Behind The Wand - Episode 31, Patrick Doyle

Episode Transcript

Speaker 1 (00:08):
Hi guys, and welcome to episode thirty one of Behind
the Wand it's been a little break, so it's really
lovely that we're back. As always, just a little bit
about this podcast if this is your first time listening.
My name is Flick Miles, and I was Emma Watson's
double in the Harry Potter films and now I speak

(00:28):
to other people who worked on the films about their
experience in the Wizarding World. So yeah, that's what this
podcast is.

Speaker 2 (00:39):
But we've had a.

Speaker 1 (00:40):
Little break and I have been trying to work on
the next series, but as many of you know, I
had a daughter back in March and that's been taking
up a lot of my time. So I was trying
to record episodes to get them all together to release
another series. But actually think I am going to just

(01:01):
start releasing episodes as and when I have them ready,
so there's not this huge break in between episodes. I
hope you all agree that that is a good idea.
We shall see. I'm also going to carry on doing
the bonus episodes because between when I did lasted bonus
episode and now I've had some amazing questions which I

(01:23):
just really want to chat about anyway.

Speaker 2 (01:25):
Because you know, I'm a chatterbox.

Speaker 1 (01:26):
So yeah, just a little bit of like podcast Adamin
news there. But I hope that all sounds good to you.
But anyway, onto episode thirty one and Patrick Doyle is
speaking to me this week. He was the composer for
Goblets of Fire and it's actually really interesting and the
music is, I mean always important in every film, but

(01:50):
it is so important in this film because it's not
only the underscore, so the music we hear underneath the scenes.
There's also the Yule Ball, so the music that technically
you would see being played live. He had to help
with that. There was also Jarvis Cocker performing in the
band during the your Ball, so it was just another element. Also, again,

(02:13):
the film's getting more mature. There's romance, there's death, there's the.

Speaker 2 (02:19):
Fight at the end with Voldemot. You know, I mean,
you've all seen it.

Speaker 1 (02:23):
So it was absolutely fantastic being able to speak to
Patrick about his work and sort of creating that light
and shade throughout the Goblet of Fire.

Speaker 2 (02:33):
So I really hope you enjoy this chat. And here it.

Speaker 1 (02:37):
Is what does a composer do? Or what did you do?
On Harry Potter and the Goblet of Fire. What was
your role when it came to being as composer.

Speaker 3 (02:50):
They're all of The composer in general is to capture
the heart of the film, and is to study the
characters and the story and to add some icing on
the cake. On the case of Harry Potter, to add
some magic to the existing magic. So it really is
to mirror, very often, to mirror what's going on, and

(03:10):
to heighten the drama and just to add a third
dimension to the story.

Speaker 1 (03:16):
If you think right back to the very beginning, how
did you become involved with Harry Potter.

Speaker 3 (03:21):
Well, I was contacted by Mike Null, the director of
Harry Potter and the Gurbet Fire. I'd worked with Dy
before on Dorry Brasco and a film called Into the West,
and we got onto every well and Mike real liked
the magic that I brought to this film, this smaller
picture called Into the West, which is a very very

(03:44):
famous picture, specificlarly in Ireland. But the magic he felt
I brought to this I could bring to Harry Potter,
and my sense and understanding or drama because I worked
in theater, he felt was an extra bonus for him.
Plus we got into tails a great man.

Speaker 2 (04:03):
That's all that always helps it if you get along.
And had you seen other Harry Potters.

Speaker 1 (04:09):
Were you were aware of the films or were you
coming in completely fresh?

Speaker 3 (04:13):
I was very much aware of this incredible worldwide phenomenon.
There's no questions about that, and it's still going on.

Speaker 2 (04:22):
Yeah, yeah, exactly. So how does that How did you
feel with that time then?

Speaker 1 (04:26):
Is that sort of like daunting or is it a
really exciting challenge?

