When Harry Left Hogwarts (2011) Movie Script

The scene that we're doing today
is set 19 years in the future.
Harry and Ron and Hermione
are taking their kids to Hogwarts.
Obviously, this is quite a sensitive scene.
We don't want the press to know
what's going on with this one.
Anyone caught using a mobile phone
on the platform...
...will be in deep, deep doggy doo-doo.
MAN:
Okay, this is it, guys. Rock 'n' roll.
This is probably the most important
location shoot we've ever done...
...out of the entire film series as far as--
For me, anyway.
--the implications
from a publicity point of view.
Because we don't film
that much on location...
...and the reality is when you're out
on location, you're fair game.
Whether it be paparazzi or people
with a camera phone, you're fair game.
Because people have a right to be
in the street, and taking photographs.
WATSON: What I find really difficult
is when I'm not wearing any makeup.
I'm in my own clothes.
I'm doing my own thing.
And then someone suddenly reacts.
Someone, like, freaks out that it's me.
And, like, starts treating me like that.
And it catches me off-guard.
And I feel vulnerable,
because I'm not all done up.
They're seeing Emma as Emma.
DAVIES: Why this is so incredibly different
is this is the epilogue.
This is the final, final scene
of the final, final film.
And it's the big reveal when we see
all the characters aged to their late 30s.
So logistically it's extremely hard...
...to stop people getting photographs.
Um, so we have done
some quite unusual things for us.
Oh, my God. Whew.
- Ha, ha. That's really funny.
MAN: What a joke. I love it.
This is a website we found
called Celebrity Gossip or something.
That's us. That's us there.
It's says "Looking to avoid
being photographed...
...Emma Watson was spotted
covering her face...
...as she left her London, England
hotel today...
...joined by costars Daniel Radcliffe
and Rupert Grint."
And it looks like we fooled them.
What I do know from having worked with
the Harry Potter films for the last 10 years...
...is that everything that is out there...
...whether it be broadcast or print,
anything...
...online, is consumed by the world.
[CROWD SCREAMING]
We love Harry Potter.
What's more important than Harry Potter?
Like, it's everything. It's our lives.
It's a part of who we are
and we've grown up with it...
...and it's finally coming to a close.
No story lives
unless someone wants to listen.
So thank you, all of you.
[CROWD CHEERS]
Each and every person, not only in this
square, but watching around the world...
...who'll see this film and who have
followed these films over the last 10 years...
...will carry this story with them
through the rest of their lives.
[CROWD CHEERS]
CROWD [CHANTING]:
Emma, Emma, Emma.
[INAUDIBLE DIALOGUE]
[GIRLS SCREAMING]
MATTHEWS:
What is this set?
I'll tell you what, I don't know.
What is this set, lads?
[LAUGHS]
Well, it's the courtyard most of--
Most of them all--
The wizards and that
hang around in this area...
...when they're going into the school
and that, so....
All I know is that one of the wizards
blows up all the things with his wand.
That's all I know.
MATTHEWS: And then what happens?
- Haven't got a clue.
MATTHEWS:
Don't have an interest in Harry Potter?
Uh, only on Fridays,
when the paycheck comes.
[MATTHEWS LAUGHING]
DAVIES: It is interesting because
it's finding the angle.
I don't mean "angle"
as in some sort of sinister angle.
I mean, just trying to find
what is the story.
Maybe the story
is the lives that it's touched.
MATTHEWS:
The lives that it's touched.
- This world, people here.
- What--? That might be boring.
Well, that's your responsibility,
not mine.
MATTHEWS: One thing we were asking people...
- Yeah.
...we're asking them about our film...
- ...and what they think our film should be.
- Yeah.
- About.
- Yeah.
I have no idea really what you....
Ha-ha-ha.
- Oh, you're asking me what your--?
MATTHEWS: What our documentary should be.
That's a good question.
That's a very good question.
That's you asking us
to provide you a script.
So lazy, documentary makers,
aren't they? Aren't they?
- What do you want your film to be?
MATTHEWS: I'm not sure.
Do you want to work again, ever,
in the industry? That's the question.
It would be nice if it was talented.
MATTHEWS:
In what way?
Well, most of these things are awful.
MATTHEWS:
So, what are we doing now?
DAVIES: Going to Dan's dressing room.
- Yeah?
Need to have a chat. You're going where
no camera crew has ever gone before.
- Really? Why is that?
- See, that's me allowing you some--
Because I think I'm comfortable
with you filming in his dressing room...
...because it's part
of his work environment.
- Are you gonna be there?
- I haven't decided yet.
- You can't be in there. Don't be in there.
- I don't think so, actually.
- He's a grownup. He can do it on his own.
- Okay.
- You've got half an hour.
- Okay.
- He's got a costume fitting.
- You've got a costume fitting.
- I'll leave you with Nikki...
- Fantastic.
...who will drag Morgan to the floor
with his camera in half an hour.
- Thank you very much. Thank you, guys.
NIKKI: See you. Ha-ha-ha.
Hello. Hi, guys, how are you?
Is it all right if at 4:00
I turn on the racing?
Um--
I've got-- I just wanna watch--
There was one race that I've got money--
I've already won today 120 quid,
so I'm convinced I'm on a roll.
[RADCLIFFE CHUCKLING]
And the rich get richer, he said,
wearing a Che Guevara T-shirt.
MATTHEWS: How much you got on the race?
- Only 10 pounds.
Ten pound to win. That's enough.
And I'm just gonna pause now,
because they're just starting.
MATTHEWS:
Do you want to turn it up?
[MAN SPEAKING INDISTINCTLY ON TV]
RADCLIFFE:
Oh, down. First one to fall.
Unbelievable.
MAN: "We cut to Voldemort
and the others moving with them.
Voldemort surveys
the ruins of the castle...
...as the beaten posture of the throng
dissembles upon its steps.
He smiles faintly with cruel satisfaction."
Silence!
Stupid girl.
You cry for that?
While you battled courageously until
you could no longer will yourself to stand...
...he had long since fallen to his knees.
While you cursed me
until your voices grew ragged...
...he begged for mercy
in a voice as meek as a child's.
So do not cry for that.
MATTHEWS: How's it going, chaps?
- Wonderful. Just waiting for these--
Waiting for these to go off
so we can carry on with our job.
MATTHEWS:
What are they doing in there?
Standing around, holding us up.
YATES: Okay, all right, so guys,
we're just gonna block this last part.
So spell bounces, hits Death Eaters.
Dan, out of the arms.
Because film-time,
we can allow a moment of irony with Ralph.
Which is, like, I don't believe that.
Okay, and then in the meantime,
Dan's gonna race.
He's gonna dash for that.
Ralph's gonna come forward.
You're gonna fire three spells.
Super-quick, yeah? Yeah.
Meantime, everything's kicking off.
Ralph's coming around.
[PEOPLE LAUGHING]
RADCLIFFE: There is-- Much more so
than I expected, there is this...
...idea hanging over our heads
that we're not coming back to this.
That this is it now.
Um, you know, because normally,
there was always--
Like, for me, going off
and doing stuff like Equus and things...
...there was always Potter
as a sort of safety net.
I knew I would always be able
to come back to that.
So I think it's all, like--
There's a sense that we're gonna
have to make our own way soon.
And it is very much
the beginning of the end.
YATES: Hurry up, Dan.
The film's gonna be over in a minute.
RADCLIFFE: Potter is the basis
of all our relationships.
And so suddenly to have that taken away,
we're all gonna have to...
...kind of establish our relationships
without that, all over again, in a way.
I think that J.K. Rowling
was absolutely faultless...
...in the way she insisted
that the films were made in England.
You have a huge proportion
of the British film industry working here.
A massive amount of skill in makeup,
in design, and in lighting.
There's a few of us, about 6 or 7 of us
I think, in the Plastering Department...
- ...who have been on every one of them.
MATTHEWS: Every film?
Every Harry Potter film, yeah.
Well, we're sort of like a family here.
And, uh...
...I don't know that that family's
ever found its way...
...functional and dysfunctional, onto film.
I mean, to some extent,
they've sort of been institutionalized.
It'll be interesting to see what happens
when all this finishes.
I feel like part of my soul...
...will always be in this place,
in these walls.
I've spent so much time here.
Don't quite know how I'm gonna
really deal with the last day.
It's gonna be quite strange.
I can't really imagine life
without going to Leavesden every day.
This is kind of a bubble, really,
that we're kind of living in. It's just....
Just kind of weird to think about,
like, the real world, really.
It's very safe. I mean, it's very, like--
In terms of me and my life...
...and I think I speak
for Rupert and Emma as well.
This is probably the safest place
we could be.
It's been exactly half my life
when we finish.
Um, which is kind of strange.
I've been doing this longer
than I haven't been doing this.
MATTHEWS: Do you have the same sort
of worry or anticipation of it ending--?
No, obviously not, because I did have a life
before Harry Potter.
And, you know, I only got a small part
in Harry Potter, so....
Um, no, I don't have any anxiety
about it ending, personally.
I'm sure it's very different for--
You know, Daniel's been defined by it.
And so has, uh--
And so have the young people.
I was speaking to my publicist yesterday.
And he was saying, you know...
...you have one or two, possibly three,
you know, real goes at it after this.
