WEBVTT 1 00:00:08.480 --> 00:00:12.560 Hi guys, and welcome to episode thirty one of Behind 2 00:00:12.679 --> 00:00:16.280 the Wand it's been a little break, so it's really 3 00:00:16.480 --> 00:00:20.679 lovely that we're back. As always, just a little bit 4 00:00:20.679 --> 00:00:23.320 about this podcast if this is your first time listening. 5 00:00:23.640 --> 00:00:26.079 My name is Flick Miles, and I was Emma Watson's 6 00:00:26.079 --> 00:00:28.800 double in the Harry Potter films and now I speak 7 00:00:28.839 --> 00:00:31.320 to other people who worked on the films about their 8 00:00:31.559 --> 00:00:38.000 experience in the Wizarding World. So yeah, that's what this 9 00:00:38.039 --> 00:00:38.759 podcast is. 10 00:00:39.359 --> 00:00:40.119 But we've had a. 11 00:00:40.039 --> 00:00:44.240 Little break and I have been trying to work on 12 00:00:44.320 --> 00:00:47.479 the next series, but as many of you know, I 13 00:00:47.520 --> 00:00:50.960 had a daughter back in March and that's been taking 14 00:00:51.039 --> 00:00:54.479 up a lot of my time. So I was trying 15 00:00:54.479 --> 00:00:57.399 to record episodes to get them all together to release 16 00:00:57.520 --> 00:01:01.439 another series. But actually think I am going to just 17 00:01:01.479 --> 00:01:04.840 start releasing episodes as and when I have them ready, 18 00:01:05.159 --> 00:01:09.159 so there's not this huge break in between episodes. I 19 00:01:09.159 --> 00:01:12.000 hope you all agree that that is a good idea. 20 00:01:12.920 --> 00:01:16.519 We shall see. I'm also going to carry on doing 21 00:01:16.640 --> 00:01:20.359 the bonus episodes because between when I did lasted bonus 22 00:01:20.400 --> 00:01:23.280 episode and now I've had some amazing questions which I 23 00:01:23.359 --> 00:01:25.439 just really want to chat about anyway. 24 00:01:25.200 --> 00:01:26.519 Because you know, I'm a chatterbox. 25 00:01:26.959 --> 00:01:30.719 So yeah, just a little bit of like podcast Adamin 26 00:01:30.799 --> 00:01:33.159 news there. But I hope that all sounds good to you. 27 00:01:33.439 --> 00:01:37.840 But anyway, onto episode thirty one and Patrick Doyle is 28 00:01:37.959 --> 00:01:40.879 speaking to me this week. He was the composer for 29 00:01:41.000 --> 00:01:46.359 Goblets of Fire and it's actually really interesting and the 30 00:01:46.560 --> 00:01:49.920 music is, I mean always important in every film, but 31 00:01:50.000 --> 00:01:53.760 it is so important in this film because it's not 32 00:01:53.959 --> 00:01:57.719 only the underscore, so the music we hear underneath the scenes. 33 00:01:57.959 --> 00:02:02.280 There's also the Yule Ball, so the music that technically 34 00:02:02.560 --> 00:02:06.000 you would see being played live. He had to help 35 00:02:06.040 --> 00:02:08.599 with that. There was also Jarvis Cocker performing in the 36 00:02:08.639 --> 00:02:13.439 band during the your Ball, so it was just another element. Also, again, 37 00:02:13.560 --> 00:02:19.599 the film's getting more mature. There's romance, there's death, there's the. 38 00:02:19.240 --> 00:02:22.400 Fight at the end with Voldemot. You know, I mean, 39 00:02:22.439 --> 00:02:23.159 you've all seen it. 40 00:02:23.639 --> 00:02:27.400 So it was absolutely fantastic being able to speak to 41 00:02:27.439 --> 00:02:31.439 Patrick about his work and sort of creating that light 42 00:02:31.520 --> 00:02:33.240 and shade throughout the Goblet of Fire. 43 00:02:33.719 --> 00:02:37.520 So I really hope you enjoy this chat. And here it. 44 00:02:37.479 --> 00:02:44.599 Is what does a composer do? Or what did you do? 45 00:02:44.639 --> 00:02:46.520 On Harry Potter and the Goblet of Fire. What was 46 00:02:46.560 --> 00:02:49.360 your role when it came to being as composer. 47 00:02:50.000 --> 00:02:54.960 They're all of The composer in general is to capture 48 00:02:55.039 --> 00:02:57.960 the heart of the film, and is to study the 49 00:02:58.120 --> 00:03:01.520 characters and the story and to add some icing on 50 00:03:01.560 --> 00:03:04.120 the cake. On the case of Harry Potter, to add 51 00:03:04.280 --> 00:03:07.919 some magic to the existing magic. So it really is 52 00:03:07.960 --> 00:03:10.879 to mirror, very often, to mirror what's going on, and 53 00:03:10.919 --> 00:03:14.759 to heighten the drama and just to add a third 54 00:03:14.800 --> 00:03:16.000 dimension to the story. 