Speaker 2 (04:30):
Like how did you feel?

Speaker 3 (04:32):
Well? I was very both very excited and very challenged
and found it very challenging, but I knew that I
was in very supportive hands, in those hands of MiG You. Also,
I'd worked before with David Barne, who was one of
the producers on it. It was the first time i'd
met David Hayman the picture. It was charming, and all

(04:52):
of these people were incredibly helpful and encouraging and invited
you to into give ideas and to to give me
wonderful sort of open artistic license to contribute and be
part of this incredible, huge, big families. So they were
well settled and organized, and they brought me in to
join this party. So no, I was very, very lucky

(05:16):
that the team were extremely supportive and gave me such
wonderful musical wings to fly.

Speaker 2 (05:22):
And then so how does your process work?

Speaker 3 (05:24):
Then?

Speaker 1 (05:25):
So do you sort of meet with to say, you know,
David Burndot Home and Mike and talk about it, and
then you take away a script and start reading that, like,
how do you like to work?

Speaker 3 (05:34):
Well, I read the script obviously, I suppose as you do,
and you read the script at least twoty times, and
you study not only the dialogue but the action in between.
The dialogue is very important to get a real sense
of filming before the beginnings. But I was involved very much.
I studied the costumes and had many meetings with my

(05:57):
opin and PRIs, and I studied the props and we
discussed the crazy musical intertries that might be you. So
I was very involved in the process of reproduction before
filming began, which is not off the case part. In
this case, Mike knew that's how I like to work
if I could, so I did, and we discussed in

(06:20):
particular the music moments that were going to be on camera.
These are very different from the music you write after
it's all filmed. The underscore the music on camera. In specific,
we discussed the entrance of the arrival rather are the
Dormstrang Boys and the bowbat On girls. What was fascinating

(06:43):
about that was haven't we seen these? As I explained
these wonderful costume designs and the props. We are also
working very closely with Wayne mcgreg at, the choreographer. We
discussed these two very important entrances of these schools of magic,

(07:05):
and having seen these drawings were the boat. The Darmstrang
boys were very masculine at the big funny coats, these
Bulgarians Frey winter coats and this very eloquent French batle outfits.
So that was two clear distinct styles of music and

(07:29):
each both had to be a strong entrance. So we
all discussed this, all these different elements, and what was
very satisfying was when we came up with the idea
for the boat for the Damastrang boys to have staffs
rather than one, to make them even stronger. And the
first piece of music I presented was the music for

(07:51):
the Darmstrang Boys and the length of this music is
exactly the same length as were shot in the film,
which is unusual was cut make sure to mke use
the music as part of the discussion and the inspiration.
But what I asked for was if I could be
I was there on the set where they shot this

(08:12):
scene and the entrance Robba Bone Girls to supervise it
from a music point of view, and then when the
staffs hit the ground, I asked to be involved in
the post production posts after that with the editorial team
with Mike Osley to discover to make sure that starts
and hit the ground landed on the beat. These are
the things that take place unknown to the public who

(08:35):
were watching. It may look very fluid, but in fact
it's very very insact and very very scientificate and very
musically precise. So to be there on that day to
see these wonderful dancers and these guys come here with
the staffs and all the wonderful acrobatics was just absolutely incredible.
And to see all that come about, had to be

(08:56):
involved in the tiny of it was unique for a.

Speaker 2 (08:59):
Composer, absolutely, and I can straight away I can.

Speaker 1 (09:03):
I just could tell you right now, like I can
visualize that scene and I can hear the music, you know,
just straight away. So is there sort of beats in
a in a script that you sort of circle and
sort of think, oh, that's the music's like really going
to be important there, And not that the music isn't
always important, but there's areas where are like that, really
the music's really going to help tell the story there.