If you advertise three things
that are really, you know...
...awful, then you kind of....
You're always gonna be known now
as that guy from HP...
...who never-- Never quite made it
out of the box, so....
I'm trying my hardest to--
Well, hopefully, to avoid that.
Yeah, I think, naturally,
I think I will always be Ron, I think.
Or the ginger one from Harry Potter.
One. Stop, block it like that. One.
It's been a long time coming, this.
It's built up all the way through the films.
They got slightly darker,
bit stronger in characters.
And this is the finale,
so we want to go out with a bang.
What can I say?
Braveheart but with wands. Heh, heh.
[GRUNTING]
You throw an attack spell at me, Greg.
[BOTH GRUNTING]
I think they prefer to call us
"supporting artists"...
...because I think "extra"
sounds a bit mickey, doesn't it?
MATTHEWS: What do you mean?
MAN: Well, if you're an extra...
...you're just an extra, aren't you?
You're a supporting artist, you sound
like you got something to do, you know?
- You feel like you've got something to do?
- No, no.
[MATTHEWS LAUGHS]
I do this as a sideline,
but people that are seriously into acting...
...they recommend that you don't get
too noticed in a supporting artist industry...
...if you do want to be
a successful actor.
Otherwise, you'll be known
as a supporting artist...
...rather than an actor, so....
Yeah, but Jean Claude Van Damme
was in Break Dancing. He was an extra.
MAN:
Well, he's an exception.
MATTHEWS:
What happens after filming for you?
Go back to work. I've got a full-time job.
Luckily it's my brother's firm,
so he allows me the time off to do this.
- What's your day job?
- I do sales.
Yeah. I'm not very good at it, though.
People are very willing
to accept me in this role.
Whereas when I go off and do other stuff,
I worry that, you know...
...what if Harry is just a role
I was very, very suited to...
...and then while I'm off
in the real world...
...what if I can't do it?
You know, that's terrifying.
And it's something that I'm thinking about
more than I'd like to.
I think he underestimates
how talented he is, don't you?
- Definitely.
- I think he thinks...
- ...he's moderately talented and lucky.
- Yeah.
- And I think he certainly is lucky...
WOMAN: He works really hard.
...but he's much more
than moderately talented.
Confringo!
MATTHEWS:
Well, why do you think he thinks that?
I don't know. Just because he's got
a natural modesty about him.
One of the many things I like about him.
Do you know what I mean?
MATTHEWS:
What were you doing at Dan's age, Michael?
Uh, I was in prison, I think.
[PEOPLE LAUGH]
MATTHEWS: When did you start acting?
RADCLIFFE: He was invading.
I can't remember.
I can't cast my mind back that far.
RADCLIFFE: Wasn't your first job
Spike Milligan's understudy?
I was understudying Spike Milligan
in the West End.
He used to give me money
to go on for him.
MATTHEWS: Really?
- Yeah. So he'd say:
"I'm not going, I don't feel like it.
You go on."
He'd give me two quid
or something like that.
Professor?
Is this all real?
Or is it just happening inside my head?
Of course it's happening inside
your head, Harry.
MATTHEWS: Do you think of yourself
as an adult or as grown-up?
No, I think of myself as a teenager.
I think, in my head still.
I don't think of myself as an adult yet.
Also I think that's what's weird about,
that's one of the reasons...
...I'm raring to get on to other stuff...
...is because that...
...despite themselves, here...
...people can't help but say,
"Can you bring the kids in?"
MATTHEWS: Dan, Rupert and Emma,
what do you think they'll do after?
I don't know.
They'll be all right, won't they?
One of the things I think is that
the kind of vast scale of construction...
...possibly won't happen again.
With the pressure towards doing
lots of CGI and motion capture and all that.
So you think about all these highly skilled
plasterers and scene painters...
...and you think,
"God, is that gonna be it for them?"
MATTHEWS:
How long have you been doing this?
Oh, blimey, now he's gonna ask me.
Started 16.
Fifty-one years been doing this.
Been working 51 years.
Body lasts, doesn't it, if you look after it?
If you don't--
What's the secret?
- What's the secret?
- Yeah.
LLOYD: Don't know.
- Working with a Northerner.
Working with a Northerner.
I do a bit of meditation and that,
healing and all that, so....
Train yourself. Loads of energy out there,
isn't there, we don't use?
MATTHEWS:
What was that you just did there?
Just moved my arm down because it hurts.
I can feel the pain in his shoulder.
Or his muscle, put it that way.
MATTHEWS: So, what is it?
- Just spiritual healing.
MATTHEWS:
So are you like a good wizard?
Not really like a good wizard.
You just help-- If you want--
- You just help people.
- I'm looking for a Harry Potter metaphor.
Yeah, well, all right then, you can have
a good wizard or a good helper.
If you can't be a good wizard...
...you'll have to be like
the other bloke, Hagrid, won't you?
He helps everyone behind the scenes
and no one knows.
Eh? Getting little potions
and bits and spells for everyone.
What we're gonna rehearse this morning
is the start of the final battle...
...at the end of the second movie, okay?
This is when the whole battle
starts to kick off.
- Everybody ready?
STEVENSON: Stand by.
CHRISTOPHER:
And three, two, one. Action, Harry!
And action!
[ACTORS YELLING AND GRUNTING]
STEVENSON:
You're very serious.
CHRISTOPHER:
And cut!
- We've cut!
CHRISTOPHER: Well done, guys, really good.
Just one point to make:
A few people were smiling.
STEVENSON: It's very serious.
- Don't smile, please, guys.
- Because it means we'll have to go again.
STEVENSON: There's no smiling.
CHRISTOPHER: Very good, guys. Coffee time.
STEVENSON: Well done, boys and girls.
Go and have a nice cup of tea,
cup of coffee.
STEVENSON: Morning, Tom.
- Time for a tea, is there, sir?
STEVENSON:
Um, Tom, how do you like it? Milk, sugar?
Come on.
No, listen, that'd be a pleasure. Listen.
I've worked on some films with some
very difficult people, believe you me.
Stand next to Kubrick,
know what I'm talking about?
Stand next to Stanley Kubrick for
18 hours a day, six days a week, for a year.
Pounding in your ear.
Morning, Helena.
- Like some tea or anything?
CARTER: I've got some. I've got everything.
STEVENSON: There used to be a program
on TV about films coming out.
I thought, "Wow, I love films.
Love it. Love going to the cinema.
Love actors like Tony Curtis, Cary Grant.
I love the cinema. Rita Hayworth.
How can I get a job?
Not working in a cinema, but how could I
get a job if I didn't know anybody?
How would I know anybody?"
So I went to 20th Century Fox
in Soho Square...
...and I asked the girl there
if there were any jobs going.
She said, "Yeah could you start
on Monday? Five pounds a week.
Post room, delivering the mail
around the studio." "Yeah, love to."
And from that moment,
I've never looked back.
MATTHEWS:
And how old were you then?
- Seventeen.
- Seventeen.
Just turned 17.
First person I ever saw, looking out
the mailroom window, was Charlie Chaplin.
STEVENSON: Time for tea.
ALFIE: Tea for time.
When I got offered the job,
I said yes straightaway.
Because, you know, I wanted to do this
for ages, for a long time.
Um, so I just thought,
I'm going to have to up my game.
MATTHEWS:
Because....
To...
...make myself seem like I was worthwhile
to do what was required for this--
- For this, you know.
MATTHEWS: Is it about confidence?
ALFIE:
I have trouble with confidence. Um....
But I think I've become more confident
as I've got older.
It's a bit stiff.
Come in. This is the front room.
My DVD collection,
which I'm quite proud of.
MATTHEWS: The Batman poster.
- Signed as well.
I've got my Hogwarts statue there.
It's quite good, isn't it?
I've got Sirius Black over there. This one.
Is it strange being a sort of fan
of the films and the books...
...and actually be on set--
It is a bit, yeah. Because it's something
I've always been a fan of.
And sort of watched as I've grown older.
Now to be working on it...
...it is odd, but exciting and cool
at the same time.
[WHISPERING] There are two of England's
finest actors out there today.
Alan Rickman playing Professor Snape...
...and Ralph Fiennes
playing Lord Voldemort.
And to see the two of them in action
is really something else.
MAN:
And action.
And it's a very moving scene in the film,
very moving scene in the books.
I don't know how many years
they've known each other...
...but you feel the years between them
and that's great.
MATTHEWS:
You know the books inside out?
Not many people will admit to that,
but I do.
I picked them up
in a really difficult time in my life.
And it was a big influence
in a lot of things that I do.
So to be given the privilege
of being able to work on this as well...
...as knowing the books inside and out,
I think, is a chance of a lifetime.
I wouldn't have passed it up
for anything in the world.
YATES: Alan, if you can ratchet up the tension
even more...
...especially when Ralph comes around
this second side.
Okay, here we go.
BECERRA [IN NORMAL VOICE]:
This is Lord Voldemort. Ha-ha-ha.
The evil, most evil fantasy character
in literature.
So I'm truly evil. Heh.
MATTHEWS: What do you think it is
you like about that sort of dark side of life?
It helped working in a mortuary.
Ha-ha-ha.
Why doesn't it listen to me?
Being around cadavers,
I used to always think in my mind...
