Latest / Revelio: A Wizarding World Podcast / Episode 11: Does the Movie Magic Still Hold Up?

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Episode 11: Does the Movie Magic Still Hold Up? · Revelio: A Wizarding World Podcast

• 0:09
  Speaker 1: Hello, and welcome to episode eleven of Verrelio for January
• 0:13
  Speaker 1: twenty third, twenty twenty five. I'm Amy, I'm Nicole.
• 0:33
  Speaker 2: And I'm Tom, and the gang.
• 0:37
  Speaker 1: Is all back together.
• 0:38
  Speaker 3: Yay.
• 0:40
  Speaker 2: Tom is healthy, yep, back and ready to roll.
• 0:46
  Speaker 1: Yay.
• 0:49
  Speaker 2: I was just gonna say, my beginning of the year
• 0:52
  Speaker 2: has been rough, but I'm powering through. I'm just trying
• 0:56
  Speaker 2: to you know, know, New Year's resolutions this year. Haven't
• 1:00
  Speaker 2: been doing them for a couple of years, so I'm
• 1:03
  Speaker 2: just playing it by year now and seeing what the
• 1:06
  Speaker 2: year brings in. So yeah, how about you.
• 1:11
  Speaker 1: Yeah, well, I mean you've got a whole new fresh
• 1:14
  Speaker 1: start there with the move and everything, so that can
• 1:17
  Speaker 1: be your New Year's resolution. Yeah, fresh starts, new adventures.
• 1:21
  Speaker 2: Yeah, this is kind of like the middle part of
• 1:23
  Speaker 2: the moving, So next month we'll be like the definite moving.
• 1:31
  Speaker 2: So yeah, we're just seeing we're going to end up
• 1:34
  Speaker 2: but excited.
• 1:36
  Speaker 1: Yeah.
• 1:37
  Speaker 2: Same.
• 1:37
  Speaker 1: I mean, I'm really bad at carrying out New Year's resolutions,
• 1:43
  Speaker 1: but I think that my goal I've set for myself
• 1:45
  Speaker 1: this year is to maybe be a little less rigid
• 1:48
  Speaker 1: and a little bit more spontaneous, because that seemed to
• 1:52
  Speaker 1: work out pretty well in twenty twenty four, So I
• 1:56
  Speaker 1: think I need to do a little more of that.
• 1:57
  Speaker 2: That's good. Yeah, live a little good cool.
• 2:02
  Speaker 4: Yeah, Yeah, it's funny because again, yeah, like you're watching there,
• 2:05
  Speaker 4: Like our little trip to Toronto to see Taylor was
• 2:07
  Speaker 4: definitely the most spontaneous thing I kind of have.
• 2:10
  Speaker 5: Ever done, so that kind of gate.
• 2:12
  Speaker 4: Yeah, that kind of gave me the courage that, you
• 2:14
  Speaker 4: know what, maybe I don't need to be such a
• 2:15
  Speaker 4: rigid planner. Maybe I can be a little bit more
• 2:19
  Speaker 4: fluid in life and spontaneous. But yeah, I think we've
• 2:24
  Speaker 4: all had like a bit of a rough start to
• 2:26
  Speaker 4: this year, like the world and yeah, so hopefully that's
• 2:31
  Speaker 4: not setting the tone for the rest of this year.
• 2:34
  Speaker 4: But yeah, I also am not a resolution person because
• 2:38
  Speaker 4: I know I can't stick to it, and so I
• 2:41
  Speaker 4: don't want to make myself.
• 2:43
  Speaker 5: Upset because I know I won't stick to it.
• 2:45
  Speaker 4: So I'm not even gonna set it so that I,
• 2:49
  Speaker 4: you know, don't in future me is not upset with
• 2:51
  Speaker 4: past me, and.
• 2:56
  Speaker 5: We'll just see what the year brings.
• 2:58
  Speaker 1: Yeah, that makestations, you know, No.
• 3:02
  Speaker 4: No, except I am expecting to go to Epic Universe
• 3:06
  Speaker 4: at some point.
• 3:06
  Speaker 2: That that's worth it. Yeah, yes, yes.
• 3:12
  Speaker 5: Other than that, we'll see what happens.