Speaker 3 (09:22):
Oh yeah, that scene in particular was absolutely vital. And
also the Potter waltz. This was a very important moment,
and Mike described it in detail about it's just that
off as a absolute wish and a bang and and
final enough. I actually signed the theme in a meeting

(09:43):
be had I, uh, because I love that, So I thought,
hold on, so I asked my I asked my music editor,
who works with the composer in more films, and if
he has a music paper, so he had to be
in his notebook, and I wrote down five lines which
you call a stave and a treble cleff, and I

(10:05):
wrote this tund dumb bar, and then we went on
in the meeting. And then a couple of weeks later
I said to my my music aswer, you don't buy
any chance to have that news paper that's about the shoot.
So fortunately I haven't it down and it must become

(10:26):
a very sort of well known piece so this has
happened during the excitement and all the study that you
have with the filmmakers. But yes, to answer you a
question in a broader sense, I knew that the scene
between Harry and Baltimore at the end, the sort of standoff,
the one standoff, I knew that was going to be
a very challenging scene, and of course I knew there

(10:50):
would be attad to This was very different this picture,
as you know, in that it was a much darker story,
and there was romance in this picture, so I knew
these Moody's character was very strongly introduced, and so I
knew that there were all these various mood changes. There
was a eue ball clearly. I was working with Javis Corcer,

(11:13):
so the whole thing was very eclectic, and so I
knew where there'd be actually music on screen. For the
music as the underscore, I knew would have to be
read and challenging, and I made it fairly contemporary modern
symphonic writing because the story I felt was more mature
and was heading in a much more adult, stronger direction.

(11:37):
So it was the imagery, of course, and the scope
and the size of these films is a gift for
a composer, a real gift.

Speaker 1 (11:47):
So was it sort of you know, you had to
have those really dark moments but also these lovely romantic,
lighter moments that you get to write.

Speaker 3 (11:54):
Well, well, there was there was the eue ball clearly,
which was them. I mean, I mean, and look a
look at looking back on the excitement, the excitement of
the entrance for example, of the the mobat songs and
and the Downtown boys. It was it was obviously there
was romance there when when the girls arrived for the boys,

(12:19):
and the boys arrived for the girls, you know, and
such for memories of that, and that really is instilled
a lot of having been in a st visceral look
of watching literally the actors there in in the moment.
And I also have very very fond members of that
because my daughter, Abigail, she was part of my music team.

(12:43):
And my daughter was the voice of Naghini the snake
in the opening of the movie what she tells Baltimore
his conversation has been listened to by the old man.
She's also the voice of Brindlers in the Lake and
the also the Menormaid because is and when Harry tries
to save two friends Underwater. My biggest moment in the

(13:06):
movie is where she sings the mermaid riddle, which Harry
he is when he opens the gold Underwater. Now, she
was there during all the woe by stuff, the bow
battens and the entrance of the Darmstrang and the eu
ball so and I remember particularly in the eu ball
Ball watching the one where all these they all sort

(13:29):
of gathered. Then there every say, from the beginning of
the Walls, and that was a particularly striking and memorable moment.
And it's said in that huge hall is unbelievable, just incredible.
And Nevile's Walls was interesting because it's so sort of

(13:50):
like awkward and everything else. It was a wonderful moment
with the coup about when coming up with this really delicate,
simple walls that would would bring these literally these people together,
and then it's awkward but romantic way. But I suppose
the most the more dramatic moment was the High was

(14:11):
tubed up in the up in the castle turret, and
that was when High in Winter Bus came into my
head and I felt this, this this seemed is so
strong that I asked the producers if I could extend

(14:31):
it and turn it into a set alone piece. Was
it was such a wonderful moment, but quite a short moment.
And then so they gave me that of extending it
into a concert piece to celebrate this amazing romance in
this amazing movie.

Speaker 1 (14:48):
When you write something like sorry Harry and Winter is
like one of my absolute favorites. When you write something
like that, do you have a good feeling that it's
going to be the one that the audience really things
onto or are you always surprised by what becomes a
fan favorite.

