Speaker 3: the Darmstrang Boys and the length of this music is
Speaker 3: exactly the same length as were shot in the film,
Speaker 3: which is unusual was cut make sure to mke use
Speaker 3: the music as part of the discussion and the inspiration.
Speaker 3: But what I asked for was if I could be
Speaker 3: I was there on the set where they shot this
Speaker 3: scene and the entrance Robba Bone Girls to supervise it
Speaker 3: from a music point of view, and then when the
Speaker 3: staffs hit the ground, I asked to be involved in
Speaker 3: the post production posts after that with the editorial team
Speaker 3: with Mike Osley to discover to make sure that starts
Speaker 3: and hit the ground landed on the beat. These are
Speaker 3: the things that take place unknown to the public who
Speaker 3: were watching. It may look very fluid, but in fact
Speaker 3: it's very very insact and very very scientificate and very
Speaker 3: musically precise. So to be there on that day to
Speaker 3: see these wonderful dancers and these guys come here with
Speaker 3: the staffs and all the wonderful acrobatics was just absolutely incredible.
Speaker 3: And to see all that come about, had to be
Speaker 3: involved in the tiny of it was unique for a.
Speaker 2: Composer, absolutely, and I can straight away I can.
Speaker 1: I just could tell you right now, like I can
Speaker 1: visualize that scene and I can hear the music, you know,
Speaker 1: just straight away. So is there sort of beats in
Speaker 1: a in a script that you sort of circle and
Speaker 1: sort of think, oh, that's the music's like really going
Speaker 1: to be important there, And not that the music isn't
Speaker 1: always important, but there's areas where are like that, really
Speaker 1: the music's really going to help tell the story there.
Speaker 3: Oh yeah, that scene in particular was absolutely vital. And
Speaker 3: also the Potter waltz. This was a very important moment,
Speaker 3: and Mike described it in detail about it's just that
Speaker 3: off as a absolute wish and a bang and and
Speaker 3: final enough. I actually signed the theme in a meeting
Speaker 3: be had I, uh, because I love that, So I thought,
Speaker 3: hold on, so I asked my I asked my music editor,
Speaker 3: who works with the composer in more films, and if
Speaker 3: he has a music paper, so he had to be
Speaker 3: in his notebook, and I wrote down five lines which
Speaker 3: you call a stave and a treble cleff, and I
Speaker 3: wrote this tund dumb bar, and then we went on
Speaker 3: in the meeting. And then a couple of weeks later
Speaker 3: I said to my my music aswer, you don't buy
Speaker 3: any chance to have that news paper that's about the shoot.
Speaker 3: So fortunately I haven't it down and it must become
Speaker 3: a very sort of well known piece so this has
Speaker 3: happened during the excitement and all the study that you
Speaker 3: have with the filmmakers. But yes, to answer you a
Speaker 3: question in a broader sense, I knew that the scene
Speaker 3: between Harry and Baltimore at the end, the sort of standoff,
Speaker 3: the one standoff, I knew that was going to be
Speaker 3: a very challenging scene, and of course I knew there
Speaker 3: would be attad to This was very different this picture,
Speaker 3: as you know, in that it was a much darker story,
Speaker 3: and there was romance in this picture, so I knew
Speaker 3: these Moody's character was very strongly introduced, and so I
Speaker 3: knew that there were all these various mood changes. There
Speaker 3: was a eue ball clearly. I was working with Javis Corcer,
Speaker 3: so the whole thing was very eclectic, and so I
Speaker 3: knew where there'd be actually music on screen. For the
Speaker 3: music as the underscore, I knew would have to be
Speaker 3: read and challenging, and I made it fairly contemporary modern
Speaker 3: symphonic writing because the story I felt was more mature
Speaker 3: and was heading in a much more adult, stronger direction.
Speaker 3: So it was the imagery, of course, and the scope
Speaker 3: and the size of these films is a gift for
Speaker 3: a composer, a real gift.