55 00:03:16.280 --> 00:03:18.240 If you think right back to the very beginning, how 56 00:03:18.280 --> 00:03:20.520 did you become involved with Harry Potter. 57 00:03:21.439 --> 00:03:25.080 Well, I was contacted by Mike Null, the director of 58 00:03:25.120 --> 00:03:27.759 Harry Potter and the Gurbet Fire. I'd worked with Dy 59 00:03:27.840 --> 00:03:32.879 before on Dorry Brasco and a film called Into the West, 60 00:03:33.479 --> 00:03:37.800 and we got onto every well and Mike real liked 61 00:03:38.039 --> 00:03:41.400 the magic that I brought to this film, this smaller 62 00:03:41.400 --> 00:03:44.120 picture called Into the West, which is a very very 63 00:03:44.159 --> 00:03:49.479 famous picture, specificlarly in Ireland. But the magic he felt 64 00:03:49.520 --> 00:03:52.240 I brought to this I could bring to Harry Potter, 65 00:03:52.400 --> 00:03:56.479 and my sense and understanding or drama because I worked 66 00:03:56.479 --> 00:03:59.759 in theater, he felt was an extra bonus for him. 67 00:04:00.199 --> 00:04:02.639 Plus we got into tails a great man. 68 00:04:03.319 --> 00:04:06.560 That's all that always helps it if you get along. 69 00:04:06.840 --> 00:04:09.800 And had you seen other Harry Potters. 70 00:04:09.840 --> 00:04:11.840 Were you were aware of the films or were you 71 00:04:11.879 --> 00:04:13.319 coming in completely fresh? 72 00:04:13.719 --> 00:04:18.600 I was very much aware of this incredible worldwide phenomenon. 73 00:04:18.959 --> 00:04:21.560 There's no questions about that, and it's still going on. 74 00:04:22.000 --> 00:04:25.319 Yeah, yeah, exactly. So how does that How did you 75 00:04:25.319 --> 00:04:26.399 feel with that time then? 76 00:04:26.480 --> 00:04:28.800 Is that sort of like daunting or is it a 77 00:04:28.879 --> 00:04:30.199 really exciting challenge? 78 00:04:30.279 --> 00:04:31.639 Like how did you feel? 79 00:04:32.000 --> 00:04:35.519 Well? I was very both very excited and very challenged 80 00:04:35.839 --> 00:04:38.079 and found it very challenging, but I knew that I 81 00:04:38.160 --> 00:04:43.720 was in very supportive hands, in those hands of MiG You. Also, 82 00:04:44.360 --> 00:04:47.120 I'd worked before with David Barne, who was one of 83 00:04:47.160 --> 00:04:48.920 the producers on it. It was the first time i'd 84 00:04:48.959 --> 00:04:52.839 met David Hayman the picture. It was charming, and all 85 00:04:52.839 --> 00:04:58.079 of these people were incredibly helpful and encouraging and invited 86 00:04:58.120 --> 00:05:01.160 you to into give ideas and to to give me 87 00:05:01.519 --> 00:05:06.399 wonderful sort of open artistic license to contribute and be 88 00:05:06.439 --> 00:05:09.920 part of this incredible, huge, big families. So they were 89 00:05:09.920 --> 00:05:12.120 well settled and organized, and they brought me in to 90 00:05:12.240 --> 00:05:16.079 join this party. So no, I was very, very lucky 91 00:05:16.199 --> 00:05:19.399 that the team were extremely supportive and gave me such 92 00:05:19.600 --> 00:05:21.040 wonderful musical wings to fly. 93 00:05:22.319 --> 00:05:24.839 And then so how does your process work? 94 00:05:24.879 --> 00:05:25.040 Then? 95 00:05:25.079 --> 00:05:27.120 So do you sort of meet with to say, you know, 96 00:05:27.399 --> 00:05:30.000 David Burndot Home and Mike and talk about it, and 97 00:05:30.040 --> 00:05:32.120 then you take away a script and start reading that, like, 98 00:05:32.199 --> 00:05:33.680 how do you like to work? 99 00:05:34.079 --> 00:05:37.639 Well, I read the script obviously, I suppose as you do, 100 00:05:37.920 --> 00:05:40.360 and you read the script at least twoty times, and 101 00:05:40.519 --> 00:05:44.680 you study not only the dialogue but the action in between. 