Speaker 3 (15:04):
We'll tell you what. What surprised me well as a good,
very good question for when I wrote High and went
to I asked if I could extend it because I
felt strongly well David David Hammon reacted, he said, I
love this theme, so he is sort of vindicated my

(15:24):
feeling about it that it was quite a strong melody
in itself, so he is I had a feeling there
is me connect well with the public. But the two
other pieces that really surprised me was the Porter Walls. Yeah,

(15:45):
it was fun, but it's become hugely popular and I've
found that to be quite astonishing. And also the Hogwark March,
and I had a real challenge writing that piece because
I tried really these things from my and he said,
I'm not sure. See I'm not sure, darling, I'm not sure.
It's not quirky enough, it's not mad enough. So portually

(16:08):
with my brass bandys Bllions, I played in brass bands
at school, and I was written for a musical point
of view. It's written for the brass in our orchestra,
which is in good rumpets but not in tube but
not other brass instruments, a bit more like French hornity,
et cetera anyway, But it sounds, it sounds, it sounds

(16:29):
a trick. It does a trick. So that has become
extremely popular. And there's a funny key change in that
which is really really part of the tradition of that
kind of march. We never do if you were writing
it for like a proper sort of orchestra. But because
it was Bob Watson, my waters, I mean strange. I
did that. I thought that jars, but now it sounds

(16:50):
so normal. It broke a big rule in the music book.
So that's but that was inspired by I was in
Hold in France and and and I couldn't come up
with that melody, and a little band came in with
a clarinet, a trumpet player, a person with a little
percussion coming randomly in the door and sort of marks

(17:14):
around the room. I thought, wow, just make my head
rather and that again and wrote just a melody down. Yeah,
that became the whole about March. So it's amazing how
these things come out of your total immersion in a

(17:37):
wonderful as point out, an incredible production is incredible production
team and all the key players were just amazing.

Speaker 1 (17:46):
Yeah, absolutely, and it sounds so you know, I just
think it's really interesting that I would think if I
was to write a piece of music, which I would
never be able to do, but I would have to
sit down and I would think the price would be
like sit down and think about it.

Speaker 2 (18:00):
But it sounds.

Speaker 1 (18:00):
Actually, it's more when you're out and about and talking.
That's where you kind of get inspiration and hear things
and think, oh that elements of that good work, which
is really interesting.

Speaker 3 (18:10):
Well precisely, there's there's those two things. You you sit
down and have your moments, but you have to listen
to the director, you have to listen to filmmakers. You
have to study in this case, I had to study
very hard. The wonderful uh set design, the caution design,
the choreographic movements, the obviously this incredible script and these young,

(18:35):
wonderful actures, and all the narrator, the storytelling, the whole,
the whole, I suppose, the whole worldwide phenomenon. All of
that comes into your head. All of this you runs
through your head and you start to do decipher it,
or you have your quiet moms in your office and

(18:56):
you start to write things down. But all of these
influences that fly through your head and inform the music,
which becomes an organic part of the film. And I
think if you're working that way to me working earlier
on the picture, using all these things that we've discussed,
really bears fruit in a score and it gives it.

(19:18):
As is the case for this film which has great longevity.
You haven't done your homework. Yeah, soon shows you how
much work each department, including the news department, has put
into this film. And the film stands a test of time.
It's an annual it's a continual phenomenon, and to be

(19:40):
part of that and to have my music discovered for
each generation is an incredible honor. I'm so glad. No,
I wouldn't do otherwise that. I put my heart and
soul into it.

Speaker 1 (19:51):
Absolutely. I think you can tell because it's just so.
The music is just so beautiful.

Speaker 2 (19:56):
It really really is.

Speaker 1 (19:57):
Like I just I wish I had a bet abuse
knowledge to convey better how I feel about it. But
it's just so beautiful. But you know what's really interesting
and I didn't. I don't know if you've seen this
that on TikTok, people remixing the Hogwarts March. Have you
seen any of these videos?