...what would happen if any of these
just sat up all of a sudden?
Try to eat my brains?
[PEOPLE LAUGHING ON DEVICE]
[WOMAN 1 LAUGHING]
Gary, you gotta ask me all these questions
and I'll answer them with this.
MATTHEWS:
How's it going?
[BUZZER SOUNDS ON DEVICE]
We're a day over.
[BUZZER SOUNDS]
WOMAN 2: How much does that cost?
WOMAN 1: A lot.
- Yeah.
WOMAN 1: A lot of good bottles of red wine.
Yeah. Yeah, they told me
that I'm working an extra day on this.
[CASH REGISTER RINGS ON DEVICE]
[ALL LAUGH]
CHRISTOPHER:
Do you wanna hear what David Barron did...
...when I told him we were going a day over?
[GUN COCKS ON DEVICE]
[ALL LAUGHING]
MATTHEWS: So your dad's in town.
- Dad's in town.
What's that like?
It's good to see him
because it's been a while.
He's only here for a couple of days.
MATTHEWS: Is this the first time you've been
sort of working on the set...
...whilst your dad's working?
Yeah, it is.
Yeah, normally I'm visiting with him...
...but this time I'm working with him.
And it's quite weird.
I'm telling him what to do.
It's really made it
all the more special in a way...
...because, you know,
you get the kind of, like--
You know, you get the knock at the door
and they want you on the set.
And I open the door and it's....
It's Alfie.
It's quite exciting because he's so good
at what he does.
It's kind of.... To see him do it for real,
it's really quite....
It's really quite impressive.
MAN:
Okay. Bob, are you ready?
GARY: When you're a young guy,
I was a young actor...
...all this was new
and it was just all ahead of me.
And it was all very exciting.
Like it is with Dan.
You watch Dan and he's just keen
and wants it and is on the journey.
Uh, and then you have kids, you know...
...and then your-- The priorities change.
And, uh....
There are other things as important,
more important...
...than, you know, dressing up.
Just so you know, Alan's a bit sensitive...
...when cameras are around him
when we're rehearsing.
I warn you,
he might just ask you to leave.
MATTHEWS:
What do you think the best thing to do is?
In that case, probably leave.
Some of the actors,
understandably, on this...
...can be a little, um, uh, tense
if there are cameras filming them.
MATTHEWS:
Anyone in particular?
DONE:
Well, who have we got on today?
Two hundred kids,
we've got Alan Rickman...
...we've got Daniel,
we've got Bonnie, we've got, uh....
Take your choice. Heh.
Should we just--?
Should we just run the lines?
FELTON: I always think it's really weird how,
even when we were outside the other day...
...we had the film crew,
obviously, filming.
And then there's the film crew
filming the film crew...
...and there's usually another film crew
filming that film crew--
It's a never-ending cycle
of camera crews filming.
Not that I resent your presence...
...but, you know, we have three different
sets of behind-the-scenes cameras...
...going at once.
There are some days where I'm like:
"Oh, my God. This is so overwhelming."
I feel like I'm living in a goldfish bowl.
There's an almost insane hunger
for extra material.
I'm sure if the films were 15 hours long,
there'd still be queues around the block.
People just wanna live in this world
instead of theirs.
Now what I need everyone to do
on the Slytherin side...
...is take two paces to their left.
MATTHEWS: How's it going down there?
- Hard at the moment. Very hard.
- Why's that?
- Um, complicated scene.
STEVENSON:
Just keep coming, boys.
CHRISTOPHER: You've got education
on the kids. Work hours on the kids.
- Great Hall's always a struggle.
- Oh, that's good.
We've gotta film with them for 45 minutes,
let them relax for 15 minutes...
...tutor them for a minimum
of three hours, and film.
[CHATTERING]
WOMAN:
All right, guys, listen up!
Any under-16s...
...whether you've been on set or not...
...are going back into school, please.
Please!
Come on, Hufflepuffs. Come on.
MATTHEWS:
So, what's the deal with the wands?
Well, it's one in, one out. Each number...
...is allocated to a student.
So each-- We know each day,
each student...
...gets the same wand
they had the day before.
MATTHEWS: So they're traceable.
MAN 1: They're traceable.
MAN 2: Wand number, the number matches
a hole, the number matches a name.
There's an empty hole, we go
and find the person with that number.
They're so anal about it.
You can't even go to your trailer
with your wand.
They say, "Have you got your wand?"
Because they think they work.
It is a real wand. Like, you can't get any
more real than one off a Harry Potter set.
If I was like, "Mum, look what I've got,"
she'd be like, "Let's sell it on eBay."
It's so tempting
just to keep something from it.
- Like a memor-- Keepsake.
- No one...
...else of my friends,
no one will have their own wand.
Basically, apparently somebody
"accidentally" took a wand home.
[GIRL GASPS]
Apparently, they searched
every single car...
- ...for this one wand.
- Wand.
I had it in the canteen, there.
WOMAN:
You haven't put it in your wand pocket?
- I've checked in my wand pocket.
MAN: There's one here.
BOY:
Is that 3--?
No, that's not the....
[BOY SPEAKING INDISTINCTLY]
Two-six-seven. Mine's 302.
It's like a thin one.
STEVENSON:
You go forward. You stay there.
You're right there on the side.
Go more on the side. That's it.
People think it's easy to be in films.
It's never easy-- But it's good, isn't it?
It's exciting.
No, it's exciting to be in a movie
like Harry Potter.
It's gonna be seen around the world.
How many countries see Harry Potter?
And they see you.
MATTHEWS:
What's it like being on the set?
- Amazing.
- Yeah.
[STUDENTS SCREAM]
You just randomly see Harry Potter
just, like, walking about.
And it's, like, "Oh, hi, Harry."
- And, yeah. Yeah, Daniel.
MATTHEWS: Daniel.
Do you think of him as Harry Potter,
or as Daniel?
A bit of both.
VOLDEMORT:
Give me Harry Potter...
...and you will be rewarded.
There's no one else on the planet...
...who's been Harry Potter,
so I think he is Harry Potter.
WOMAN: Uh, Serena Patel,
come and hand your wand in.
Clark Herron,
come and hand your wand in.
Johnny Ratner, how's the search
for your wand going?
What we're missing
is Clark Herron's wand.
It was in his gown,
which was taken off him on set.
It'd be really good to get that checked.
So at the moment, we can't let
anyone go until we've got those.
Guys, guys, guys!
Where are you all going?
[ALL CHEERING]
MATTHEWS: You didn't notice anyone
with anything poking out their trousers?
[LAUGHING]
I wouldn't like to comment.
CHRISTOPHER: There's almost a thousand
extra people in here today.
The lull before the storm.
Everyone getting ready.
You've got a bend in the leg
where it shouldn't be.
You have to bend it at the joint.
Yeah, that's better.
As we're now the winter,
we have short days.
So we're gonna be
continuous working days...
...which means we don't break for lunch.
We keep it going, people get given
sandwiches and hot soups and things...
...just so that we use every minute
of sunlight we can.
Because obviously at 4:00
it'll be too dark to shoot.
MAN:
And action.
He begged for mercy
in the voice of a sick child.
CHRISTOPHER:
This is my life.
You often spend more time with the crew
and the cast...
...than your family.
MATTHEWS:
How does that work?
CHRISTOPHER:
How does it work? Uh....
Ha, ha. You asked me at a bad time.
You know, it's a very long day
to spend away from home.
And as I've always said, unfortunately,
I know Dan, Rupert and Emma...
...and Tom and Bonnie
more than I know my own children.
MAN 1:
If you could hold-- Both hands, grip that.
I can't believe it.
I haven't got a clue
what the scene's about.
- Are we required to act?
MAN 2: Apparently.
MARGOLYES: It cannot be true.
MAN 2: Ha, ha.
MATTHEWS:
How's it going?
Well....
Slow, because of the weather, isn't it?
MAN 3: Very quiet, please, shooting.
STEVENSON: Oh, you get days like that.
Don't you?
MARGOLYES: This is my trailer.
BRADLEY: Oh, right.
MATTHEWS: Has everyone got a trailer here?
BRADLEY: Yeah.
MATTHEWS:
Is that in your contract?
MARGOLYES: It bloody is.
- No. I don't know, it's--
It's in my contract.
MATTHEWS: Presumably there's quite a lot
of waiting around and....
- Yeah, there can be. Yeah.
MARGOLYES: Waiting around?
- That's all there is.
BRADLEY: Yeah.
MATTHEWS:
So, what's life like in the trailer, Mark?
What I do is I've got my coffee, you know--
Stove-top coffee maker.
Partially because it's much better coffee.
And also because
it sometimes gives you a reason to live.
While we've been waiting around.
The whole of this week,
we've been hanging around, really.
MATTHEWS:
No shooting today? A single shot?
Not a single shot, nothing in the can...
...for all of this beautiful artistry.
All of the pain and suffering.
What do you think? Guatemalan
or Ethiopian? Ethiopian, I think.
I've retreated to my trailer.
We are doing the longest scene.
There's a lot of, um-- The whole thing
about Harry Potter is it takes....
There's a different pace to these films.
It's slow. I'm actually
working on another film.
[WHISPERS]
Don't tell them.
[CHUCKLING]
[IN NORMAL VOICE]
I'm trying to be the Queen Mother...