• 3:17
  Speaker 1: All right. In this episode, we'll be discussing special effects
• 3:22
  Speaker 1: in the Harry Potter films, but first.
• 3:28
  Speaker 6: Hosting to w W in the Wizarding Wireless Network.
• 3:34
  Speaker 5: Now for the latest headlines.
• 3:36
  Speaker 4: So for this episode, we have a pretty light but
• 3:40
  Speaker 4: I think exciting news. So some merch news for Lego fans.
• 3:48
  Speaker 4: So six new Lego sets are available starting this month.
• 3:53
  Speaker 4: I took a look at them the pictures of them,
• 3:56
  Speaker 4: and they actually look really cool. There's going to be
• 3:59
  Speaker 4: a Diegon Alley Wizarding Shops set and it's going to
• 4:03
  Speaker 4: have like Weasley's Wizard, Wheezes, Florine Portoscue's ice cream Parlor,
• 4:07
  Speaker 4: Ali Vanders, Mister Malpepper's Apothecary, Green Gods, the Leaky Cauldron,
• 4:12
  Speaker 4: the Daily Profit Headquarters, like it's all going to be
• 4:15
  Speaker 4: there in the set. There's also a Harry and Hagrid
• 4:20
  Speaker 4: on the motorbike from the Battle the Seven Potter scene
• 4:24
  Speaker 4: and definitely Hollow's Part one. And there's also a little
• 4:26
  Speaker 4: Headwig as well, which is kind of sad because we
• 4:32
  Speaker 4: know what happens there in the film. But I actually
• 4:35
  Speaker 4: love this set and I actually might have to get
• 4:37
  Speaker 4: this one.
• 4:39
  Speaker 5: It's really cute.
• 4:40
  Speaker 4: And there's also a Hogwarts Castle Dueling Club set. This
• 4:45
  Speaker 4: one recreates the dueling club scene from Chamber of Secrets.
• 4:48
  Speaker 4: There's a piece that has like a where you can
• 4:52
  Speaker 4: build like a little fireplace, and then you get one
• 4:54
  Speaker 4: of fourteen random collectible portraits that you can hang above
• 4:58
  Speaker 4: that fireplace. And then it also comes with a Harry
• 5:01
  Speaker 4: and Draco minifigure and each of them have like a
• 5:05
  Speaker 4: wand that's got this like magical spell element thing, this
• 5:09
  Speaker 4: like transparent little piece of plastic on the end of
• 5:12
  Speaker 4: the line that makes it seem like it's but it's
• 5:14
  Speaker 4: it's not that it's magic obviously. And then there's mugs, yes,
• 5:22
  Speaker 4: right right, but in real life there are these many
• 5:25
  Speaker 4: many figures are doing magic, of course. And then the
• 5:28
  Speaker 4: set also comes with many figures of Lockhart and Snape
• 5:32
  Speaker 4: as well, so that one's really cute. And then there's
• 5:35
  Speaker 4: also a Malfoy Manor set that's coming out, So this
• 5:38
  Speaker 4: one recreates the escape scene in Deathly Hallows. This one's
• 5:42
  Speaker 4: really cool because it comes with many figures that I
• 5:46
  Speaker 4: think we don't typically see, like Narcissa.
• 5:49
  Speaker 1: Uh.
• 5:49
  Speaker 5: There is also a Lord.
• 5:50
  Speaker 4: Baltimore with a little Nighini and Dobby and some other
• 5:55
  Speaker 4: you know other, many figures of the characters that are
• 5:58
  Speaker 4: part of that scene. There's also a Charms class set.
• 6:02
  Speaker 4: This one recreates the wing Guardian leviosa scene from Sorcerer's
• 6:06
  Speaker 4: Stone and you get many figures of Ron Hermione and
• 6:09
  Speaker 4: Professor Flitwick in this one. And last, but not least,
• 6:14
  Speaker 4: there's also a Flying Lessons set. This one recreates the
• 6:18
  Speaker 4: flying lesson from Sorcerer's Stone. So this one is actually
• 6:23
  Speaker 4: really cool because it has a section of Hogwarts Castle
• 6:27
  Speaker 4: that has the Quidditch equipment room, the Transfiguration classroom, Professor
• 6:31
  Speaker 4: mcgonagall's classroom, and then that the trophy room. And here
• 6:36
  Speaker 4: there's fourteen collectible Hogwarts portraits as well, and you get
• 6:40
  Speaker 4: two of them that can be displayed. And then the
• 6:43
  Speaker 4: set also comes with six character minifigures. So the sets
• 6:47
  Speaker 4: are really cool. So if you like Lego, I definitely
• 6:49
  Speaker 4: recommend checking them out.