Speaker 3 (20:16):
Excuse me, I've got a bit of a chested cold here. Yes,
my daughters showed me the other day, and this absolutely hysterical.
It's so it's such fun. You know, I had no
idea until my daughter showed me this and she filmed me. Well,
I reacted to this, so I have. It just made

(20:39):
me laugh so much. Yeah, I'll occasionally see you online,
and I don't if I really go and listen to
my music. Once I've done it, you hear it occasion
on the radio whatever. But occasion I will see someone
who don't want arrangement of something or that's fine, But
this whole TikTok for normal and it's just very recently.

(21:02):
I discovered it.

Speaker 1 (21:04):
That's brilliant, now, I said a while ago, and then
I thought, I have to ask you if you've seen it,
because if you hadn't going to show it to you.

Speaker 3 (21:10):
But literally a few years ago. It's very funny.

Speaker 1 (21:14):
Yeah, brilliant. So what would you say was the biggest
challenge that you had.

Speaker 3 (21:21):
One of the most challenging things was the death of
Cedric worried me because it was such a huge thing
in the series of looks and the films, and that
concerned me when that was looming your head, so I
had to And it was also the battle between how

(21:42):
and Walde War at the end. I found those those
two pieces in particular, very very challenging. You can imagine
yourself in Appeared losing your your child. I felt that
I owed it to this great story and these great
filmmakers and to the sea used to do my best work.
So I can also see those two pieces where it

(22:05):
was challenging.

Speaker 1 (22:06):
Yeah, because with Cedric Dyan, because actually I interviewed Mick
Ordsley a couple of weeks ago, and I think it's.

Speaker 2 (22:16):
You know, the it just all marries.

Speaker 1 (22:18):
Together so well because it's the acting, you know, and
he says my boy, and I mean it's and then
sort of like the stillness of the scene, but then
the music all just comes together and it's I mean,
whenever I watch it, I've seen the film probably a
hundred times, I just have instant tears just springing into
my eyes. It doesn't matter how many times I see it.

(22:39):
And it's just like such a beautifully sad moment in
the film.

Speaker 3 (22:44):
Well I've presented for each department and really is a
collabolution and great acting, and it's a very very moving scene.
And these are these are seasoned actors, and uh, it's
such a bonding and this previous scene really really projects

(23:05):
that moment literally physically and visually, and you've just been
through this cathatic experience. And then this boy is killed
as a result of it. He becomes a victim of
this due so that itself was it was shocking for
for for hiring, for all his friends at the school
and viewers. So all of these things I hopefully try

(23:27):
to capture in the music, and I had it. I
had the strings placed very high, what they call a
higher register, so almost live. His little soul is going
his young soul is going into heaven, and I wanted
to give it as sweet, gentle, angelic quality as possible,

(23:49):
but also with some deep, deep moments as I've come
down in the strings to the lower registers, to give
it some real deep part as well, but to to
to get to really capture a sense of the sadness
of a loss of any any child. I mean, I
have great memories of in that film working with two

(24:14):
great friends of mine, Robbie Coltrane and Alan Rickberhood along
with us. But every time I think of him, I
think of that film when I think of meeting Robbie
and the trailer of Alan Rut's clok My Clip.

Speaker 2 (24:32):
It's such a good talent.

Speaker 3 (24:36):
I've known, I've known I've known Robbie, I know for
a long time. I met Alan Rickman the way back
in nineteen seventy eight, going Robbie at the same time,
so to be part of and I never worked a
movie with with with the Robbie at that point, I
had worked with Alan in a sense and sensibility, So

(24:59):
to meet those two people again on that in this
incredible picture was but it was very, very poignant. So anyway,
it's a very sad thing when when you're the Sunday
So it's it's part of the universal life. Yeah. Yeah.