Speaker 1: So was it sort of you know, you had to
Speaker 1: have those really dark moments but also these lovely romantic,
Speaker 1: lighter moments that you get to write.
Speaker 3: Well, well, there was there was the eue ball clearly,
Speaker 3: which was them. I mean, I mean, and look a
Speaker 3: look at looking back on the excitement, the excitement of
Speaker 3: the entrance for example, of the the mobat songs and
Speaker 3: and the Downtown boys. It was it was obviously there
Speaker 3: was romance there when when the girls arrived for the boys,
Speaker 3: and the boys arrived for the girls, you know, and
Speaker 3: such for memories of that, and that really is instilled
Speaker 3: a lot of having been in a st visceral look
Speaker 3: of watching literally the actors there in in the moment.
Speaker 3: And I also have very very fond members of that
Speaker 3: because my daughter, Abigail, she was part of my music team.
Speaker 3: And my daughter was the voice of Naghini the snake
Speaker 3: in the opening of the movie what she tells Baltimore
Speaker 3: his conversation has been listened to by the old man.
Speaker 3: She's also the voice of Brindlers in the Lake and
Speaker 3: the also the Menormaid because is and when Harry tries
Speaker 3: to save two friends Underwater. My biggest moment in the
Speaker 3: movie is where she sings the mermaid riddle, which Harry
Speaker 3: he is when he opens the gold Underwater. Now, she
Speaker 3: was there during all the woe by stuff, the bow
Speaker 3: battens and the entrance of the Darmstrang and the eu
Speaker 3: ball so and I remember particularly in the eu ball
Speaker 3: Ball watching the one where all these they all sort
Speaker 3: of gathered. Then there every say, from the beginning of
Speaker 3: the Walls, and that was a particularly striking and memorable moment.
Speaker 3: And it's said in that huge hall is unbelievable, just incredible.
Speaker 3: And Nevile's Walls was interesting because it's so sort of
Speaker 3: like awkward and everything else. It was a wonderful moment
Speaker 3: with the coup about when coming up with this really delicate,
Speaker 3: simple walls that would would bring these literally these people together,
Speaker 3: and then it's awkward but romantic way. But I suppose
Speaker 3: the most the more dramatic moment was the High was
Speaker 3: tubed up in the up in the castle turret, and
Speaker 3: that was when High in Winter Bus came into my
Speaker 3: head and I felt this, this this seemed is so
Speaker 3: strong that I asked the producers if I could extend
Speaker 3: it and turn it into a set alone piece. Was
Speaker 3: it was such a wonderful moment, but quite a short moment.
Speaker 3: And then so they gave me that of extending it
Speaker 3: into a concert piece to celebrate this amazing romance in
Speaker 3: this amazing movie.
Speaker 1: When you write something like sorry Harry and Winter is
Speaker 1: like one of my absolute favorites. When you write something
Speaker 1: like that, do you have a good feeling that it's
Speaker 1: going to be the one that the audience really things
Speaker 1: onto or are you always surprised by what becomes a
Speaker 1: fan favorite.
Speaker 3: We'll tell you what. What surprised me well as a good,
Speaker 3: very good question for when I wrote High and went
Speaker 3: to I asked if I could extend it because I
Speaker 3: felt strongly well David David Hammon reacted, he said, I
Speaker 3: love this theme, so he is sort of vindicated my
Speaker 3: feeling about it that it was quite a strong melody
Speaker 3: in itself, so he is I had a feeling there
Speaker 3: is me connect well with the public. But the two
Speaker 3: other pieces that really surprised me was the Porter Walls. Yeah,
Speaker 3: it was fun, but it's become hugely popular and I've
Speaker 3: found that to be quite astonishing. And also the Hogwark March,
Speaker 3: and I had a real challenge writing that piece because
Speaker 3: I tried really these things from my and he said,
Speaker 3: I'm not sure. See I'm not sure, darling, I'm not sure.