• 6:53
  Speaker 1: Cool and we also have another casting rumor for the
• 6:57
  Speaker 1: TV show. It's been rumored that Irish television actress Sharon
• 7:03
  Speaker 1: Horgan is being considered for the role of McGonagall in
• 7:06
  Speaker 1: the upcoming HBO Harry Potter series, And like every rumor
• 7:11
  Speaker 1: we've heard so far, this is definitely not confirmed by
• 7:15
  Speaker 1: WB so I did look up this actress. I really
• 7:21
  Speaker 1: don't recognize any of the shows on her IMDb, but
• 7:25
  Speaker 1: it looks like she has a pretty extensive history, specifically
• 7:28
  Speaker 1: in TV and limited series rather than film, so kind
• 7:33
  Speaker 1: of interesting adding to that repertoire. The interesting part about this, though,
• 7:40
  Speaker 1: is she's only fifty four years old, So are they
• 7:46
  Speaker 1: trying to go for a younger McGonagall? Like what I
• 7:49
  Speaker 1: wonder if all of the actresses they're considering are younger,
• 7:53
  Speaker 1: or if they're just going to age up with makeup.
• 7:57
  Speaker 2: I'm thinking bok book accurate. Probably how old is McGonagall
• 8:03
  Speaker 2: in the books.
• 8:06
  Speaker 1: I'm pretty sure she's older than fifty four.
• 8:09
  Speaker 2: Mm hmm, I mean she's not as old as Maggie.
• 8:13
  Speaker 5: Right, yeah, right.
• 8:15
  Speaker 4: I know we had mentioned and I can't remember what
• 8:17
  Speaker 4: episode it was now, but it was the one where
• 8:19
  Speaker 4: we talked about the casting rumor of the actor for
• 8:23
  Speaker 4: snape and how also when we gotten some more information
• 8:29
  Speaker 4: about the show.
• 8:30
  Speaker 5: It was a couple episodes back they had shared that.
• 8:33
  Speaker 4: One of the things they are looking to do is
• 8:35
  Speaker 4: to cast more in line with the ages that we
• 8:39
  Speaker 4: see in the books. That's why they're looking for, you know,
• 8:42
  Speaker 4: a younger Snape, since Alan Rickman was much older than
• 8:46
  Speaker 4: Snape was.
• 8:47
  Speaker 1: Okay, So I just did the math. So mcgonagall's backstory
• 8:53
  Speaker 1: from original pot or more I believe. I think this
• 8:59
  Speaker 1: is where the stay it comes from. She was supposedly
• 9:02
  Speaker 1: born October fourth, nineteen thirty five, which would mean in
• 9:07
  Speaker 1: nineteen ninety one she would be fifty six.
• 9:10
  Speaker 2: Yeah, just accurate.
• 9:11
  Speaker 5: So I think it's just it is.
• 9:14
  Speaker 4: Yeah, it seems like it's another casting rumor that's in
• 9:17
  Speaker 4: line with you know what they're saying about trying to
• 9:20
  Speaker 4: actually look for people that are the actual ages.
• 9:25
  Speaker 1: Yeah.
• 9:25
  Speaker 2: Also it helps not drawing comparisons in the future. I
• 9:30
  Speaker 2: think it'll just make it more of its own thing
• 9:33
  Speaker 2: as well, just making it because the age gap is
• 9:36
  Speaker 2: so different from Snape from McGonagall that I think this
• 9:39
  Speaker 2: will help the show not running into so many comparisons
• 9:44
  Speaker 2: with the film, at least in these aspects.
• 9:49
  Speaker 1: Yeah.