102 00:05:44.759 --> 00:05:47.399 The dialogue is very important to get a real sense 103 00:05:47.439 --> 00:05:51.199 of filming before the beginnings. But I was involved very much. 104 00:05:52.920 --> 00:05:57.279 I studied the costumes and had many meetings with my 105 00:05:57.319 --> 00:06:02.839 opin and PRIs, and I studied the props and we 106 00:06:03.000 --> 00:06:06.160 discussed the crazy musical intertries that might be you. So 107 00:06:06.279 --> 00:06:10.319 I was very involved in the process of reproduction before 108 00:06:10.399 --> 00:06:13.480 filming began, which is not off the case part. In 109 00:06:13.480 --> 00:06:17.040 this case, Mike knew that's how I like to work 110 00:06:17.120 --> 00:06:20.879 if I could, so I did, and we discussed in 111 00:06:20.920 --> 00:06:24.759 particular the music moments that were going to be on camera. 112 00:06:25.439 --> 00:06:27.639 These are very different from the music you write after 113 00:06:27.720 --> 00:06:33.040 it's all filmed. The underscore the music on camera. In specific, 114 00:06:33.079 --> 00:06:38.360 we discussed the entrance of the arrival rather are the 115 00:06:38.399 --> 00:06:43.519 Dormstrang Boys and the bowbat On girls. What was fascinating 116 00:06:43.519 --> 00:06:48.360 about that was haven't we seen these? As I explained 117 00:06:49.160 --> 00:06:55.680 these wonderful costume designs and the props. We are also 118 00:06:55.759 --> 00:06:59.040 working very closely with Wayne mcgreg at, the choreographer. We 119 00:06:59.240 --> 00:07:04.959 discussed these two very important entrances of these schools of magic, 120 00:07:05.160 --> 00:07:11.480 and having seen these drawings were the boat. The Darmstrang 121 00:07:11.519 --> 00:07:15.879 boys were very masculine at the big funny coats, these 122 00:07:15.879 --> 00:07:24.600 Bulgarians Frey winter coats and this very eloquent French batle outfits. 123 00:07:24.800 --> 00:07:28.920 So that was two clear distinct styles of music and 124 00:07:29.399 --> 00:07:31.399 each both had to be a strong entrance. So we 125 00:07:31.439 --> 00:07:36.199 all discussed this, all these different elements, and what was 126 00:07:36.839 --> 00:07:39.000 very satisfying was when we came up with the idea 127 00:07:39.959 --> 00:07:44.680 for the boat for the Damastrang boys to have staffs 128 00:07:45.199 --> 00:07:48.800 rather than one, to make them even stronger. And the 129 00:07:48.879 --> 00:07:50.959 first piece of music I presented was the music for 130 00:07:51.000 --> 00:07:55.399 the Darmstrang Boys and the length of this music is 131 00:07:55.480 --> 00:07:58.600 exactly the same length as were shot in the film, 132 00:07:58.800 --> 00:08:02.519 which is unusual was cut make sure to mke use 133 00:08:02.600 --> 00:08:06.000 the music as part of the discussion and the inspiration. 134 00:08:06.680 --> 00:08:09.480 But what I asked for was if I could be 135 00:08:10.199 --> 00:08:12.680 I was there on the set where they shot this 136 00:08:12.839 --> 00:08:16.040 scene and the entrance Robba Bone Girls to supervise it 137 00:08:16.319 --> 00:08:20.439 from a music point of view, and then when the 138 00:08:20.480 --> 00:08:23.759 staffs hit the ground, I asked to be involved in 139 00:08:23.800 --> 00:08:26.879 the post production posts after that with the editorial team 140 00:08:26.959 --> 00:08:30.079 with Mike Osley to discover to make sure that starts 141 00:08:30.079 --> 00:08:32.559 and hit the ground landed on the beat. These are 142 00:08:32.559 --> 00:08:35.919 the things that take place unknown to the public who 143 00:08:35.919 --> 00:08:38.840 were watching. It may look very fluid, but in fact 144 00:08:38.919 --> 00:08:42.519 it's very very insact and very very scientificate and very 145 00:08:42.600 --> 00:08:46.120 musically precise. So to be there on that day to 146 00:08:46.159 --> 00:08:50.639 see these wonderful dancers and these guys come here with 147 00:08:50.679 --> 00:08:54.159 the staffs and all the wonderful acrobatics was just absolutely incredible. 