Speaker 3: It's not quirky enough, it's not mad enough. So portually
Speaker 3: with my brass bandys Bllions, I played in brass bands
Speaker 3: at school, and I was written for a musical point
Speaker 3: of view. It's written for the brass in our orchestra,
Speaker 3: which is in good rumpets but not in tube but
Speaker 3: not other brass instruments, a bit more like French hornity,
Speaker 3: et cetera anyway, But it sounds, it sounds, it sounds
Speaker 3: a trick. It does a trick. So that has become
Speaker 3: extremely popular. And there's a funny key change in that
Speaker 3: which is really really part of the tradition of that
Speaker 3: kind of march. We never do if you were writing
Speaker 3: it for like a proper sort of orchestra. But because
Speaker 3: it was Bob Watson, my waters, I mean strange. I
Speaker 3: did that. I thought that jars, but now it sounds
Speaker 3: so normal. It broke a big rule in the music book.
Speaker 3: So that's but that was inspired by I was in
Speaker 3: Hold in France and and and I couldn't come up
Speaker 3: with that melody, and a little band came in with
Speaker 3: a clarinet, a trumpet player, a person with a little
Speaker 3: percussion coming randomly in the door and sort of marks
Speaker 3: around the room. I thought, wow, just make my head
Speaker 3: rather and that again and wrote just a melody down. Yeah,
Speaker 3: that became the whole about March. So it's amazing how
Speaker 3: these things come out of your total immersion in a
Speaker 3: wonderful as point out, an incredible production is incredible production
Speaker 3: team and all the key players were just amazing.
Speaker 1: Yeah, absolutely, and it sounds so you know, I just
Speaker 1: think it's really interesting that I would think if I
Speaker 1: was to write a piece of music, which I would
Speaker 1: never be able to do, but I would have to
Speaker 1: sit down and I would think the price would be
Speaker 1: like sit down and think about it.
Speaker 2: But it sounds.
Speaker 1: Actually, it's more when you're out and about and talking.
Speaker 1: That's where you kind of get inspiration and hear things
Speaker 1: and think, oh that elements of that good work, which
Speaker 1: is really interesting.
Speaker 3: Well precisely, there's there's those two things. You you sit
Speaker 3: down and have your moments, but you have to listen
Speaker 3: to the director, you have to listen to filmmakers. You
Speaker 3: have to study in this case, I had to study
Speaker 3: very hard. The wonderful uh set design, the caution design,
Speaker 3: the choreographic movements, the obviously this incredible script and these young,
Speaker 3: wonderful actures, and all the narrator, the storytelling, the whole,
Speaker 3: the whole, I suppose, the whole worldwide phenomenon. All of
Speaker 3: that comes into your head. All of this you runs
Speaker 3: through your head and you start to do decipher it,
Speaker 3: or you have your quiet moms in your office and
Speaker 3: you start to write things down. But all of these
Speaker 3: influences that fly through your head and inform the music,
Speaker 3: which becomes an organic part of the film. And I
Speaker 3: think if you're working that way to me working earlier
Speaker 3: on the picture, using all these things that we've discussed,
Speaker 3: really bears fruit in a score and it gives it.
Speaker 3: As is the case for this film which has great longevity.
Speaker 3: You haven't done your homework. Yeah, soon shows you how
Speaker 3: much work each department, including the news department, has put
Speaker 3: into this film. And the film stands a test of time.
Speaker 3: It's an annual it's a continual phenomenon, and to be
Speaker 3: part of that and to have my music discovered for
Speaker 3: each generation is an incredible honor. I'm so glad. No,
Speaker 3: I wouldn't do otherwise that. I put my heart and
Speaker 3: soul into it.
Speaker 1: Absolutely. I think you can tell because it's just so.
Speaker 1: The music is just so beautiful.
Speaker 2: It really really is.