• 9:50
  Speaker 4: Yeah, So, like you were saying, Tom, I think the
• 9:52
  Speaker 4: fan cast for Snape has been like Adam Driver and
• 9:55
  Speaker 4: I think a lot of that has been because of
• 9:58
  Speaker 4: a kind of similarity be in look to what we
• 10:01
  Speaker 4: already have had with Snape. And so I don't think,
• 10:06
  Speaker 4: you know, he's going to be the one that's cast
• 10:08
  Speaker 4: a Snape, But I think that it could be a
• 10:11
  Speaker 4: good thing, because, like you said, it's putting further separation
• 10:15
  Speaker 4: between the films and the show. If you're not just
• 10:20
  Speaker 4: trying to look and cast all these people that look
• 10:23
  Speaker 4: similarly to who we had in the films, Yeah, it
• 10:28
  Speaker 4: just will create too much comparison.
• 10:30
  Speaker 1: Yeah. Yeah.
• 10:32
  Speaker 4: And the last bit of news that we have is
• 10:35
  Speaker 4: actually breaking news. On the day that we're recording, which
• 10:38
  Speaker 4: is January sixteenth, Today, we learned that Harry Potter Wizards
• 10:42
  Speaker 4: of Baking was renewed for a second season. So I'm
• 10:47
  Speaker 4: really excited about this because I know, like in our
• 10:49
  Speaker 4: last episode, I talked about really hoping we get a
• 10:52
  Speaker 4: second season, and I'm not surprised because the show did
• 10:55
  Speaker 4: very well ratings wise for the network. And yeah, I'm excited.
• 11:01
  Speaker 1: Yeah, cool, I can't wait to see what they do
• 11:04
  Speaker 1: with it.
• 11:06
  Speaker 2: Yeah, I'm And I'm also kind of sure that the
• 11:08
  Speaker 2: Phelps twins will still be the the hosts.
• 11:13
  Speaker 5: M I agree.
• 11:15
  Speaker 4: They did a great job and I think they really
• 11:17
  Speaker 4: enjoyed it. And it'll be interesting to see if they
• 11:20
  Speaker 4: can get some other like cast cameos in. Like I
• 11:26
  Speaker 4: could totally see Tom Felton coming in, you know, for
• 11:30
  Speaker 4: an episode, because he just is so like still so
• 11:32
  Speaker 4: active in the fandom. But it'll be interesting to see
• 11:35
  Speaker 4: because those it was fun having, you know, like Bonnie
• 11:40
  Speaker 4: and Havana and Warwick come in for the episodes and
• 11:43
  Speaker 4: be guest judges. And yeah, I'm excited to see what
• 11:48
  Speaker 4: they do with the second season.
• 11:51
  Speaker 2: Yeah, I'm also thinking Matt Lewis. He's been pretty much
• 11:55
  Speaker 2: around the Potter events post Harry Potter, so I can
• 11:59
  Speaker 2: see him making an appearance to.
• 12:03
  Speaker 1: Be really cool. If they could get some who don't
• 12:06
  Speaker 1: normally turn up.
• 12:07
  Speaker 2: You know, Emma Watson. I mean I'm just saying even like.
• 12:17
  Speaker 1: Even like something as random as like Emma Thompson.
• 12:20
  Speaker 2: Oh that's a good one. Yeah, Like we've got.
• 12:24
  Speaker 1: All these great professors from throughout the films. They should
• 12:29
  Speaker 1: really pull some of those people.
• 12:31
  Speaker 5: Get Gary Oldman in there.
• 12:33
  Speaker 4: Oh yeah, he's too big.
• 12:39
  Speaker 2: That's the thing.
• 12:39
  Speaker 1: Would spare the time.
• 12:44
  Speaker 4: If you're listening, Gary, we want to see you on
• 12:46
  Speaker 4: the second season of Wizards of Baking please, yes, preferably
• 12:51
  Speaker 4: in an apron helping the teams.
• 12:56
  Speaker 5: Yes, mm hmm. Yeah, that's all we had for the news.
• 13:06
  Speaker 2: Okay, So for our main discussion today, we're going to
• 13:10
  Speaker 2: be talking about the Special Effects and the Harry Potter films.