148 00:08:54.320 --> 00:08:56.480 And to see all that come about, had to be 149 00:08:56.519 --> 00:08:59.399 involved in the tiny of it was unique for a. 150 00:08:59.360 --> 00:09:03.000 Composer, absolutely, and I can straight away I can. 151 00:09:03.120 --> 00:09:04.879 I just could tell you right now, like I can 152 00:09:05.480 --> 00:09:07.879 visualize that scene and I can hear the music, you know, 153 00:09:08.039 --> 00:09:10.320 just straight away. So is there sort of beats in 154 00:09:10.399 --> 00:09:12.279 a in a script that you sort of circle and 155 00:09:12.320 --> 00:09:15.399 sort of think, oh, that's the music's like really going 156 00:09:15.480 --> 00:09:17.519 to be important there, And not that the music isn't 157 00:09:17.519 --> 00:09:19.679 always important, but there's areas where are like that, really 158 00:09:19.799 --> 00:09:21.960 the music's really going to help tell the story there. 159 00:09:22.720 --> 00:09:25.799 Oh yeah, that scene in particular was absolutely vital. And 160 00:09:25.919 --> 00:09:30.200 also the Potter waltz. This was a very important moment, 161 00:09:30.759 --> 00:09:34.559 and Mike described it in detail about it's just that 162 00:09:34.759 --> 00:09:39.919 off as a absolute wish and a bang and and 163 00:09:40.080 --> 00:09:43.000 final enough. I actually signed the theme in a meeting 164 00:09:43.080 --> 00:09:49.080 be had I, uh, because I love that, So I thought, 165 00:09:49.720 --> 00:09:53.399 hold on, so I asked my I asked my music editor, 166 00:09:53.720 --> 00:09:57.039 who works with the composer in more films, and if 167 00:09:57.039 --> 00:09:58.919 he has a music paper, so he had to be 168 00:09:58.919 --> 00:10:01.639 in his notebook, and I wrote down five lines which 169 00:10:01.639 --> 00:10:04.960 you call a stave and a treble cleff, and I 170 00:10:05.000 --> 00:10:09.159 wrote this tund dumb bar, and then we went on 171 00:10:09.240 --> 00:10:11.320 in the meeting. And then a couple of weeks later 172 00:10:12.039 --> 00:10:15.840 I said to my my music aswer, you don't buy 173 00:10:15.879 --> 00:10:20.159 any chance to have that news paper that's about the shoot. 174 00:10:21.799 --> 00:10:26.240 So fortunately I haven't it down and it must become 175 00:10:26.279 --> 00:10:29.120 a very sort of well known piece so this has 176 00:10:29.200 --> 00:10:31.879 happened during the excitement and all the study that you 177 00:10:31.960 --> 00:10:34.600 have with the filmmakers. But yes, to answer you a 178 00:10:34.679 --> 00:10:38.559 question in a broader sense, I knew that the scene 179 00:10:38.639 --> 00:10:41.679 between Harry and Baltimore at the end, the sort of standoff, 180 00:10:43.000 --> 00:10:45.960 the one standoff, I knew that was going to be 181 00:10:46.000 --> 00:10:50.440 a very challenging scene, and of course I knew there 182 00:10:50.440 --> 00:10:54.000 would be attad to This was very different this picture, 183 00:10:54.080 --> 00:10:57.240 as you know, in that it was a much darker story, 184 00:10:57.919 --> 00:11:00.759 and there was romance in this picture, so I knew 185 00:11:00.799 --> 00:11:05.159 these Moody's character was very strongly introduced, and so I 186 00:11:05.240 --> 00:11:10.039 knew that there were all these various mood changes. There 187 00:11:10.080 --> 00:11:13.039 was a eue ball clearly. I was working with Javis Corcer, 188 00:11:13.200 --> 00:11:16.759 so the whole thing was very eclectic, and so I 189 00:11:16.840 --> 00:11:20.279 knew where there'd be actually music on screen. For the 190 00:11:20.360 --> 00:11:23.080 music as the underscore, I knew would have to be 191 00:11:23.159 --> 00:11:28.120 read and challenging, and I made it fairly contemporary modern 192 00:11:28.399 --> 00:11:31.840 symphonic writing because the story I felt was more mature 193 00:11:32.639 --> 00:11:36.799 and was heading in a much more adult, stronger direction. 194 00:11:37.559 --> 00:11:42.440 So it was the imagery, of course, and the scope 195 00:11:42.519 --> 00:11:45.279 and the size of these films is a gift for 196 00:11:45.320 --> 00:11:46.879 a composer, a real gift. 197 00:11:47.360 --> 00:11:49.720 So was it sort of you know, you had to 198 00:11:49.799 --> 00:11:53.000 have those really dark moments but also these lovely romantic, 199 00:11:53.080 --> 00:11:54.519 lighter moments that you get to write. 