Speaker 1: Like I just I wish I had a bet abuse
Speaker 1: knowledge to convey better how I feel about it. But
Speaker 1: it's just so beautiful. But you know what's really interesting
Speaker 1: and I didn't. I don't know if you've seen this
Speaker 1: that on TikTok, people remixing the Hogwarts March. Have you
Speaker 1: seen any of these videos?
Speaker 3: Excuse me, I've got a bit of a chested cold here. Yes,
Speaker 3: my daughters showed me the other day, and this absolutely hysterical.
Speaker 3: It's so it's such fun. You know, I had no
Speaker 3: idea until my daughter showed me this and she filmed me. Well,
Speaker 3: I reacted to this, so I have. It just made
Speaker 3: me laugh so much. Yeah, I'll occasionally see you online,
Speaker 3: and I don't if I really go and listen to
Speaker 3: my music. Once I've done it, you hear it occasion
Speaker 3: on the radio whatever. But occasion I will see someone
Speaker 3: who don't want arrangement of something or that's fine, But
Speaker 3: this whole TikTok for normal and it's just very recently.
Speaker 3: I discovered it.
Speaker 1: That's brilliant, now, I said a while ago, and then
Speaker 1: I thought, I have to ask you if you've seen it,
Speaker 1: because if you hadn't going to show it to you.
Speaker 3: But literally a few years ago. It's very funny.
Speaker 1: Yeah, brilliant. So what would you say was the biggest
Speaker 1: challenge that you had.
Speaker 3: One of the most challenging things was the death of
Speaker 3: Cedric worried me because it was such a huge thing
Speaker 3: in the series of looks and the films, and that
Speaker 3: concerned me when that was looming your head, so I
Speaker 3: had to And it was also the battle between how
Speaker 3: and Walde War at the end. I found those those
Speaker 3: two pieces in particular, very very challenging. You can imagine
Speaker 3: yourself in Appeared losing your your child. I felt that
Speaker 3: I owed it to this great story and these great
Speaker 3: filmmakers and to the sea used to do my best work.
Speaker 3: So I can also see those two pieces where it
Speaker 3: was challenging.
Speaker 1: Yeah, because with Cedric Dyan, because actually I interviewed Mick
Speaker 1: Ordsley a couple of weeks ago, and I think it's.
Speaker 2: You know, the it just all marries.
Speaker 1: Together so well because it's the acting, you know, and
Speaker 1: he says my boy, and I mean it's and then
Speaker 1: sort of like the stillness of the scene, but then
Speaker 1: the music all just comes together and it's I mean,
Speaker 1: whenever I watch it, I've seen the film probably a
Speaker 1: hundred times, I just have instant tears just springing into
Speaker 1: my eyes. It doesn't matter how many times I see it.
Speaker 1: And it's just like such a beautifully sad moment in
Speaker 1: the film.
Speaker 3: Well I've presented for each department and really is a
Speaker 3: collabolution and great acting, and it's a very very moving scene.
Speaker 3: And these are these are seasoned actors, and uh, it's
Speaker 3: such a bonding and this previous scene really really projects
Speaker 3: that moment literally physically and visually, and you've just been
Speaker 3: through this cathatic experience. And then this boy is killed
Speaker 3: as a result of it. He becomes a victim of
Speaker 3: this due so that itself was it was shocking for
Speaker 3: for for hiring, for all his friends at the school
Speaker 3: and viewers. So all of these things I hopefully try
Speaker 3: to capture in the music, and I had it. I
Speaker 3: had the strings placed very high, what they call a
Speaker 3: higher register, so almost live. His little soul is going
Speaker 3: his young soul is going into heaven, and I wanted
Speaker 3: to give it as sweet, gentle, angelic quality as possible,
Speaker 3: but also with some deep, deep moments as I've come
Speaker 3: down in the strings to the lower registers, to give
Speaker 3: it some real deep part as well, but to to
Speaker 3: to get to really capture a sense of the sadness
Speaker 3: of a loss of any any child. I mean, I
Speaker 3: have great memories of in that film working with two
Speaker 3: great friends of mine, Robbie Coltrane and Alan Rickberhood along
Speaker 3: with us. But every time I think of him, I
Speaker 3: think of that film when I think of meeting Robbie
Speaker 3: and the trailer of Alan Rut's clok My Clip.