Speaker 1 (25:17):
And then so is it interesting when you sort of
you know, obviously you know Robin and Anam, but you're
sort of working on music that sometimes underpins their characters
and what they're doing in the scene.

Speaker 3 (25:29):
Yeah, that's a very stradie experience when you when you
know the person, but those characters are so clearly delineated
that and in their own world that you you really invest,
as does the audience in the characterizations. I remember there's

(25:51):
a loving moment during your ball work. I think it's
I think it's the pot of Walls when when he's
giving the eye to vaccines, but it gives it Am,
I actually give him so it would been figures. And
I told about this, you watched the film comes up.
I've given you a little moment. So he loved that.

(26:16):
We talked about the premier again, a wonderful memory to
have that premier with the whole family. It was just
faberous and of course that was very many moments with
Stiep and dark moments. So oh, it was just some
great memories, wonderful memories.

Speaker 2 (26:35):
So is that it sounds like Harry Potter.

Speaker 1 (26:37):
It is slightly not your usual way you would, well,
it's the most usual way, but not always how you
would work as a composer on the film.

Speaker 3 (26:46):
Well, I watch in similar ways on the film, but
not quite as long as And it was such an
eclectic selection of you. I mean, there was waltzes, there
was a huge dramatic moments. There was two walls. In

(27:06):
the fact, there was a always in the blast Ban March.
There was a working with Javis Javis Cocker was was
was an added sort of bonus that was very different
and very romantic music, very dark music. So and there
were and also in fact Mike asked me to write

(27:29):
a tune for the whole work song which has never
really appeared there, so that was another challenge. I remember
I tried two versions of that for him and he
wasn't quite sure. And then eventually I thought of the
third version. In the back of a cab on the
way to the meeting, I thought I would have like
a arrived like London's burning with all the houses. So

(27:55):
it demanded every piece of musical arsenal. But there was
great tragedy, romance, there was there was dancing, there was intrigues,
there was huge dramatic moments, so it was extremely challenging
school quite a long period.

Speaker 1 (28:16):
Yeah, and actually I shouldn't circle back to Jervis Coccot
because that's actually quite unique in terms of none of
the other composers that have worked across the franchise actually
did that sort of music, like you said, sort of
on screen music that you worked with him that would
then be actually in real life, if that makes sense.

Speaker 3 (28:36):
Yes, yes, yeah, it's it's on screen music and also
underscore music. Yes it was. It's in many films, but
it was particularly prevalent and important in the corp of Fire.
So my involvement was both a practical and artistic prerequisite

(29:02):
really for working on this picture, and it's really the
all the way I would like to work on this picture.
Had to be toltally immersed in it, and it took
over over a year of my life, but it certainly
was a fantastic experience.

Speaker 2 (29:18):
So you helped Javis write the strings for the music
for the Is that right?

Speaker 3 (29:22):
Well, there was a there was a stringline on top
of the song, which I added that that is something
that's very common in certain songs where the composer of
the songs. They come up with the lyrics and the song,
and an orchestrator or proposer comes in and went requested

(29:44):
and adds something perhaps on top. So there was a
little symphonic magic on top of this, this wonderful magic song.
So I add stringlines to come down to Javas, come
down to Shep the studios and recorded it there. So
and I work with him one Great Expectations another film,

(30:07):
and that was erected by Alphatic who did the third Yes,
so and we got on terribly. Will I have great
respect for job, which is a oneerful, wonderful person, and
the group were lovely and you writes fabulous music. So
that was a treat to work together and a real keat.

Speaker 1 (30:23):
Absolutely because it also reminds me that another one of
my absolute favorite childhood films is a Little Princess, and
I actually think there's quite a few similarities between the
music and The Little Princess and the music and Goblet
of Fire.