...at the same time as being Bellatrix.
GRINT: This is kind of the games room.
Everyone comes here and plays.
Actually, that bit through there
used to be my kind of classroom.
I used to do most of the schooling there.
MATTHEWS:
So were you all tutored separately?
Um, gradually, yeah. I mean,
when we first started...
...I was tutoring with Emma
for most of it at the beginning.
And Dan?
Uh, yeah, Dan was always
kind of on his own, actually. Uh....
- Yeah.
- This was my school room.
Origin-- At one-- For six years. Yeah.
MATTHEWS: Your home, to a certain extent?
I mean, you're here a lot.
I'm here, you know, five days a week
for most of the year.
What we do do a lot,
which you've probably noticed on set...
...is people chat a lot.
Because I think the collective known
for actors is an anecdote of actors.
I said, "What's it like?"
"You know, filming.
Everybody wants to go home
except the director."
[MATTHEWS LAUGHS]
One of the most important things
you do in the day...
...the transition between
being an ordinary bloke...
...in a hotel or a tent
or whatever you are...
...and being some idiot
who walks onto a film set...
...the transition
is completely orchestrated by...
...the makeup person
and the hair person.
WOMAN 1: Yes.
WOMAN 2: Heh, heh, heh.
WOMAN 1: We can let him
sign our book now, can't we?
Yes, Actors I've Met and Liked.
You could be the first person in there.
WOMAN 1:
It's empty at the moment.
[ALL LAUGHING]
MATTHEWS:
What does that say?
- "Actors I have met and liked."
COLTRANE: Met and liked.
[ALL LAUGHING]
A lot of actors have learnt...
...how to pass time, because you spend
a lot of time hanging around...
...at a performance level, you know.
In a state of slightly heightened
consciousness.
Because any minute now
you're gonna have to go, "Action."
And, you know, it's no good being ready
half an hour later, you know.
You've gotta be there. You've gotta be
"there" there. You know, there.
MAN:
Bam!
DRACO:
Potter!
HARRY:
Confringo!
CHRISTOPHER: Okay, cut that.
MAN 1: Cutting there.
WOMAN: Okay.
MAN 2: Cutting.
FIENNES: I'm sensing the camera's
starting to read me...
...and Dan says "Confringo, "
which makes me look away.
- Just when you want to go:
YATES: Yeah. We're gonna delay "confringo."
I think you should delay it
way, way longer.
Just remember that the point of the shot
is to get into this look of panic.
I think it's gonna go.
And he's feeling this:
CARTER:
It's Ralph's scene, really.
So it's more on his shoulders.
We're just sort of glorified extras
at this point.
We won! We won! We won!
Ha-ha-ha!
He's dead!
CARTER:
I'm sure I over-act wildly.
And cackling. I mean, I just--
It's rent-a-cackle. I cackle every single day.
[CACKLING]
MATTHEWS: You do a good cackle, though.
I do quite a variety.
[CACKLES]
I sort of do all sorts.
I started becoming a seal...
[IMITATES SEAL BARKING]
...you know, during the other take.
I mean, anything to make it different.
He's dead. He's dead.
CHRISTOPHER:
Cut there.
MAN:
Straightaway.
YATES:
You know what I love about you...
...is you do it 6000 times, but every time
you do it, you give it another....
- You know.... You do, which is brilliant.
CARTER: Oh, well, thank you.
All right, so let's stand by to shoot, guys.
Gonna just have a little safety chat...
...so everyone's aware
of what's blowing up...
...and the direction it's blowing in.
MATTHEWS:
What's about to happen, Jamie?
We're gonna blow all of those
windows out, and the supports.
Five cameras. Big bang.
MATTHEWS: Is that dangerous?
- Very dangerous.
MATTHEWS:
Is Dan doing this, or...?
CHRISTOPHER:
I'm gonna do the first part with Dan...
...and then the second part
will be with Marc, his stunt double.
If you don't need to put people in danger,
then one shouldn't.
It's only a film.
They're not letting me do
the explosion one.
MATTHEWS: You want to do it?
- Yeah, I'm gutted.
But apparently they are using petrol...
...and there's a chance
it will be a 30-foot fire ball.
All right, now, is everyone happy
with this as a shot?
MAN 1:
Thank you.
Any reason why we shouldn't do this?
MAN 2: Can we get that down?
- Yeah. Yeah.
Could we please--?
CHRISTOPHER:
All right, here we go then. Shooting.
Let's go live, please.
Okay, here we go.
- Let's roll cameras.
MAN 3: Rolling!
CHRISTOPHER:
And background action!
- Action!
- Confringo!
CHRISTOPHER:
Bravo, very nice.
MATTHEWS: Any sort of trepidation
when you're about to do that?
Um, just to get my line right. Confringo.
That was the scariest part of the job,
I think.
- Confringo?
- Confringo is what--
It's a spell.
And I kept thinking, "Condringo."
So, yeah, it got difficult.
[LAUGHING]
That was the scariest part.
It was scary.
MAN: Marc?
MAILLEY: Yes?
MAN: Just be ready just to scamper
over there for me.
HOLMES: Everyone asks,
"How do you get into the stunt industry?"
Well, I kind of just fell into it,
if you excuse the pun.
I worked for Greg,
Greg the stunt coordinator on these films.
I worked for Greg on Bedazzled and also
on Lost in Space, when I was younger.
Then the Harry Potter role come up
and he was the first I got in contact with...
...and he done Harry for nine years,
basically.
Daniel's so good. By the end of it,
on the fourth film...
...we had him jumping 60 foot down
a slate roof and catching roof edges...
...and if you asked him to be on that mark
at a certain point, he'd hit it.
Dan on the first film was...
...you know, not physically strong.
And David trained him and helped
build up his confidence...
...his physical confidence,
which retranslated into many other areas.
I've got the posters of Harry Potter
on the wall.
And it's just like, you know,
I remember every scene...
...and every film and every haircut
that Dan had, I had.
And, you know, them glasses I wore
and stuff like that.
I can sit down
and watch a Potter film...
...and watch any of the Potter films...
...and all the memories of that year
come flooding back. It's good fun.
MATTHEWS: So there's been lots of highs?
HOLMES: Yeah, loads of highs, you know?
There's only been one low,
when I hit that wall.
It was a wire job,
so you have myself standing there...
...and connected to a pulley,
which is run up to a weight bag.
And as the weight bag drops, I fall back.
POWELL: I mean, it's not like
it was a one-off thing that he done.
It was something that he'd done
on these films....
I'm not gonna say thousands of times.
It looks like it.
Stand by, boys. Paul, you're okay?
- Lucy, you're all right?
- Yep.
David was always the first one
to get on the wires.
And we'd do it this way,
we'd do it that way.
So it wasn't something
we hadn't done before.
Let the wire do the work, Luce.
And three, two, one, go!
MAN:
Cut!
Just take the weight of that rope, guys.
HOLMES: The previous day we'd done a test
on the same rig.
But a longer travel, so a longer pull.
And the second day,
we wanted a shorter pull.
So we set the rig up and we done the test.
And we saw the test.
And then I got on the wire
and, "Three, two, one."
"And action," you know?
And I was standing right in front of him.
I was the last one to touch him
when he walked...
...and the first one to touch him
when he couldn't.
- You ready? Go.
HOLMES: Ready.
[POWELL SPEAKS INDISTINCTLY]
HOLMES: Basically, with spinal injuries,
there's complete and incomplete.
If you're complete,
it significantly reduces your chances...
...of ever gaining a full recovery.
And I've been diagnosed
as a complete C-7 tetraplegic.
Let's go for a buzz, gov. Ha, ha.
POWELL:
Ready, guys?
RADCLIFFE:
I was in New York at the time...
...and when I got back,
I went straight off the plane...
...and went and saw him.
And it was very strange
seeing him the first time...
...because he suddenly--
It's this person...
...that I've always looked at as being a
kind of beacon of physicality and strength.
Suddenly, they're hooked up to machines
with little tubes coming out of them.
It's, you know, pretty horrible to see.
You have sleepless nights over it,
and I did have sleepless nights over it.
I was getting very upset.
And I could see it over and over again.
If only I could have a wand to fix this.
[MAN CHUCKLES]
MATTHEWS:
Do you ever forget about what's happened?
Yeah, all the time, all the time.
All the time.
I'd be sitting and my mates
would be sitting around the table...
...and they'd all be sitting down,
and I'd be like:
"There's nothing different here,"
you know?
I've learned--
You know, I've got no finger functions...
...so I can't move my fingers at all.
But I've learned to pick things up,
I've learned I can use cutlery now...
...so I can feed myself.
All these little things. Like this morning,
I shaved myself for the interview.
You know, like, a year ago,
when I was lying in that bed...
...there was no way I was ever
gonna be able to shave myself.
These little things every day,
and that's the hope that you hold onto...
...that you've achieved
something new every day.
Cheers, guys.
MAN 1: Okay, stand by.
MAN 2: Stand by. Here we go.
MAN 3: Right, Dan, Rupert,
Emma ready. Thank you.
Let's go live.
Ready and action!
MATTHEWS:
What's it like being back?
WATSON:
It's really weird.
I'm changing so much.
Uh, since I've been at university,
I change every day...