Speaker 2: It's such a good talent.
Speaker 3: I've known, I've known I've known Robbie, I know for
Speaker 3: a long time. I met Alan Rickman the way back
Speaker 3: in nineteen seventy eight, going Robbie at the same time,
Speaker 3: so to be part of and I never worked a
Speaker 3: movie with with with the Robbie at that point, I
Speaker 3: had worked with Alan in a sense and sensibility, So
Speaker 3: to meet those two people again on that in this
Speaker 3: incredible picture was but it was very, very poignant. So anyway,
Speaker 3: it's a very sad thing when when you're the Sunday
Speaker 3: So it's it's part of the universal life. Yeah. Yeah.
Speaker 1: And then so is it interesting when you sort of
Speaker 1: you know, obviously you know Robin and Anam, but you're
Speaker 1: sort of working on music that sometimes underpins their characters
Speaker 1: and what they're doing in the scene.
Speaker 3: Yeah, that's a very stradie experience when you when you
Speaker 3: know the person, but those characters are so clearly delineated
Speaker 3: that and in their own world that you you really invest,
Speaker 3: as does the audience in the characterizations. I remember there's
Speaker 3: a loving moment during your ball work. I think it's
Speaker 3: I think it's the pot of Walls when when he's
Speaker 3: giving the eye to vaccines, but it gives it Am,
Speaker 3: I actually give him so it would been figures. And
Speaker 3: I told about this, you watched the film comes up.
Speaker 3: I've given you a little moment. So he loved that.
Speaker 3: We talked about the premier again, a wonderful memory to
Speaker 3: have that premier with the whole family. It was just
Speaker 3: faberous and of course that was very many moments with
Speaker 3: Stiep and dark moments. So oh, it was just some
Speaker 3: great memories, wonderful memories.
Speaker 2: So is that it sounds like Harry Potter.
Speaker 1: It is slightly not your usual way you would, well,
Speaker 1: it's the most usual way, but not always how you
Speaker 1: would work as a composer on the film.
Speaker 3: Well, I watch in similar ways on the film, but
Speaker 3: not quite as long as And it was such an
Speaker 3: eclectic selection of you. I mean, there was waltzes, there
Speaker 3: was a huge dramatic moments. There was two walls. In
Speaker 3: the fact, there was a always in the blast Ban March.
Speaker 3: There was a working with Javis Javis Cocker was was
Speaker 3: was an added sort of bonus that was very different
Speaker 3: and very romantic music, very dark music. So and there
Speaker 3: were and also in fact Mike asked me to write
Speaker 3: a tune for the whole work song which has never
Speaker 3: really appeared there, so that was another challenge. I remember
Speaker 3: I tried two versions of that for him and he
Speaker 3: wasn't quite sure. And then eventually I thought of the
Speaker 3: third version. In the back of a cab on the
Speaker 3: way to the meeting, I thought I would have like
Speaker 3: a arrived like London's burning with all the houses. So
Speaker 3: it demanded every piece of musical arsenal. But there was
Speaker 3: great tragedy, romance, there was there was dancing, there was intrigues,
Speaker 3: there was huge dramatic moments, so it was extremely challenging
Speaker 3: school quite a long period.
Speaker 1: Yeah, and actually I shouldn't circle back to Jervis Coccot
Speaker 1: because that's actually quite unique in terms of none of
Speaker 1: the other composers that have worked across the franchise actually
Speaker 1: did that sort of music, like you said, sort of
Speaker 1: on screen music that you worked with him that would
Speaker 1: then be actually in real life, if that makes sense.