• 13:13
  Speaker 2: So what we know is that the Visual Effects or
• 13:16
  Speaker 2: CGI and the Harry Potter films were the result of
• 13:19
  Speaker 2: a collaborative effort from a lot of different hands, a
• 13:22
  Speaker 2: lot of different companies from which I pulled up a
• 13:26
  Speaker 2: few of them which were the most important ones that
• 13:28
  Speaker 2: I could find. So first off, we have Framestore. They
• 13:32
  Speaker 2: worked side by side with the directors of all eight
• 13:35
  Speaker 2: films for many iconic CGI sequences, including the Flying Hippogriff,
• 13:40
  Speaker 2: The Underwater World, and Goblet of Fire and surprisingly something
• 13:44
  Speaker 2: I didn't know, the Tale of the Three Brothers sequence. Yeah,
• 13:48
  Speaker 2: that's that was interesting to read because it's such a
• 13:50
  Speaker 2: beautiful animation as well. Yeah, that's that Tim Burton feel. Yeah,
• 13:57
  Speaker 2: and they also inherited debby from the earlier horror films
• 14:00
  Speaker 2: which had come from the US company Industrial Light and Magic,
• 14:04
  Speaker 2: which we'll be talking about in a couple of minutes.
• 14:08
  Speaker 2: So this I didn't know. I just always thought that
• 14:11
  Speaker 2: the same company would always kind of like take care
• 14:15
  Speaker 2: of a creature or something and just you know, kind
• 14:17
  Speaker 2: of like improve and kind of see. But here it
• 14:22
  Speaker 2: seems to be like there was this competition and they
• 14:25
  Speaker 2: won the design because they introduced like these new layers
• 14:29
  Speaker 2: to Dobby, and so they did not just do Dobby,
• 14:34
  Speaker 2: but they also animated creature, which I think we're both
• 14:38
  Speaker 2: really well animated, very realistic as well. And then we
• 14:43
  Speaker 2: also have Double Negative which is now d n EG.
• 14:46
  Speaker 2: And they worked on every Harry Potter film since The
• 14:49
  Speaker 2: Prisoner of Azkaban, including the floating death Eaters circling in
• 14:53
  Speaker 2: the skies above the school and Deadly Hall's Part two
• 14:56
  Speaker 2: and the creation of a fully digital Hogwarts are Digi
• 14:59
  Speaker 2: Hogwarts like they call them, like they call it, which
• 15:03
  Speaker 2: included extensive battle sequences and environment builds pre and post battle.
• 15:07
  Speaker 2: So they are the ones responsible for the three D
• 15:09
  Speaker 2: model basically that we see in Define Hollis Part two.
• 15:13
  Speaker 2: And I remember them saying that they wanted something like
• 15:16
  Speaker 2: a three hundred and sixty degree sequence where they could
• 15:20
  Speaker 2: just film in one continuous take and just make it
• 15:23
  Speaker 2: a much more immersive, which we can't see in the
• 15:27
  Speaker 2: courtyard apocalypse scene. So yeah, I think that was a great,
• 15:31
  Speaker 2: great addition. I do miss the old school model a
• 15:34
  Speaker 2: little bit there because the castle kind of changed during
• 15:38
  Speaker 2: that last movie, but it was a nice like upgrade
• 15:42
  Speaker 2: I think. Okay, so then we have industrial light and magic.
• 15:49
  Speaker 2: They contributed mostly to the early films, which includes the
• 15:52
  Speaker 2: House Ghosts, the First Depiction of Debby and Chamber of Secrets.
• 15:56
  Speaker 2: Did the mentors in Prisoner of Azkaban, the thest roals
• 15:59
  Speaker 2: in Order to Phoenix, and the dragon chase sequence in
• 16:02
  Speaker 2: Goblet of Fire, which in my opinion is one of
• 16:06
  Speaker 2: the best visual effects sequences in the entire franchise. It's
• 16:10
  Speaker 2: one of my favorites. We'll touch on.
• 16:11
  Speaker 1: That the Fire has so many good special effects.