200 00:11:54.519 --> 00:11:58.039 Well, well, there was there was the eue ball clearly, 201 00:11:58.159 --> 00:11:59.720 which was them. I mean, I mean, and look a 202 00:11:59.759 --> 00:12:04.399 look at looking back on the excitement, the excitement of 203 00:12:04.480 --> 00:12:09.360 the entrance for example, of the the mobat songs and 204 00:12:09.360 --> 00:12:13.519 and the Downtown boys. It was it was obviously there 205 00:12:13.519 --> 00:12:19.039 was romance there when when the girls arrived for the boys, 206 00:12:19.039 --> 00:12:21.960 and the boys arrived for the girls, you know, and 207 00:12:22.519 --> 00:12:25.399 such for memories of that, and that really is instilled 208 00:12:25.519 --> 00:12:30.159 a lot of having been in a st visceral look 209 00:12:31.120 --> 00:12:35.120 of watching literally the actors there in in the moment. 210 00:12:35.519 --> 00:12:38.240 And I also have very very fond members of that 211 00:12:38.639 --> 00:12:43.120 because my daughter, Abigail, she was part of my music team. 212 00:12:43.200 --> 00:12:46.559 And my daughter was the voice of Naghini the snake 213 00:12:46.840 --> 00:12:50.200 in the opening of the movie what she tells Baltimore 214 00:12:50.559 --> 00:12:53.399 his conversation has been listened to by the old man. 215 00:12:54.279 --> 00:12:57.240 She's also the voice of Brindlers in the Lake and 216 00:12:57.799 --> 00:13:02.559 the also the Menormaid because is and when Harry tries 217 00:13:02.600 --> 00:13:06.000 to save two friends Underwater. My biggest moment in the 218 00:13:06.039 --> 00:13:09.519 movie is where she sings the mermaid riddle, which Harry 219 00:13:09.600 --> 00:13:12.559 he is when he opens the gold Underwater. Now, she 220 00:13:12.679 --> 00:13:15.600 was there during all the woe by stuff, the bow 221 00:13:15.679 --> 00:13:19.240 battens and the entrance of the Darmstrang and the eu 222 00:13:19.480 --> 00:13:24.960 ball so and I remember particularly in the eu ball 223 00:13:25.360 --> 00:13:29.600 Ball watching the one where all these they all sort 224 00:13:29.600 --> 00:13:31.720 of gathered. Then there every say, from the beginning of 225 00:13:31.759 --> 00:13:37.320 the Walls, and that was a particularly striking and memorable moment. 226 00:13:37.399 --> 00:13:42.480 And it's said in that huge hall is unbelievable, just incredible. 227 00:13:43.360 --> 00:13:49.960 And Nevile's Walls was interesting because it's so sort of 228 00:13:50.000 --> 00:13:54.000 like awkward and everything else. It was a wonderful moment 229 00:13:54.039 --> 00:13:58.279 with the coup about when coming up with this really delicate, 230 00:13:58.360 --> 00:14:03.320 simple walls that would would bring these literally these people together, 231 00:14:03.399 --> 00:14:06.679 and then it's awkward but romantic way. But I suppose 232 00:14:06.879 --> 00:14:11.360 the most the more dramatic moment was the High was 233 00:14:11.399 --> 00:14:16.840 tubed up in the up in the castle turret, and 234 00:14:17.519 --> 00:14:20.600 that was when High in Winter Bus came into my 235 00:14:20.759 --> 00:14:26.519 head and I felt this, this this seemed is so 236 00:14:26.679 --> 00:14:31.639 strong that I asked the producers if I could extend 237 00:14:31.679 --> 00:14:34.360 it and turn it into a set alone piece. Was 238 00:14:34.399 --> 00:14:37.559 it was such a wonderful moment, but quite a short moment. 239 00:14:38.039 --> 00:14:41.360 And then so they gave me that of extending it 240 00:14:41.399 --> 00:14:46.279 into a concert piece to celebrate this amazing romance in 241 00:14:46.320 --> 00:14:47.200 this amazing movie. 242 00:14:48.200 --> 00:14:50.360 When you write something like sorry Harry and Winter is 243 00:14:50.399 --> 00:14:54.320 like one of my absolute favorites. When you write something 244 00:14:54.399 --> 00:14:56.679 like that, do you have a good feeling that it's 245 00:14:56.720 --> 00:15:00.240 going to be the one that the audience really things 246 00:15:00.240 --> 00:15:02.720 onto or are you always surprised by what becomes a 247 00:15:02.759 --> 00:15:03.600 fan favorite. 