...the way that I think about things
and what I'm doing....
And to come back and find everything
the same feels really--
Because I feel like I've changed so much.
Rock.
[THUD]
Being at university,
I choose when I wanna work...
...and when I wanna eat,
and who I wanna see.
You know, I've got one cereal bowl,
one mug, one spoon...
...milk, cereal,
and that's kind of like my life.
And I love it.
MAN: And cut. Good.
And check the gates. Very good.
I just think I spent my childhood
working.
So I'd love to really
just enjoy this time...
...that I have now to be....
To be a kid, I guess.
Not that I'm regretful,
I've had the most incredible experience.
I wouldn't swap it for anything.
But I feel like I've got
the rest of my life to work.
I just need to figure out who I am
for a while, I think.
CHRISTOPHER:
Let's roll, please.
Background action.
MAN:
And up.
[YELLS]
It's harder growing up
being in the public eye...
...when you're still trying to figure out
who you are.
When I was really young,
I was in A Room With a View...
...and I looked and I'd read interviews.
It's a terrible thing to do
because I'd see myself defined.
It was just like,
"Oh, my God, is that what I'm like?"
[CACKLES]
I'm not very good at watching myself
because I always end up in despair.
And that's because a lot of it is like--
As an actor, you think you're inventing
a whole new character...
Hit me.
...and an exterior along with it.
And then you watch it and go,
"Oh, I'm still me."
You're trying to get away from yourself
actually.
I think a lot of people think maybe acting is
about, you know, showing off yourself...
...but actually-- Well, I do it to escape me.
An then you watch a film and go,
"Oh, it's still me again," you know?
MAN: All right, so let's do a rehearsal
and let them play back...
...then we need to play back
from the start.
Those kids have grown up
being projected onto...
...by millions and millions of people...
...and that's what you have to cope with.
And my suggestion is
that you definitely go to therapy.
Ever since Dan, Rupert and I
got the part...
...there's always been this thing
hanging over us, which is the:
"Oh, my God, they're child stars,
they're doomed."
Like we've kind of got this
ticking clock on us...
...this time limit of when we're gonna....
When, you know, just kind of--
We're just gonna lose it.
MATTHEWS: So when it finishes,
is that when you go crazy?
[CHUCKLES]
Maybe. I can't-- I don't know.
I don't know how it's gonna
affect me, really. I think....
MATTHEWS:
Like everyone expects?
Yeah. Well, yeah, that's true.
I mean, it is kind of the, uh....
The pattern, really, isn't it?
I feel like people are just waiting
for me to screw up.
RON:
Never.
Do you hear me? Never.
MAN:
Good, very good. All right, switch again.
Okay, one last one.
Just like that. Go again.
MATTHEWS: Do you worry that in some ways
the younger actors aren't allowed a childhood...
- ...or teenage years because of their--?
- Yes.
Very much, very much.
It's sad for them but, you know,
I guess they kind of knew that...
...when they signed up for it.
- What, when they were--?
- Eleven.
[CHUCKLES]
I do remember making
a kind of quite conscious decision...
...that in my life, there were gonna be
moments when people would be...
...kind of out to get me or, you know,
could use me, to exploit me or whatever.
And I sort of made the decision then...
...that either you cut yourself off
from everyone...
...and live a safe,
if kind of unfulfilling, life...
...because you're never meeting new people
and never letting yourself...
...be open to the idea of new friendships
or whatever.
And, um--
Or you open yourself up to all that...
...and possibly somebody
tries to screw you once in a while.
Yes, this is an odd thing. But they could
have been at school and that could--
That could have been odd.
You know, there's oddness
and dysfunction everywhere.
So-- And I think this is probably
one of the less dysfunctional places...
...you could possibly work.
["JINGLE BELLS"
PLAYING OVER SPEAKER]
[MUSIC STOPS]
CHRISTOPHER:
Uh, how's the smoke looking, Chuck?
Chuck?
I want four hours
in the making for this, guys. Let's go.
Let's put Glow Beast on.
Let's roll, please.
MAN: Pan out.
WOMAN: Stay, stay, stay.
CHRISTOPHER:
Oh, Jesus Christ.
MAN: Not yet.
WOMAN: Stay, stay, stay.
CHRISTOPHER: All right, guys, as soon as
they've swung, we'll go straight for this.
And again, if all goes well,
Dan will be going for a swim.
There's a thing said about actors is that
don't ask them to do anything practical...
...unless they're on-camera.
Which is pretty true
because we're pretty bloody useless...
...at anything else we have to do
kind of practically speaking off-camera.
- And so doing like--
MATTHEWS: Like what?
Oh, dressing myself, I'm just a mess.
I mean, I can, obviously,
of course I can dress myself, but, like--
Because Will dresses me in my costume,
and makes me look great.
When I do it, I'm, like, all lopsided.
You know, shoelaces coming undone,
everything's crap.
MATTHEWS:
Can you tie shoelaces?
RADCLIFFE:
Uh, who's tipped you off about that?
[RADCLIFFE LAUGHS]
Yeah, shoelaces are not a strong point
of mine.
Um, for whatever reason.
STEGGLE: What was it?
- Zip, shoes, sock.
- Oh, no. No, no.
- Zip, shoes--
No, no, no, it was shoes, socks,
all three tops, trousers, then the zip.
- No, no, wrong way around.
- Don't forget the zip. Ha-ha-ha.
MATTHEWS:
Tell me about Will.
RADCLIFFE: Well, Will's been
my best friend for 10 years now.
STEGGLE: It's wearing thin now, isn't it?
RADCLIFFE: It is wearing thin now.
RADCLIFFE: But he's great and he's always
been honest and kept me grounded.
MATTHEWS: Because it's quite a close
relationship that you have, dressing....
RADCLIFFE:
What was it we always say?
I'm the younger brother
you never wanted...
...you're the older brother
I never write to.
- Absolutely.
RADCLIFFE: That was it, yeah.
MAN 1: Cut.
MAN 2: End of scene please. End board.
RADCLIFFE: I'm very happy with who I am
and how I am...
...but I've been growing up
very, very quickly since I came here.
MATTHEWS:
Very quickly?
I think I've grown up faster here because
I had a different relationship with adults...
...where I was talking to them on a level
rather than sort of looking--
Talking up to them.
MAN:
And action.
FELTON: You only need to speak to Dan
when he was 14...
...to realize that he was speaking with
the intelligence of a mid-30-year-old.
I mean, it's clear that being surrounded
by adults for most of our child life...
...has certainly rubbed off
on certain aspects.
MAN:
Well done, Tom. Dan, terrific.
If you ask me what have I missed out on
due to the nature of my work...
...it's not the parties and the school trips.
It's I didn't go to a sixth-form college
and I hugely regret that.
I feel like there's a massive thirst
for knowledge...
...that went unquenched
because I just spent two years--
Not doing nothing,
because I was doing this.
But I was never learning anything
or using my mind to its full potential.
And Emma comes along and makes us all
look like idiots by getting nine A stars...
...and shooting three films at the same time
or whatever.
I was very well-educated. My dad paid
for me to go to a very good school.
But, you know, when my parents divorced,
we didn't have any money for a while.
My birthday presents was
my school uniform and my pencil cases.
And I think that's one of the reasons
that my education means so much to me.
It's because my dad really couldn't afford
to send me to the school that he sent me to.
At the time,
he just didn't have the money.
And so I have worked hard every single day
that I was at that school...
...to make him proud of me
and for him to know that I appreciated it.
And I do. And I still do.
I left school when I was 16.
And I suppose that decision
to leave then...
...that was kind of based
on the fact that--
Just juggling it with the filming as well,
it was-- Just become too much, really.
But I think I made the decision
quite early on.
I just really didn't kind of enjoy school,
really.
I wasn't very good at it, really.
FELTON: The bits that I missed out on in
school I made up for with social interaction.
I've been living by own since I was 16.
One of my first things I did
when I kind of got a few paychecks...
...was move away from home.
I had no idea that I'd be, you know,
so useless at running a house.
Within weeks,
it was just an absolute hellhole.
And I-- I crammed more
gadget paraphernalia in there...
...than was humanly possible.
MATTHEWS:
What is it you're doing, John?
We're just doing some little test
explosions for-- To run in the film.
For the final battle, that should do.
It's a big scene.
Well, it's the end of the Potter movies...
...so it's fairly important.
And it obviously has to look a bit bigger
and better than we've done before.
It's certainly the biggest bang I've done
on the Potter movies.
Um, I've got a team of firemen
standing by to come in...
...to put out any fires that will be there.
The one good thing about the rain
is that everything's dampened down...
...so it won't burn very much.
Okay, so let's be ready.
As soon as this dries off a bit, we'll go.
RICHARDSON:
Heh. There's a lot that could go wrong.
A camera can jam in the middle of it. Um....
Someone could fall over and get hurt.
Uh, some explosions don't go off, some do.
Um....
A lot of working parts
to an evening like tonight.
MAN 1:
Stand by. Here we go.
Three, two, one, action!
[CHATTERING]
Come down from there.
Move, move, move. Clear.
So just basically, the sets caught on fire
so they just wanna account for everyone.
Make sure everyone is safe.
They're all ready for it.
MAN 2:
Don't stop, guys. Keep moving.