• 16:16
  Speaker 2: Yes, yes, yes, yeah, hands down, one of the best
• 16:21
  Speaker 2: ones for sure. Yeah. And the last one that I'm
• 16:26
  Speaker 2: going to mention is sin Aside. So their work on
• 16:29
  Speaker 2: the film on the Potter films began with the physical
• 16:32
  Speaker 2: construction of the Hogwarts models for the franchise, so they
• 16:37
  Speaker 2: also worked on the moving portraits and the iconic moving staircases,
• 16:42
  Speaker 2: the Patron's Joe from Deathly hallows and Voldemort's snake like snout,
• 16:45
  Speaker 2: among other effects. That's an interesting and interesting fact. So
• 16:52
  Speaker 2: one of their biggest achievements was the time travel sequence
• 16:55
  Speaker 2: featured in the hospital wing during Prisoner of Azkaban, and
• 16:58
  Speaker 2: I thought it was really interesting because they were talking
• 17:01
  Speaker 2: a little bit about how this was one of their
• 17:03
  Speaker 2: greatest achievements, and it's such an interesting scene to watch
• 17:06
  Speaker 2: when you literally watch it frame by frame because when
• 17:09
  Speaker 2: they're turning back time, this is this whole spiral of
• 17:11
  Speaker 2: people and this whole situation going on around them, and
• 17:14
  Speaker 2: it's so fun and it's like, I think it's one
• 17:16
  Speaker 2: of the things at Alphonso kind of like his humor
• 17:19
  Speaker 2: and the new things he brought into the table for
• 17:21
  Speaker 2: this movie and how he helped bring this series to
• 17:25
  Speaker 2: the next level. So I thought it was really interesting
• 17:28
  Speaker 2: to read this excerpt and it says original live action
• 17:32
  Speaker 2: of the children was filmed on a steadicam against blue screen.
• 17:36
  Speaker 2: Four minutes of separate background footage was also shot, including
• 17:39
  Speaker 2: the children arriving in the hospital and other patients being
• 17:43
  Speaker 2: treated around them. This footage was sped up and composited
• 17:47
  Speaker 2: behind the children as a children turned. Two other plates
• 17:50
  Speaker 2: of background footage were tiled together to make up the
• 17:53
  Speaker 2: hospital environment and match moved to the foreground action. Once
• 17:58
  Speaker 2: Hermione has turned back time, the children run out of
• 18:01
  Speaker 2: the hospital door and down a corridor. The camera continues
• 18:04
  Speaker 2: straight on through the workings of the clock in the
• 18:07
  Speaker 2: clock tower while the children run run the stairs and
• 18:11
  Speaker 2: meet up with the camera again in the courtyard. This
• 18:14
  Speaker 2: whole shot was treated as one continuous camera move. Amazing,
• 18:18
  Speaker 2: like so much work was put into this, And it
• 18:23
  Speaker 2: also says as the children run across the courtyard, you're
• 18:26
  Speaker 2: actually looking at a composite with the two twenty four
• 18:30
  Speaker 2: scale model. The landscape around the courtyard was created as
• 18:34
  Speaker 2: a digital matt painting mapped onto a three D model.
• 18:40
  Speaker 2: So yeah, it's a lot of clockwork's yeah, yeah, because
• 18:44
  Speaker 2: you're literally looking at the model that we see at
• 18:47
  Speaker 2: Leaves and studios. So they literally filmed that there and
• 18:50
  Speaker 2: then they with green screen and visual effects. They kind
• 18:53
  Speaker 2: of like put the actors, I guess if they were
• 18:57
  Speaker 2: running in the courtyard, and it's kind of like this
• 19:00
  Speaker 2: mix of things, so it's kind of like practical and
• 19:03
  Speaker 2: then you get into visual and then and it's one
• 19:05
  Speaker 2: of the things that I love so much about filmmaking
• 19:07
  Speaker 2: is how, especially in the early two thousands, how they
• 19:10
  Speaker 2: managed to kind of like mix those two together so seamlessly.
• 19:17
  Speaker 2: So I think now people are more into like three
• 19:20
  Speaker 2: D just go straight into three D, But back in
• 19:22
  Speaker 2: the day, there are a lot more animatronics, a lot
• 19:25
  Speaker 2: more practical effects, and I think this is a great
• 19:27
  Speaker 2: example of how they managed to merge both together. It's
• 19:31
  Speaker 2: it's one of the best sequences of the movie. And yeah,
• 19:34
  Speaker 2: I thought it was really interesting to just read this.