248 00:15:04.080 --> 00:15:07.720 We'll tell you what. What surprised me well as a good, 249 00:15:08.000 --> 00:15:11.240 very good question for when I wrote High and went 250 00:15:11.279 --> 00:15:14.000 to I asked if I could extend it because I 251 00:15:14.039 --> 00:15:18.799 felt strongly well David David Hammon reacted, he said, I 252 00:15:18.879 --> 00:15:24.039 love this theme, so he is sort of vindicated my 253 00:15:24.639 --> 00:15:29.000 feeling about it that it was quite a strong melody 254 00:15:29.600 --> 00:15:33.360 in itself, so he is I had a feeling there 255 00:15:33.399 --> 00:15:36.759 is me connect well with the public. But the two 256 00:15:36.759 --> 00:15:43.799 other pieces that really surprised me was the Porter Walls. Yeah, 257 00:15:45.000 --> 00:15:48.120 it was fun, but it's become hugely popular and I've 258 00:15:48.159 --> 00:15:53.679 found that to be quite astonishing. And also the Hogwark March, 259 00:15:54.360 --> 00:15:57.279 and I had a real challenge writing that piece because 260 00:15:58.399 --> 00:16:01.240 I tried really these things from my and he said, 261 00:16:01.600 --> 00:16:03.960 I'm not sure. See I'm not sure, darling, I'm not sure. 262 00:16:04.639 --> 00:16:08.360 It's not quirky enough, it's not mad enough. So portually 263 00:16:08.360 --> 00:16:12.240 with my brass bandys Bllions, I played in brass bands 264 00:16:12.240 --> 00:16:16.720 at school, and I was written for a musical point 265 00:16:16.759 --> 00:16:19.360 of view. It's written for the brass in our orchestra, 266 00:16:19.679 --> 00:16:22.639 which is in good rumpets but not in tube but 267 00:16:22.799 --> 00:16:26.440 not other brass instruments, a bit more like French hornity, 268 00:16:26.440 --> 00:16:29.320 et cetera anyway, But it sounds, it sounds, it sounds 269 00:16:29.320 --> 00:16:32.399 a trick. It does a trick. So that has become 270 00:16:32.519 --> 00:16:35.559 extremely popular. And there's a funny key change in that 271 00:16:36.200 --> 00:16:38.919 which is really really part of the tradition of that 272 00:16:39.000 --> 00:16:41.559 kind of march. We never do if you were writing 273 00:16:41.600 --> 00:16:44.679 it for like a proper sort of orchestra. But because 274 00:16:44.679 --> 00:16:47.639 it was Bob Watson, my waters, I mean strange. I 275 00:16:47.679 --> 00:16:50.600 did that. I thought that jars, but now it sounds 276 00:16:50.639 --> 00:16:56.200 so normal. It broke a big rule in the music book. 277 00:16:57.120 --> 00:16:59.919 So that's but that was inspired by I was in 278 00:17:01.159 --> 00:17:03.960 Hold in France and and and I couldn't come up 279 00:17:03.960 --> 00:17:07.039 with that melody, and a little band came in with 280 00:17:07.039 --> 00:17:10.599 a clarinet, a trumpet player, a person with a little 281 00:17:10.599 --> 00:17:14.119 percussion coming randomly in the door and sort of marks 282 00:17:14.160 --> 00:17:24.160 around the room. I thought, wow, just make my head 283 00:17:24.440 --> 00:17:28.559 rather and that again and wrote just a melody down. Yeah, 284 00:17:29.000 --> 00:17:33.279 that became the whole about March. So it's amazing how 285 00:17:33.359 --> 00:17:36.920 these things come out of your total immersion in a 286 00:17:37.039 --> 00:17:42.559 wonderful as point out, an incredible production is incredible production 287 00:17:42.720 --> 00:17:45.839 team and all the key players were just amazing. 288 00:17:46.440 --> 00:17:49.359 Yeah, absolutely, and it sounds so you know, I just 289 00:17:49.400 --> 00:17:52.720 think it's really interesting that I would think if I 290 00:17:52.799 --> 00:17:54.920 was to write a piece of music, which I would 291 00:17:54.920 --> 00:17:56.960 never be able to do, but I would have to 292 00:17:57.000 --> 00:17:59.039 sit down and I would think the price would be 293 00:17:59.039 --> 00:18:00.000 like sit down and think about it. 294 00:18:00.240 --> 00:18:00.799 But it sounds. 295 00:18:00.839 --> 00:18:03.119 Actually, it's more when you're out and about and talking. 296 00:18:03.200 --> 00:18:06.640 That's where you kind of get inspiration and hear things 297 00:18:06.640 --> 00:18:09.559 and think, oh that elements of that good work, which 298 00:18:09.599 --> 00:18:10.319 is really interesting. 