Speaker 3: Yes, yes, yeah, it's it's on screen music and also
Speaker 3: underscore music. Yes it was. It's in many films, but
Speaker 3: it was particularly prevalent and important in the corp of Fire.
Speaker 3: So my involvement was both a practical and artistic prerequisite
Speaker 3: really for working on this picture, and it's really the
Speaker 3: all the way I would like to work on this picture.
Speaker 3: Had to be toltally immersed in it, and it took
Speaker 3: over over a year of my life, but it certainly
Speaker 3: was a fantastic experience.
Speaker 2: So you helped Javis write the strings for the music
Speaker 2: for the Is that right?
Speaker 3: Well, there was a there was a stringline on top
Speaker 3: of the song, which I added that that is something
Speaker 3: that's very common in certain songs where the composer of
Speaker 3: the songs. They come up with the lyrics and the song,
Speaker 3: and an orchestrator or proposer comes in and went requested
Speaker 3: and adds something perhaps on top. So there was a
Speaker 3: little symphonic magic on top of this, this wonderful magic song.
Speaker 3: So I add stringlines to come down to Javas, come
Speaker 3: down to Shep the studios and recorded it there. So
Speaker 3: and I work with him one Great Expectations another film,
Speaker 3: and that was erected by Alphatic who did the third Yes,
Speaker 3: so and we got on terribly. Will I have great
Speaker 3: respect for job, which is a oneerful, wonderful person, and
Speaker 3: the group were lovely and you writes fabulous music. So
Speaker 3: that was a treat to work together and a real keat.
Speaker 1: Absolutely because it also reminds me that another one of
Speaker 1: my absolute favorite childhood films is a Little Princess, and
Speaker 1: I actually think there's quite a few similarities between the
Speaker 1: music and The Little Princess and the music and Goblet
Speaker 1: of Fire.
Speaker 3: It's possible because composers have a certain style, certain types
Speaker 3: of intervals you use. In terms of the melodic writing.
Speaker 3: I can tell if it's a piece buy back or
Speaker 3: what's art or they're setting intervals of using music or
Speaker 3: setting how many progressions they like. So this is a
Speaker 3: this is fine because this, this, I suppose, is what
Speaker 3: they call your own voice. And so I take that
Speaker 3: as a great compliment.
Speaker 2: Oh good, thank you.
Speaker 1: And so just a little bit more about the way
Speaker 1: that you then sort of create the music. So it
Speaker 1: starts that you might have an idea and sort of
Speaker 1: write the music, and then you set up a piano
Speaker 1: and flesh it out more, and then does it go
Speaker 1: to ancau.
Speaker 2: How do those sort of steps work.
Speaker 3: Well, it's interesting because when I started working on the
Speaker 3: prop of Fire, at that point I worked more or
Speaker 3: less on the piano and wrote everything by hand piano
Speaker 3: and didn't use computers. But I went through a transition
Speaker 3: period where I invested in computers and started to work
Speaker 3: with programmers. Really this this is a an enormous change
Speaker 3: because a need for people to hear not just a
Speaker 3: piano playing part of the but hopould start with an orchestra.
Speaker 3: So composer had to invest in by samples of orchestral
Speaker 3: instruments and mock up and create the artificial orchestra with
Speaker 3: artificial instruments were if I basic clear so, but with
Speaker 3: so with high protect it was a bit of a
Speaker 3: highbrood experience. I wrote a lot of it with handwriting,
Speaker 3: and a lot of it on computer, which now is
Speaker 3: everyone has. It's essential. But my initial work even today,
Speaker 3: I'll sit at the piano and I'll work on ideas
Speaker 3: on themes and maybe main themes, and then then I'll
Speaker 3: go and I started thrash out in terms of the
Speaker 3: orchestration on the computer in the in the case of
Speaker 3: the death of I, that was all written by hand
Speaker 3: on the score and there was nothing in the computer.