• 19:37
  Speaker 1: Yeah. Yeah, And it's funny that you pulled this because
• 19:41
  Speaker 1: when I was trying to think through like my favorite
• 19:43
  Speaker 1: special effects, that's one that I wrote down. I didn't
• 19:47
  Speaker 1: even realize until you read this, I was like, that's
• 19:49
  Speaker 1: so cool because I didn't actually know like all of
• 19:52
  Speaker 1: this behind it. I just think that's such a cool sequence.
• 19:56
  Speaker 2: Yeah, And you get to see like literal stuff happening
• 20:00
  Speaker 2: around them. There's a suit in getting like demummified. There's
• 20:04
  Speaker 2: also you know, Ron arriving, you know he's hurt, you know,
• 20:08
  Speaker 2: to the hospital wing Hermione looking after Harry while he's fainted.
• 20:13
  Speaker 2: Like there's a lot of things. Nape is there too,
• 20:16
  Speaker 2: Like if you go frame by frame. It's such an
• 20:18
  Speaker 2: interesting sequence to watch, it really is.
• 20:21
  Speaker 1: Yeah, yeah, so cool. Yeah, and kind of what you
• 20:29
  Speaker 1: were saying too about how these movies really blended the
• 20:33
  Speaker 1: CGI and practical and animatronics and all of this stuff together.
• 20:39
  Speaker 1: I feel like those are the moments that hold up
• 20:42
  Speaker 1: the best, which we're going to talk about a little bit,
• 20:47
  Speaker 1: but like, I just think it's interesting looking at our
• 20:50
  Speaker 1: list of special effects that stand out to us, a
• 20:54
  Speaker 1: lot of these do combine all those things and they're
• 20:57
  Speaker 1: not like straight up CGI.
• 20:59
  Speaker 2: Yeah.
• 21:00
  Speaker 4: So yeah, yeah, well I think, I mean, you see
• 21:03
  Speaker 4: this even beyond just like Harry Potter in general, I
• 21:06
  Speaker 4: think that. I mean, I think computer generated imaging and
• 21:10
  Speaker 4: effects like that is of course very interesting and amazing.
• 21:13
  Speaker 4: And we've come so far with technology. I mean, one
• 21:17
  Speaker 4: of my favorite films of all time is Avatar and
• 21:21
  Speaker 4: Avatar The Way of Water, and obviously that is entirely
• 21:27
  Speaker 4: the CGI kind of landscape and was known to be
• 21:30
  Speaker 4: this ground baking breaking technology and just even the improvements
• 21:36
  Speaker 4: from Avatar and the you know, and we couldn't even
• 21:39
  Speaker 4: get the second film because James Cameron had to wait
• 21:41
  Speaker 4: for technology to catch up, and so there are so
• 21:44
  Speaker 4: many amazing things that can be done with CGI. But
• 21:48
  Speaker 4: at the same time, there is something really myatrical I
• 21:54
  Speaker 4: guess about when practical effects can be used.
• 21:57
  Speaker 5: And this is something.
• 21:59
  Speaker 4: Too like and we see a lot in Star Wars,
• 22:02
  Speaker 4: and I think of this a lot because obviously Ilm,
• 22:05
  Speaker 4: who you know we talked a little bit about here,
• 22:07
  Speaker 4: was heavily evolved in the effects of Star Wars as well,
• 22:11
  Speaker 4: and that's exactly why, like I mean, now, sentiment has changed.
• 22:16
  Speaker 4: But the original trilogy focused a lot on practical effects,
• 22:21
  Speaker 4: and then the prequels, because of the time they came out,
• 22:24
  Speaker 4: focus a lot more on that computer generated and you
• 22:27
  Speaker 4: can see it, like you can see the difference between
• 22:30
  Speaker 4: the Yoda puppet and the computer generated Yoda. And so
• 22:34
  Speaker 4: I think that the sweet spot is really when you
• 22:37
  Speaker 4: are able to combine both, because when you are able
• 22:41
  Speaker 4: to add that practical effect, that's where your realism comes
• 22:45
  Speaker 4: in because it truly looks more real and also is
• 22:50
  Speaker 4: more timeless because technology is just going to keep advancing.