299 00:18:10.440 --> 00:18:13.319 Well precisely, there's there's those two things. You you sit 300 00:18:13.359 --> 00:18:15.160 down and have your moments, but you have to listen 301 00:18:15.160 --> 00:18:18.359 to the director, you have to listen to filmmakers. You 302 00:18:18.440 --> 00:18:21.759 have to study in this case, I had to study 303 00:18:21.839 --> 00:18:28.359 very hard. The wonderful uh set design, the caution design, 304 00:18:29.400 --> 00:18:35.440 the choreographic movements, the obviously this incredible script and these young, 305 00:18:35.599 --> 00:18:42.119 wonderful actures, and all the narrator, the storytelling, the whole, 306 00:18:42.279 --> 00:18:46.200 the whole, I suppose, the whole worldwide phenomenon. All of 307 00:18:46.200 --> 00:18:49.359 that comes into your head. All of this you runs 308 00:18:49.400 --> 00:18:53.920 through your head and you start to do decipher it, 309 00:18:54.279 --> 00:18:56.160 or you have your quiet moms in your office and 310 00:18:56.200 --> 00:18:58.480 you start to write things down. But all of these 311 00:18:58.559 --> 00:19:01.480 influences that fly through your head and inform the music, 312 00:19:01.559 --> 00:19:06.279 which becomes an organic part of the film. And I 313 00:19:06.359 --> 00:19:09.920 think if you're working that way to me working earlier 314 00:19:10.359 --> 00:19:13.519 on the picture, using all these things that we've discussed, 315 00:19:14.079 --> 00:19:18.799 really bears fruit in a score and it gives it. 316 00:19:18.839 --> 00:19:22.640 As is the case for this film which has great longevity. 317 00:19:22.759 --> 00:19:28.119 You haven't done your homework. Yeah, soon shows you how 318 00:19:28.200 --> 00:19:31.599 much work each department, including the news department, has put 319 00:19:31.640 --> 00:19:35.839 into this film. And the film stands a test of time. 320 00:19:36.960 --> 00:19:39.839 It's an annual it's a continual phenomenon, and to be 321 00:19:40.079 --> 00:19:43.160 part of that and to have my music discovered for 322 00:19:43.200 --> 00:19:46.720 each generation is an incredible honor. I'm so glad. No, 323 00:19:46.880 --> 00:19:49.519 I wouldn't do otherwise that. I put my heart and 324 00:19:49.519 --> 00:19:50.279 soul into it. 325 00:19:51.440 --> 00:19:53.960 Absolutely. I think you can tell because it's just so. 326 00:19:54.279 --> 00:19:55.880 The music is just so beautiful. 327 00:19:56.000 --> 00:19:57.079 It really really is. 328 00:19:57.119 --> 00:19:59.920 Like I just I wish I had a bet abuse 329 00:20:00.160 --> 00:20:02.359 knowledge to convey better how I feel about it. But 330 00:20:02.440 --> 00:20:05.119 it's just so beautiful. But you know what's really interesting 331 00:20:05.119 --> 00:20:06.960 and I didn't. I don't know if you've seen this 332 00:20:08.440 --> 00:20:13.640 that on TikTok, people remixing the Hogwarts March. Have you 333 00:20:13.640 --> 00:20:16.599 seen any of these videos? 334 00:20:16.960 --> 00:20:20.119 Excuse me, I've got a bit of a chested cold here. Yes, 335 00:20:20.279 --> 00:20:26.079 my daughters showed me the other day, and this absolutely hysterical. 336 00:20:26.599 --> 00:20:29.720 It's so it's such fun. You know, I had no 337 00:20:29.839 --> 00:20:34.880 idea until my daughter showed me this and she filmed me. Well, 338 00:20:35.119 --> 00:20:38.960 I reacted to this, so I have. It just made 339 00:20:39.000 --> 00:20:43.119 me laugh so much. Yeah, I'll occasionally see you online, 340 00:20:43.759 --> 00:20:46.279 and I don't if I really go and listen to 341 00:20:46.319 --> 00:20:48.799 my music. Once I've done it, you hear it occasion 342 00:20:48.839 --> 00:20:55.319 on the radio whatever. But occasion I will see someone 343 00:20:55.319 --> 00:20:58.599 who don't want arrangement of something or that's fine, But 344 00:20:58.680 --> 00:21:02.960 this whole TikTok for normal and it's just very recently. 345 00:21:02.960 --> 00:21:04.200 I discovered it. 346 00:21:04.759 --> 00:21:07.160 That's brilliant, now, I said a while ago, and then 347 00:21:07.200 --> 00:21:09.039 I thought, I have to ask you if you've seen it, 348 00:21:09.079 --> 00:21:10.640 because if you hadn't going to show it to you. 349 00:21:10.720 --> 00:21:14.359 But literally a few years ago. It's very funny. 