MAN 3: Guys, keep going.
MAN 4: Keep coming.
I've checked with every department.
Is there anybody here unaccounted for?
Are we sure we've got everybody here?
MATTHEWS: Is it sad for the guys to see
all the work they've done go up in flames?
I think so, yeah. You know, no one likes
to see it, but been there, seen it all before.
So it'll go back okay.
By next Tuesday,
we'll have a film set again.
Yeah.
MATTHEWS:
Did you hear about the set the other day?
Well, we weren't on it.
But we've heard it caught fire
after the pyro.
Heard lots of things
but I couldn't possibly comment.
MATTHEWS:
Have you been up there?
McCARTHY:
No, I haven't seen it. Have you seen it?
MATTHEWS: Yeah.
- Yeah?
What's that, for the insurance, was it?
MATTHEWS:
Every time something like this happens...
...does it kind of make the case
for doing things with CGI?
No, definitely not. Definitely not.
As far as I know, CGI's more expensive.
And me, personally, and I'm probably
biased because I'm a stuntman...
...I always think that the live action
is better.
I think the visual-effects guys
might even back me up on this...
...even though we're mortal enemies.
Um....
Visual-effects fire still doesn't look real.
I don't think.
The main criterion as far as myself
and a lot of other people are concerned...
...is that if you do it for real,
it looks better.
That's what I've spent
or I've devoted my life to doing.
Um, and I'm certainly not gonna
change it now.
MAN:
Here we go. Roll camera.
MATTHEWS:
What's happening here, John?
We have the collapsing bridge.
A bridge is supposed to collapse
with Neville standing on it.
Did you always like blowing things up?
Yeah, ever since I was a schoolboy,
funnily enough.
- Yeah?
- Mm-hm.
And got into trouble for it as well.
I was gonna say,
did it get you into trouble?
Mm-hm.
Committed the cardinal sin, I got caught.
Really? Doing...?
- Making a bomb. Mm-hm.
- A bomb?
MATTHEWS:
You've done this stunt before, Martin?
Unh. We rehearsed it last week, um...
...just to see how it went.
It was all right. It was quick.
So, yeah, should be good fun.
MATTHEWS:
And how risky is this?
WILDE: It's just gonna be quite a jolt
on the old body.
So it'll be a fair old whack.
I'm on a wire
so I'm wearing this jerk harness, um...
...so I will be attached somewhere here
to the wire...
...and as it goes down, it keeps me
at a certain level so I don't hit the floor.
It's steel wire so there's no give in it.
It'll just be straight to the end of it
and stop.
MATTHEWS: However safe things are,
you are taking a risk.
Absolutely, absolutely.
I mean, you could do a stunt, fall off
the back of that chair and crack a rib.
I've gotta be happy that my stuntmen are
capable of doing that job, number one.
And number two, I've gotta make sure
that they're happy doing that job.
Because if there's anything
that they're not certain about, it's a no-go.
MATTHEWS: Feel all right?
- Yeah, feel good.
It's good. Nervous energy.
We're gonna do one close-up first
on Matt, the actor.
Then we're gonna take Matt out
and replace him with the stunt guy...
...who is doubling for him...
...and then we're ready to go live
and drop the bridge.
So as the bridge drops, he drops, tucks in
and uses his elbow and knee pads...
...to cushion the shock as the bridge hits
the stops on the bottom.
And here we are.
Ready to rock 'n' roll, as they say.
All right, so, guys, there's a lot of people
on here. Everybody absolutely still.
No movement, we pick up all the vibration,
all right?
MAN 1:
Forty-eight frames times two. Okay.
MAN 2:
All right, let's have a red light.
MAN 3:
Let's have a red light. One minute to go.
[BELL RINGS]
MAN 2:
Okay, guys, so heads up.
[PEOPLE CHATTERING]
MAN 4:
Okay, stand by, here we go.
Okay.
- And three, two, one, action.
MAN 5: Go.
MAN 6:
Cut. Reload.
MATTHEWS:
Hello, mate.
MAN 7: That took you by surprise.
- It did, yeah.
You know, when I started when I was 14,
it was always live-action.
You know, real explosions, guys on fire,
high falls.
Anything like that,
it was done live and there and then.
And it's always-- You can always enhance it
with CGI and the special effects.
We work together.
CGI, Special Effects, all work together.
And one needs the other.
But I still think in any film
you need live-action for the audience to go:
"Gah. Did you see that?" You know?
And you get that
more than you do with CGI.
BELLATRIX:
The boy, is he dead?
I've never been on a set that
has been completely British crew...
...completely British cast
and has this amount of money.
You know, in the States
or in a lot of places...
...people would have done this
all CGI afterwards.
You know, it's not computers.
It's actually being made
and it's actually really being painted...
...and really being sewed, you know.
So that's an enormous help
when you come and do a scene...
...and there really is a giant there
and there really is a snake there...
...and there really is a thing there.
It's not all going to be computers.
ISAACS:
It's not a real giant.
[WOMAN LAUGHS]
It's embarrassing you'd get this far
into the film and not know that.
It's 8:00.
They're coming in. So please start
the minute your goblin arrives.
There's 60 little people
who have come in.
MATTHEWS: "Little people"?
WOMAN 1: Yeah.
- What's the correct term?
WOMAN 2: Dwarfs.
Little people.
Little people. Ha, ha.
I want to be all PC. Ha-ha-ha.
The other week, someone said to me,
"Excuse me. Can I ask you what are you?"
And I said, "I'm a dwarf."
"Oh, no, no, no." She said,
"You're a person of superior depth."
What? No, I'm a bloody dwarf.
MATTHEWS: Do you know what
the scene is that you're preparing for?
Not particularly,
I think I'm doing some scene in a bank.
And then I think I'm being
eaten by a snake.
MATTHEWS:
Have you got a speaking role?
No, I don't think so on this.
Not unless somebody dies.
MATTHEWS:
Have you done a lot of acting, Rusty?
I've done a lot of acting, yes,
ever since 1970.
That was my first-ever movie.
Willy Wonka's Chocolate Factory.
I was one of the originals, yes.
Not like this.
Just an orange face and a green wig.
- An Oompa Loompa?
- That's right.
- One of the original Oompa Loompas.
- Wow.
Only three of us alive
and I'm the only one here.
MAN:
He's quite all right.
Can you do that?
No. A little bit.
I would love to do a couple movies,
or movie...
...where I didn't have the makeup on...
...where I didn't have the masks on,
where I didn't have a funny costume on...
...where I could be a, you know,
normal actor, normal character.
You know, there's--
We've got about 53 little guys here.
And out of this 53,
there are about six guys or ladies...
...which are actors.
And they could do the parts admirably.
But they don't get the part
because that's the shame.
Because people, directors, producers won't
take the risk of giving that little guy a part.
MATTHEWS: You've got a speaking role?
- I've got a speaking role.
- Yes, I'm very pleased about that.
- There's not many here who have.
No, no, no. In here, there's about three
dwarves that's got speaking roles--
Four dwarves that's got speaking roles.
JOHAL:
Welcome to my crib.
Hi, guys. My name is Binde Johal.
MATTHEWS:
No, Binde, it's not actually Cribs.
- All right, so, what should I do then?
- Just normal.
Talk to me. Give us a tour.
Well, hello, everybody.
- Okay.
- Heh, heh.
- Hello.
- Show me around.
JOHAL:
I've not done this before.
Well, this is my cabin trailer
I've been given...
...for the duration of my character
on Harry Potter...
...as the tall goblin.
MATTHEWS: But is this a bit
of a break for you then, Binde?
Uh, yeah, I suppose it is a bit of a break.
Yeah. Mm.
First speaking role?
Definitely speaking role, yeah.
Every actor, no matter big, tall,
I'm talking about in talent...
...you have to get
into a different character...
...a character that you have to continue
throughout the whole movie.
I look at Ron Weasley
and he looks a bit suspicious to me.
And I just basically say to him, "Next."
MATTHEWS:
Are you in character now, or...?
What, now? No, I'm talking to you.
Next.
Like that.
MATTHEWS: Good morning.
ANNABEL: Good morning.
DAVIS: Having Annabel and Harrison here
is just-- It's a real thrill, really.
It's so exciting. I mean, seeing Annabel,
she's 12, I started acting when I was 11...
...so, you know, I can certainly empathize
with exactly how she's feeling being here.
They both just seem so sort of charged
and excited about all of this.
Oh, wow, look, my name.
HARRISON:
Where?
DAVIS: Look at the actors who are in.
Rupert Grint...
...Helena Bonham Carter...
...Warwick Davis...
- ...they're all there. All the important ones.
- Wow.
MATTHEWS: What's your name, Harrison?
- Magic Goblin.
MATTHEWS:
Magic Goblin. And Annabel?
- Clever Goblin.
MATTHEWS: Clever Goblin.
That's so cool. I like that.
I mean, Annabel and Harrison have both
grown up, obviously, being short...
...and grown up with myself and Sam,
who are both short.
And they've accepted it, I think.
WOMAN: Excellent. You look very good.
Have you showed Granddad?
He's down there.
I think we instill in them
the fact that being small...
...it makes them quite special.
And they've seen the opportunities,
I suppose, being small has allowed me.