Speaker 3 (30:36):
It's possible because composers have a certain style, certain types
of intervals you use. In terms of the melodic writing.
I can tell if it's a piece buy back or
what's art or they're setting intervals of using music or
setting how many progressions they like. So this is a
this is fine because this, this, I suppose, is what

(30:57):
they call your own voice. And so I take that
as a great compliment.

Speaker 2 (31:02):
Oh good, thank you.

Speaker 1 (31:07):
And so just a little bit more about the way
that you then sort of create the music. So it
starts that you might have an idea and sort of
write the music, and then you set up a piano
and flesh it out more, and then does it go
to ancau.

Speaker 2 (31:21):
How do those sort of steps work.

Speaker 3 (31:23):
Well, it's interesting because when I started working on the
prop of Fire, at that point I worked more or
less on the piano and wrote everything by hand piano
and didn't use computers. But I went through a transition
period where I invested in computers and started to work

(31:46):
with programmers. Really this this is a an enormous change
because a need for people to hear not just a
piano playing part of the but hopould start with an orchestra.
So composer had to invest in by samples of orchestral
instruments and mock up and create the artificial orchestra with

(32:10):
artificial instruments were if I basic clear so, but with
so with high protect it was a bit of a
highbrood experience. I wrote a lot of it with handwriting,
and a lot of it on computer, which now is
everyone has. It's essential. But my initial work even today,

(32:30):
I'll sit at the piano and I'll work on ideas
on themes and maybe main themes, and then then I'll
go and I started thrash out in terms of the
orchestration on the computer in the in the case of
the death of I, that was all written by hand

(32:51):
on the score and there was nothing in the computer.
I wrote that as a as a as a stand
alone piece for Justice string Orchestra, which I compose it
occraction myself by hand. It's quite it's much more taxing
tourisum I had than it is using computers, because you're
a phrase. It goes really bit low, you quite right

(33:13):
up my hand, all be long and it's really tired.
Whereas if you just play on the keyboard and there's
someone beside you, you can see look, can you quantize
that it's especially used that was can make those semi
papers very clear, and you'll think you'll just principe that
will do it into automatically a bit like L A A. I.

(33:35):
It reads it and it knows exactly what you mean.
So that takes away so much blind and sweat and
physical energy in your brain that your day is a
quarter in terms of its brain exhaustion. But when your
times taking up with a lot of kick cast, so
is that balances itself one way or the other. Either way,

(33:57):
I tend to start my id is at the piano,
but also in my head I begin to hear after
all the discussions the music in my head. That's very
lucky I have that facility.

Speaker 1 (34:09):
Yeah, absolutely, And then so that will then print I'm
guessing music, and then you take that to an orchestra
and record it live for what actually ends up in
the film.

Speaker 3 (34:20):
Yeah, well, yeah, absolutely what happens then the music is
then you have the final orchestration where you put in
so you could write a piano sketch of the Potter
walls or indeed of Neville's walls. Then you have to
orchestra and you have to transcribe it for a string

(34:40):
orchestra or a full Saphy orchestra with woodwinds and brass
everything else. Now that is then sent and it's then
sent to an orchestrator who cleans that up, and that's
then sent to the copy is and the copy of
sent prints all the individual parts or the orchestra. Yeh.
Then that is sent to the score I all the

(35:03):
different sections of it. You when you're writing music for
a picture, you spot the picture, i e. You you
start at one spot and finish at the other, and
you work your way through the whole picture chronologically if
you can. Otherwise it jumps away, but either way you
have Let's see if the opening of the picture we

(35:24):
have one M one one that's real one music to
one one in one that's the open titles of Harry Potter,
then the conductor has that you have one M two
and anywhere to you reel to one to do and
so on. So there's a whole pile of scores there.
And the conduction goes through every moment of the picture,
and you sit down with you as a director, and

(35:47):
you even tweak it and change it on on the day.
But ultimately this species is a huge machine. The same
thing happens with all departments. They have ideas that are
noted down, they're fleshed out, the core have drawn maybe
then they're colored in or they try all the materials,
so the whole thing is a constant advancement and improvement

(36:07):
and to a final point of acceptance.