Speaker 3: I wrote that as a as a as a stand
Speaker 3: alone piece for Justice string Orchestra, which I compose it
Speaker 3: occraction myself by hand. It's quite it's much more taxing
Speaker 3: tourisum I had than it is using computers, because you're
Speaker 3: a phrase. It goes really bit low, you quite right
Speaker 3: up my hand, all be long and it's really tired.
Speaker 3: Whereas if you just play on the keyboard and there's
Speaker 3: someone beside you, you can see look, can you quantize
Speaker 3: that it's especially used that was can make those semi
Speaker 3: papers very clear, and you'll think you'll just principe that
Speaker 3: will do it into automatically a bit like L A A. I.
Speaker 3: It reads it and it knows exactly what you mean.
Speaker 3: So that takes away so much blind and sweat and
Speaker 3: physical energy in your brain that your day is a
Speaker 3: quarter in terms of its brain exhaustion. But when your
Speaker 3: times taking up with a lot of kick cast, so
Speaker 3: is that balances itself one way or the other. Either way,
Speaker 3: I tend to start my id is at the piano,
Speaker 3: but also in my head I begin to hear after
Speaker 3: all the discussions the music in my head. That's very
Speaker 3: lucky I have that facility.
Speaker 1: Yeah, absolutely, And then so that will then print I'm
Speaker 1: guessing music, and then you take that to an orchestra
Speaker 1: and record it live for what actually ends up in
Speaker 1: the film.
Speaker 3: Yeah, well, yeah, absolutely what happens then the music is
Speaker 3: then you have the final orchestration where you put in
Speaker 3: so you could write a piano sketch of the Potter
Speaker 3: walls or indeed of Neville's walls. Then you have to
Speaker 3: orchestra and you have to transcribe it for a string
Speaker 3: orchestra or a full Saphy orchestra with woodwinds and brass
Speaker 3: everything else. Now that is then sent and it's then
Speaker 3: sent to an orchestrator who cleans that up, and that's
Speaker 3: then sent to the copy is and the copy of
Speaker 3: sent prints all the individual parts or the orchestra. Yeh.
Speaker 3: Then that is sent to the score I all the
Speaker 3: different sections of it. You when you're writing music for
Speaker 3: a picture, you spot the picture, i e. You you
Speaker 3: start at one spot and finish at the other, and
Speaker 3: you work your way through the whole picture chronologically if
Speaker 3: you can. Otherwise it jumps away, but either way you
Speaker 3: have Let's see if the opening of the picture we
Speaker 3: have one M one one that's real one music to
Speaker 3: one one in one that's the open titles of Harry Potter,
Speaker 3: then the conductor has that you have one M two
Speaker 3: and anywhere to you reel to one to do and
Speaker 3: so on. So there's a whole pile of scores there.
Speaker 3: And the conduction goes through every moment of the picture,
Speaker 3: and you sit down with you as a director, and
Speaker 3: you even tweak it and change it on on the day.
Speaker 3: But ultimately this species is a huge machine. The same
Speaker 3: thing happens with all departments. They have ideas that are
Speaker 3: noted down, they're fleshed out, the core have drawn maybe
Speaker 3: then they're colored in or they try all the materials,
Speaker 3: so the whole thing is a constant advancement and improvement
Speaker 3: and to a final point of acceptance.
Speaker 1: And then is that an incredible moment where you sort
Speaker 1: of hear it with the full orchestra and you say
Speaker 1: it all come together and especially with the picture. Is
Speaker 1: that a really special moment for you in the prison?
Speaker 3: Well, the world is magic. It really is the most
Speaker 3: magical moment that someone says it's the biggest toy for
Speaker 3: a composer in the world. It's an incredible toy. And
Speaker 3: nothing nothing, there's no that hasn't been on a moment
Speaker 3: where I haven't loved my piece pace for the first time.