So for example, you know, in Harry Potter,
I'm Professor Flitwick, I'm Griphook.
Alan Rickman couldn't be
Professor Flitwick or Griphook. Only I can.
I will try and be a real actor.
MATTHEWS: A real actor?
HARRISON: Yeah.
I could, like, be Voldemort.
Or something like that.
- You could be Voldemort?
- Yeah.
MAN 1: Do you wanna queue up
for teeth over there?
So that we can have your teeth done.
MAN 2:
There you go, sir. That's you done.
- All right?
- Thank you.
MAN 2: Okay.
- Next.
- Dad.
DAVIS: Huh?
What happens if I can't read my script?
- If you can't read the script?
- Yeah.
- Have you learned it?
- No.
- Do you wanna go have a look at it now?
- Yeah.
Where me?
You are gonna be walking around
doing loads of stuff.
You don't need to say anything.
You'll say stuff as you move.
- Why?
- Because you're moving so much.
- Yeah?
- Yeah?
MAN 1:
The three goblins are standing by.
MAN 2:
How are you, mate?
I've got a lovely job for you and Annabel.
So if you're here, Annabel,
and you're at the back, all right?
Hang on, wait for it, wait for it,
wait for it.
And action.
Brilliant. Hi, Binde. How are you?
- You look ancient, mate.
- I look ancient?
- Yeah.
- Thank you, sir.
- I'm from the bank, you see.
- Yeah, of course you are.
Collecting deeds. Collecting old money.
MAN 3:
Okay. Let's do checks to shoot, please.
Checks to shoot.
My wife and I, we had a few pregnancies.
We actually-- We had a little boy
who died after nine days.
So having Annabel and Harrison
is just like a miracle.
MAN 4: Okay, everyone happy?
Everyone ready? And roll, please.
MAN 5:
We're rolling.
DAVIS: Because we almost didn't have them,
either. They were born very poorly.
It's only because of the
amazing doctors and nurses...
...that work in our hospitals...
...that, you know,
they pulled through and are here.
You know, it was very touch and go
for both of them for a while.
MAN 6:
Sound speed.
MAN 7:
Victor-971 take one, A-camera marker.
MAN 8:
And background action.
MAN 9:
And camera.
Yeah, if I think back to the moment,
it was pretty frightening to have to....
Especially after having Annabel.
"Here comes the next one."
I hope we don't go--
Your fingers are crossed.
And then when he's born, they go,
"He really very poorly," straight away.
And you know, "Oh, here we go again."
He might not make it kind of thing.
It's like, jeez, you know.
But there we go. Amazing.
I wish to enter my vault.
I see.
Very well.
Excuse me.
Next.
MAN 10:
Cutting there. Once again, please, Jamie.
DAVIS:
We're gonna watch what we just did.
See, there we go. There's Annabel
coming out, and there's you.
MAN: There. That's what it'll begin with.
HARRISON: Oh, wow.
Oh, wow.
ANNABEL: Cool.
DAVIS: Isn't that great?
No, it's been a great day.
It's been really, really good. Um--
MATTHEWS: You're getting a lot of attention,
aren't you?
Yeah, I am, aren't I, for a little guy?
I'm gonna miss this when....
I'm gonna miss this when
I go back to the job center.
Hello, so this is what I really look like.
Put the makeup back on.
I've always had a philosophy.
I walk into Asda, or somewhere like that....
I've always said, you know,
I walk in there with my family...
...and there'll be people,
people staring at me...
...you know, looking at me strangely.
We all get it. All of us little guys get it.
Especially being a family man
of two children...
...I don't want them to regret what I am.
You want them to feel proud of you.
- Why is Daddy small?
- He's special.
JOHAL:
This is Jeevan, he's 5 and a half.
This is Simran,
and Simran is 3 and a half years old.
- Say hello.
- Hello.
JOHAL: This is my beautiful wife.
- Hello.
JOHAL:
We've been married seven years now.
- Time flies when you're in love.
JOHAL'S WIFE: Very fast.
[LAUGHS]
Right, now explain what this photo's
about to the camera, to Morgan.
JEEVAN:
There's Harry Potter and me and Daddy.
JOHAL: But we're gonna keep that.
We're gonna frame that one.
That's like one-in-a-lifetime opportunity,
really.
You know, my son in there
and a very popular, famous actor.
MATTHEWS: And Daniel Radcliffe.
- And Daniel-- Ha-ha-ha.
Oh, you're too kind.
You know, but to me, it's almost
an accomplishment, I suppose.
I'm actually in one of the films.
STEVENSON:
And don't forget, no laughing.
This is a serious place, boys and girls.
No smiling. No laughing here.
This is a big one. Three hundred
and fifty lovely background.
You're pro-Harry.
Thirty stunts, big chase,
lots of cameras everywhere.
And we've got a day to finish Emma.
So the pressure's on a bit today.
MATTHEWS:
Because she's going back to the States.
Back to the States, yeah.
So we've gotta get her bit done today.
And all by 6:00.
Action!
Bang, bang, bang!
MAN:
And hold it there. Thank you. Reset.
It's hard to coordinate
a scene like this.
You know, you've got 350 extras there...
...and every exit and entrance of this set,
there's an AD cueing them and timing them.
If someone walks past the frame while
they're in the middle of the dialogue scene...
...you gotta reshoot it again.
It's costing thousands and thousands
of pounds to have everyone here today.
MATTHEWS: How much do you reckon?
- Oh.
This is probably a 250 grand day,
I reckon.
When they get to this clumpy bit here,
we should just slow them all down.
CHRISTOPHER: They should be held back more.
- They should be held back...
...by all the kind of avalanche of
bureaucracy that comes towards us....
CHRISTOPHER:
Becoming a first assistant director...
...you become a director's right-hand man.
They say to you, "This is what I want.
And this is what I want.
Now, go and fix it.
You know, now go make it work."
All right, we now have
10 minutes to get this in.
Ten minutes.
And let's roll, please.
- Cut there.
MAN: Cut there.
Who's got a laser on?
There was a laser moving all over them.
Right, here we go. Straight away.
I have six minutes to get this in, guys.
Six minutes.
Oh, I'm not trying my best, am I?
I've got six minutes to get this shot in.
[GRUNTS THEN IMITATES
GUN COCKING AND GUNSHOT]
And action.
CHRISTOPHER: I say, you're
the sergeant major of the army.
You know, you have your orders.
This is what you've got to do.
MATTHEWS: Do you mean you crack the whip?
- Crack the whip. Yeah.
Two and a half minutes.
Two and a half minutes.
So let's go to number ones, guys.
I've got to go.
I've got to go.
And cut there. One more straight away.
CHRISTOPHER:
You know, I'm having to go up a gear.
You know, yesterday we shot 22 shots.
Our average is normally seven.
All right, one minute, 12 seconds left.
Here we go. And lets....
Roll, please.
It's a very weird mixed emotion
at the moment...
...because it's, um--
I think everyone just wants it to end...
...as in, you know,
the workload is so much.
But also, no one wants it to end.
Cut there. Check the gate.
All right, so that's a release
on Dan, Emma, all the cast.
Ladies and gentlemen of the background
and the Stunt Department...
...thank you very much for a brilliant day.
MATTHEWS:
Do you see your future in films?
Yeah, definitely. I wanna direct.
Hundred percent.
I wanna work in the industry.
You know, this--
I don't know anything else.
Jemma is gonna be my producer
and I'll be the director.
- Together we'll rule the world.
JEMMA: We definitely will.
When you're in love, and like
especially what I have with Jemma...
...and something like this happens...
...it's important to just remember that I'm
still the same guy she fell in love with...
...just with a broken body.
God bless you. Thank you.
JEMMA: There are sad things about it,
but I still got him.
HOLMES:
Still alive, ain't I?
If you was to be really sad,
I think you'd be feeling selfish.
Because I'd be sad, and I wouldn't
be able to accept who he is now.
But I just do
because he's exactly the same.
You know, when I went in for the surgery,
my mom and dad said to Jemma:
Said, "We don't expect you
to be there for Dave."
Her answer was,
"You're having a laugh, aren't you?
I've been here for five years.
You think I'm gonna walk away now?"
You're in it forever, not in it for nothing,
you know?
She's been amazing. She's-- Yeah.
I love her, that's all I can say.
You can't describe it
any more than that, really.
[INAUDIBLE DIALOGUE]
WOMAN:
All right. You're looking very nice.
HOLMES:
You're looking well.
The first bout's gonna be nice
and get everyone going.
By about bout five, bout six...
...everyone will be out there, drinks will
be everywhere. A few fights in the audience.
- It's a good night if that happens.
MATTHEWS: What do you make of it so far?
Oh, it's great. It's all my people.
It's my family.
It's a big family, you know?
So I'm really chuffed. I'm really glad.
A great turnout.
And we're raising a load of money
tonight as well.
Let's keep it nice, no banging
on the back of the head.
No holding the head and no smashing
or anything like that.
- You're all pals, I presume?
- Yeah.
MAN 1: So again, you know, keep it clean.
MAN 2: Yeah, we will.
[CROWD CHEERS]
[SHOUTS INDISTINCTLY]
HOLMES:
When I had my accident...
...everybody from the crew
was at that hospital to see me.
Everyone: the producers, the directors.