350 00:21:14.559 --> 00:21:19.000 Yeah, brilliant. So what would you say was the biggest 351 00:21:19.319 --> 00:21:20.799 challenge that you had. 352 00:21:21.119 --> 00:21:25.039 One of the most challenging things was the death of 353 00:21:25.119 --> 00:21:29.039 Cedric worried me because it was such a huge thing 354 00:21:29.279 --> 00:21:34.160 in the series of looks and the films, and that 355 00:21:34.400 --> 00:21:37.839 concerned me when that was looming your head, so I 356 00:21:37.880 --> 00:21:42.039 had to And it was also the battle between how 357 00:21:42.240 --> 00:21:45.839 and Walde War at the end. I found those those 358 00:21:45.880 --> 00:21:50.200 two pieces in particular, very very challenging. You can imagine 359 00:21:50.200 --> 00:21:54.559 yourself in Appeared losing your your child. I felt that 360 00:21:54.720 --> 00:21:57.119 I owed it to this great story and these great 361 00:21:57.480 --> 00:22:01.519 filmmakers and to the sea used to do my best work. 362 00:22:01.599 --> 00:22:04.880 So I can also see those two pieces where it 363 00:22:05.039 --> 00:22:05.599 was challenging. 364 00:22:06.000 --> 00:22:09.640 Yeah, because with Cedric Dyan, because actually I interviewed Mick 365 00:22:09.720 --> 00:22:14.519 Ordsley a couple of weeks ago, and I think it's. 366 00:22:16.119 --> 00:22:18.480 You know, the it just all marries. 367 00:22:18.200 --> 00:22:21.119 Together so well because it's the acting, you know, and 368 00:22:21.160 --> 00:22:23.599 he says my boy, and I mean it's and then 369 00:22:24.440 --> 00:22:26.640 sort of like the stillness of the scene, but then 370 00:22:26.680 --> 00:22:29.279 the music all just comes together and it's I mean, 371 00:22:29.519 --> 00:22:31.960 whenever I watch it, I've seen the film probably a 372 00:22:32.039 --> 00:22:36.200 hundred times, I just have instant tears just springing into 373 00:22:36.240 --> 00:22:38.960 my eyes. It doesn't matter how many times I see it. 374 00:22:39.000 --> 00:22:43.200 And it's just like such a beautifully sad moment in 375 00:22:43.240 --> 00:22:43.720 the film. 376 00:22:44.720 --> 00:22:50.000 Well I've presented for each department and really is a 377 00:22:50.039 --> 00:22:55.440 collabolution and great acting, and it's a very very moving scene. 378 00:22:55.559 --> 00:23:00.160 And these are these are seasoned actors, and uh, it's 379 00:23:00.200 --> 00:23:05.200 such a bonding and this previous scene really really projects 380 00:23:05.319 --> 00:23:10.640 that moment literally physically and visually, and you've just been 381 00:23:10.680 --> 00:23:13.839 through this cathatic experience. And then this boy is killed 382 00:23:13.880 --> 00:23:16.359 as a result of it. He becomes a victim of 383 00:23:16.400 --> 00:23:19.720 this due so that itself was it was shocking for 384 00:23:19.720 --> 00:23:23.519 for for hiring, for all his friends at the school 385 00:23:23.599 --> 00:23:27.559 and viewers. So all of these things I hopefully try 386 00:23:27.599 --> 00:23:33.039 to capture in the music, and I had it. I 387 00:23:33.039 --> 00:23:36.240 had the strings placed very high, what they call a 388 00:23:36.319 --> 00:23:41.200 higher register, so almost live. His little soul is going 389 00:23:41.319 --> 00:23:44.799 his young soul is going into heaven, and I wanted 390 00:23:44.839 --> 00:23:49.599 to give it as sweet, gentle, angelic quality as possible, 391 00:23:49.599 --> 00:23:52.720 but also with some deep, deep moments as I've come 392 00:23:52.799 --> 00:23:55.759 down in the strings to the lower registers, to give 393 00:23:55.759 --> 00:23:59.400 it some real deep part as well, but to to 394 00:23:59.400 --> 00:24:02.680 to get to really capture a sense of the sadness 395 00:24:02.720 --> 00:24:08.079 of a loss of any any child. I mean, I 396 00:24:08.119 --> 00:24:14.039 have great memories of in that film working with two 397 00:24:14.079 --> 00:24:17.799 great friends of mine, Robbie Coltrane and Alan Rickberhood along 398 00:24:17.880 --> 00:24:21.720 with us. But every time I think of him, I 399 00:24:21.799 --> 00:24:24.319 think of that film when I think of meeting Robbie 400 00:24:24.319 --> 00:24:31.440 and the trailer of Alan Rut's clok My Clip. 401 00:24:32.880 --> 00:24:33.920