Speaker 3: But the real orchestra, it's so a guy, human beings,
Speaker 3: and they're looking for guidance and looking for acceptance and
Speaker 3: looking for involvement. And in my case, they're always enthusiastic
Speaker 3: I've found and they also bring you something and ideas
Speaker 3: even at the final moment, what about this place? There's
Speaker 3: been that way. So all part of the creative course
Speaker 3: is nothing appears you for your first film when the
Speaker 3: oxygen bust into song for the first same but I
Speaker 3: never tire of it. It's a wonderful thing. Yeah.
Speaker 1: Absolutely, And do you have from sort of the whole
Speaker 1: process of making the Goblet of Fire, do you have
Speaker 1: a favorite memory?
Speaker 2: And it doesn't even have to to do with work.
Speaker 1: It could be I know someone told me once it
Speaker 1: was that they used to play I think it was
Speaker 1: like baseball or football outside the lots on the studio,
Speaker 1: and they just loved playing all the different teams. So
Speaker 1: it doesn't have to be music related, but obviously it
Speaker 1: can be music related to its music.
Speaker 3: Really well, I suppose my favorite moment, as I said earlier,
Speaker 3: was the d I was working with my daughter Abigail
Speaker 3: on on set and all the videos things that she
Speaker 3: did in the film, and I'm involved with her as
Speaker 3: well as everything else will discuss which I have that
Speaker 3: a family member who was very close working on such
Speaker 3: an incredible project was amazing, amazing.
Speaker 1: No, it's lovely to share it because my brother and
Speaker 1: sister both came as extras for a couple of days
Speaker 1: when I was working on it, and I think it's
Speaker 1: when it's something like Harry Potter, it's actually so lovely
Speaker 1: to be able to share it and for them to
Speaker 1: see firsthand what you're doing and what you're working.
Speaker 3: It's really important. It's very important. If you have family,
Speaker 3: it's very important, brothers, sister, as you see friends, this
Speaker 3: is your family to just it's nice to share what
Speaker 3: you're passionate with other people who are equally passionate. But
Speaker 3: there were and also see where you derive such passion funds.
Speaker 3: So yes, it's to have that family connection. Was just marvel,
Speaker 3: isn't it. The fact that may give Abby an opportunity
Speaker 3: to do all these different things with the biggest voices
Speaker 3: of the in the animated characters was just amazing.
Speaker 2: And who doesn't want to be a mermaid?
Speaker 3: You know?
Speaker 2: Amazing. I'm jealous of Happy being the voice of the manaid.
Speaker 3: Well at the time, she was just like myself, completely
Speaker 3: intensely into the work. It's one offul on reflection when
Speaker 3: when this incredible phenomenon keeps coming back, waves and waves
Speaker 3: continue that you're very lucky that there's a continual memory. Jogger.
Speaker 3: I've done many movies that are I'm just as find
Speaker 3: our own way, and they come by, but not as
Speaker 3: not like a tidal wave that continually comes in. A
Speaker 3: tide come in. Now, this is extraorditude. So so I'm
Speaker 3: being constantly reminded how a lucky I was to be
Speaker 3: a part of this incredible franchise.
Speaker 1: So that was Patrick, is it me or does he
Speaker 1: do the best?
Speaker 2: And Rick ad impression?
Speaker 1: It really caught me off god, but it really made
Speaker 1: me laugh. He is fantastic. So thank you Patrick for
Speaker 1: being a guest and being so wonderful. So, as I said,
Speaker 1: I kind of don't want to say back next week
Speaker 1: because I just am going to release episodes as and
Speaker 1: when they are done, but there definitely will be more
Speaker 1: episodes to come. As always, thank you guys so much
Speaker 1: for listening. I'll definitely put on my Instagram when the
Speaker 1: bonus episode's going to be out. I don't know if
Speaker 1: it will be this Friday, but it will be a
Speaker 1: Friday coming up, but I will let you guys know,
Speaker 1: and
Speaker 2: Yeah, love you all and have a magical week.