From the top to the bottom,
everyone come to see me at the hospital.
You know, I'm lying in my bed,
neck brace on...
...can't move at all,
and to know that people were there--
And they'd just come sit with me.
Watch a film or buy me a DVD...
...just to get me through it.
I've seen people it beats.
You know, I don't wanna go
down that road. That's not me.
I've got too many people fighting in
my corner for me to give up, you know?
[CROWD CHEERING]
To be honest, I've known him
since he was a kid.
He's like a son to me and I suppose
I was like a father to him.
I mean, I treated him like that.
I've got a relationship that goes back
many, many years with Dave.
And I would hate for people
to just see that image of me and Dave.
And go, "Oh, there's Dan Radcliffe
with a person in a wheelchair."
Because I would never, even for a moment,
want them to assume...
...that Dave was anything except for an
incredibly important person in my life.
[CROWD CHEERING]
[ANNOUNCER SPEAKING INDISTINCTLY]
HOLMES: It's a weird thing, you know?
Like, I'm paralyzed from the chest down.
And, you know, you've got to scream,
you've got to cry.
What's the point in bottling it all up?
But that's why I love films...
...because you can put a film on
and forget about your life.
Doesn't matter if you're stuck in bed
or you're 90 years old or 9 years old...
...a film can take you to that place.
And that's where my passion lies for it.
CHRISTOPHER: Boys and girls of Hogwarts,
it's time to say goodbye...
...to two of your finest
Defense Against the Dark Arts teachers.
That is Alan and David Thewlis' last day
on Harry Potter.
[ALL CHEERING]
If everyone could join me
in a round of applause...
...and a big "thank you" to Helena.
[ALL CHEERING AND APPLAUDING]
[WOMAN SPEAKS INDISTINCTLY]
CARTER:
Oh, thanks for having me.
That is Robbie Coltrane's last day
on Harry Potter.
[ALL CHEERING AND APPLAUDING]
CHRISTOPHER:
And one by one, they're off.
You've been present
on some of the goodbyes.
Which are very emotionally charged.
WOMAN:
We're lucky to have you.
- I can't believe we're finished.
- And neither can I.
That was so quick.
You always feel bad.
You say all your goodbyes and it's like:
"Right, okay. Let's move on.
We're over here."
Guys, we're round
on the other crane now.
So let me have Martin.
There's no real wind-down.
It's literally, "Goodbye, off you go.
We've gotta carry on."
MAN:
And roll, please.
WATSON: I'm really looking forward
to doing this scene at King's Cross.
I need to miraculously look 30--
Thirty-eight?
WOMAN: Yeah.
WATSON: Thirty-eight.
I've done lots of publicity and interviews.
It feels like...
...suddenly everyone's aware
that this is coming to an end.
And everyone wants to make
every single product, you know.
Every single item of merchandise
you could possibly imagine. Um....
MATTHEWS: Think it's being milked a bit?
- Uh.... Heh.
You could say that.
I think people are just, like, suddenly aware
that it's nearly over...
...and if they want to do anything,
they've got to do it now...
...because they'll never be able to do it
ever again.
Yeah, I'm getting prodded most days like,
"This must be overwhelming for you.
This must be really, like-- How do you feel
now that it's people's last days?"
And I'm just like, "Oh. I don't know.
I don't know. It's just happening.
I don't know."
I don't know yet how I feel.
Doesn't feel over yet.
You get short work.
You just get a week's notice.
You're only on a weekly contract.
Some men have been and gone.
And I'm one of them that's going, basically.
MATTHEWS:
Have you got something lined up or...?
Yeah, doing the shopping for the wife
and housework.
That's what I've got lined up. Yeah.
Yeah, there's not a lot about,
you know what I mean? So....
- Not a lot of work about.
- Not a lot of work. Not at the moment.
Just go and retire.
All right, Sam. Right. See you later.
See you, mate. Nice to meet you.
[CHATTERING]
[APPLAUDING]
LLOYD: Goodbye. See you soon.
- See you later, mate.
You know, so that's me 10 years
of working here, gone.
Roll my overalls up.
Put them in me BH bag. Then that's it.
I've got one magic thing here.
I'm gonna whiz it and you have to
turn the camera off, all right?
MATTHEWS:
What's that?
Harry Potter's wand. So I just say,
"Goodbye, everybody. Goodbye."
MATTHEWS: Where'd you get that?
- Shh.
Oh, someone just lent it to me.
For this little trick, all right?
[SINGING]
Hey, diddly-dee
All right.
Take it easy, guys. Bye.
[LLOYD HUMMING]
Yes.
[SPEAKING INDISTINCTLY]
What's weird for me is that my kids,
or our kids...
...are around the same ages
that we were...
...when we first did that scene...
...um, on 9 and Three-Quarters.
And Rose is a little bit older, but Ryan,
who plays Hugo, who's my son...
...I think he's just coming up to 9...
...which is how old I was
when I first started this.
And seeing them
and seeing how excited they are...
...and talking to them about
their experiences, it's really weird.
It's kind of cyclical in a way.
It's like we've gone full circle.
It's the first time that it really hit me
that it was gonna be over.
And, you know, like, it brought back
memories of the very beginning...
...when it was kind of so amazing
and I was just so in awe of it all.
I don't know, I guess I just realized
how incredible it was.
Feels strange to be home,
doesn't it?
[SPEAKS INDISTINCTLY]
I mean, I'm sure actors
do get really attached to films they do...
...but I grew up in these films.
It's been my life.
I've put all of myself into it.
So of course I care that
the legacy of it is, um.... Is good.
And action.
Together.
We started the first Harry Potter...
...I think it was on the 29th
of September, 2000.
And here we are on day 261 of the last.
[PEOPLE CRYING]
MATTHEWS:
Are you ready to let go?
Not quite yet probably.
Um, I was so upset
on the last day, I really was.
Everyone was. I really had to try and keep it
together on the last shot, actually.
- Oh, God.
- One last leap.
YATES: One last leap.
MAN 1: All right.
MAN 2:
And action.
GRINT: It was a weird feeling.
We all knew it was gonna happen...
...but it just always seemed
such a far away thing, really.
It was quite emotional, really.
MAN 3:
And check the gate.
[PEOPLE APPLAUDING]
GRINT: Partly it was kind of
seeing Dan cry, I think.
I've never seen him cry, I don't think.
We're not really used to
seeing each other cry at all, really.
This has been my life. And so it's gonna be
very, very hard, I think for all of us, um...
...because I don't know what my day-to-day
life consists of without you. All of you.
And I couldn't think of anything to say
and I just said:
"Guys, I just want you to know
I've had a really nice time."
And it was such a kind of childlike,
kind of innocent thing to say...
...that I immediately was brought back
to when I was 10.
And that was when I started
getting very, very emotional.
But, I mean, yeah, but I have.
I've had a really nice time.
It's been a massive part of my life...
...and I doubt I'll ever be a part
of something as important as this, I guess.
[CRYING]
You all right?
STEVENSON:
I've been lucky, Morgan.
One hundred and sixty movies
I've worked on.
Over 54 years.
MATTHEWS:
Amazing.
Well, quite amazing, yeah, at times.
Morgan, yeah. Right.
Yeah, that was good.
- Good.
- Okay.
- Thanks, Morgan.
- Thank you, Mike.
STEVENSON:
Pleasure. Pleasure.
[SIGHS]
One good thing, you know what?
Mel Brooks, a director, once said to me:
"Movies are magic."
And he was right.
I remember when this was first built,
Morgan.
Ten years ago, they put this up.
Over the back there, that's where
they did the tests with Dan, Emma, Rupert.
Here it is.
Nicholas Flamel is the only known
maker of the Sorcerer's Stone.
Last night I got out the DVDs
from number three and number five.
Just to kind of remind myself
that it was real.
When I first came here, Morgan,
none of this existed.
Over there, they built Diagon Alley...
...with hundreds of extras,
lots of actors.
And coming onto here.
Wow, the doors opening.
The Great Hall. Fabulous. Fabulous.
There is a sense of relief,
I won't lie to you.
There is a sense of relief
because it's just....
It's just all-consuming.
MATTHEWS:
But is it worth it, though?
WATSON:
Yes, it's worth it.
To have the experiences I've had
and to be part of what I'm part of...
...I would basically do anything.
I'd basically go through anything, really.
You know, we've been here when
it's been so packed with children here.
In the winter, wasn't it? In the cold.
Then suddenly, it's gone.
It's empty like this.
It happens on every movie.
They all come to an end. All of them.
You know, if anything
is really gonna hit it home...
...it's that the films I've been part of
are now a theme park.
They're that big.
CROWD [CHANTING]:
Let us in! Let us in! Let us in!
So back here, live, we've got some people
who are waiting in line to get in...
...to the Wizarding World of Harry Potter.
There will be an official ceremony
with special guests.
CROWD [CHANTING]:
Let us in! Let us in!
[CROWD CHEERING
AND SCREAMING]
Hello, everybody. Um--
[CROWD CHEERS]
So to begin tonight's finale, I'm gonna ask
the help of everybody on-stage...
...in casting a spell.
Now, on the count of one,
counting down from three...
...we're all gonna say "Lumos Maxima."
Three, two, one. Lumos Maxima!
[INAUDIBLE DIALOGUE]