Speaker 1 (36:10):
And then is that an incredible moment where you sort
of hear it with the full orchestra and you say
it all come together and especially with the picture. Is
that a really special moment for you in the prison?

Speaker 3 (36:20):
Well, the world is magic. It really is the most
magical moment that someone says it's the biggest toy for
a composer in the world. It's an incredible toy. And
nothing nothing, there's no that hasn't been on a moment
where I haven't loved my piece pace for the first time.

(36:42):
But the real orchestra, it's so a guy, human beings,
and they're looking for guidance and looking for acceptance and
looking for involvement. And in my case, they're always enthusiastic
I've found and they also bring you something and ideas
even at the final moment, what about this place? There's
been that way. So all part of the creative course

(37:03):
is nothing appears you for your first film when the
oxygen bust into song for the first same but I
never tire of it. It's a wonderful thing. Yeah.

Speaker 1 (37:15):
Absolutely, And do you have from sort of the whole
process of making the Goblet of Fire, do you have
a favorite memory?

Speaker 2 (37:22):
And it doesn't even have to to do with work.

Speaker 1 (37:25):
It could be I know someone told me once it
was that they used to play I think it was
like baseball or football outside the lots on the studio,
and they just loved playing all the different teams. So
it doesn't have to be music related, but obviously it
can be music related to its music.

Speaker 3 (37:39):
Really well, I suppose my favorite moment, as I said earlier,
was the d I was working with my daughter Abigail
on on set and all the videos things that she
did in the film, and I'm involved with her as
well as everything else will discuss which I have that

(37:59):
a family member who was very close working on such
an incredible project was amazing, amazing.

Speaker 1 (38:07):
No, it's lovely to share it because my brother and
sister both came as extras for a couple of days
when I was working on it, and I think it's
when it's something like Harry Potter, it's actually so lovely
to be able to share it and for them to
see firsthand what you're doing and what you're working.

Speaker 3 (38:22):
It's really important. It's very important. If you have family,
it's very important, brothers, sister, as you see friends, this
is your family to just it's nice to share what
you're passionate with other people who are equally passionate. But
there were and also see where you derive such passion funds.

(38:44):
So yes, it's to have that family connection. Was just marvel,
isn't it. The fact that may give Abby an opportunity
to do all these different things with the biggest voices
of the in the animated characters was just amazing.

Speaker 2 (38:59):
And who doesn't want to be a mermaid?

Speaker 3 (39:02):
You know?

Speaker 2 (39:03):
Amazing. I'm jealous of Happy being the voice of the manaid.

Speaker 3 (39:08):
Well at the time, she was just like myself, completely
intensely into the work. It's one offul on reflection when
when this incredible phenomenon keeps coming back, waves and waves
continue that you're very lucky that there's a continual memory. Jogger.

(39:29):
I've done many movies that are I'm just as find
our own way, and they come by, but not as
not like a tidal wave that continually comes in. A
tide come in. Now, this is extraorditude. So so I'm
being constantly reminded how a lucky I was to be
a part of this incredible franchise.

Speaker 1 (39:55):
So that was Patrick, is it me or does he
do the best?

Speaker 2 (39:59):
And Rick ad impression?

Speaker 1 (40:01):
It really caught me off god, but it really made
me laugh. He is fantastic. So thank you Patrick for
being a guest and being so wonderful. So, as I said,
I kind of don't want to say back next week
because I just am going to release episodes as and
when they are done, but there definitely will be more
episodes to come. As always, thank you guys so much

(40:25):
for listening. I'll definitely put on my Instagram when the
bonus episode's going to be out. I don't know if
it will be this Friday, but it will be a
Friday coming up, but I will let you guys know,
and

Speaker 2 (40:35):
Yeah, love you all and have a magical week.