• 22:54
  Speaker 4: And so that's where then some of these things, these
• 22:57
  Speaker 4: scenes we we're going to talk about later.
• 22:59
  Speaker 5: On than this episod.
• 23:00
  Speaker 4: So the problem is is they relied too much on
• 23:03
  Speaker 4: CGI and technology has advanced so much since then, and
• 23:07
  Speaker 4: so now we look at it and we're like, Maya,
• 23:09
  Speaker 4: that doesn't look so great.
• 23:12
  Speaker 5: So I think that it's new films.
• 23:16
  Speaker 4: I think really should look at and study like these
• 23:19
  Speaker 4: older films that really did rely a lot on practical
• 23:22
  Speaker 4: effects and how beneficial that can be.
• 23:27
  Speaker 1: I mean, in the same exact vein look at the
• 23:30
  Speaker 1: Lord of the Rings the trilogy versus the Hobbit films. Right,
• 23:34
  Speaker 1: I kind of fell off in the Hobbit films because
• 23:37
  Speaker 1: I was like, this doesn't look as good like the
• 23:40
  Speaker 1: original trilogy with the orcs and the prosthetics and how
• 23:43
  Speaker 1: realistic it was because there were actual people like moving
• 23:48
  Speaker 1: underneath the makeup as opposed to all the CGI orcs
• 23:54
  Speaker 1: in the Hobbit Like it. It's a jarring difference, and
• 23:57
  Speaker 1: you wouldn't think it would be that much, but it
• 24:00
  Speaker 1: really is.
• 24:01
  Speaker 2: Yeah, yeah, yeah, I'm also chiming in on that. Like
• 24:05
  Speaker 2: Jurassic Park. When you look at the first film, it's
• 24:08
  Speaker 2: been like thirty plus years since the first film and
• 24:11
  Speaker 2: you look at that t Rex, so it's still looks
• 24:14
  Speaker 2: so realistic and it's yeah, and you know what, thirty
• 24:18
  Speaker 2: years down the road, it's still going to be looking realistic,
• 24:21
  Speaker 2: where it's probably something that's being computer generated this year
• 24:25
  Speaker 2: or you know, in the coming years, it's going to
• 24:27
  Speaker 2: look a little outdated by you know, twenty years from now.
• 24:31
  Speaker 2: Same thing happens with the Howartz model. You look at
• 24:34
  Speaker 2: the Howard's model and it's always going to be realistic
• 24:36
  Speaker 2: because it's a literal, you know, huge scale model of
• 24:41
  Speaker 2: the castle and so detailed, and it's never going to
• 24:44
  Speaker 2: look fake. And I think that's beautiful, and I think
• 24:48
  Speaker 2: it's something that's going to hold up for so many
• 24:50
  Speaker 2: more years, and it's something that's been lost a little
• 24:52
  Speaker 2: bit just because people are relying so much in three D.
• 24:55
  Speaker 2: But you know, you see the Jurassic fans are always saying,
• 24:58
  Speaker 2: bring back animatronics, plase, bring them back. Yeah, so they
• 25:01
  Speaker 2: kind of bring you know, they kind of like started
• 25:04
  Speaker 2: incorporating them a little bit more. Not that three D
• 25:07
  Speaker 2: is an amazing and CGI hasn't done groundbreaking, you know, innovative, unprecedented,
• 25:13
  Speaker 2: you know things, but there's something about practical effects that
• 25:18
  Speaker 2: just will always hold up no matter how many years
• 25:21
  Speaker 2: pass by.
• 25:23
  Speaker 1: Yeah. Yeah, So now that we got kind of that
• 25:29
  Speaker 1: insight about who is behind some of these effects. We
• 25:34
  Speaker 1: really want to explore some of the special effects in
• 25:36
  Speaker 1: the films that still stand out to us and hold
• 25:39
  Speaker 1: up all these years later, and some that kind of don't.
• 25:43
  Speaker 2: So that's get going.
• 25:45
  Speaker 1: Let's dive into the best ones first. So what do
• 25:49
  Speaker 1: you guys think are some of the best special effects
• 25:52
  Speaker 1: that we have seen in these films.
• 25:54
  Speaker 4: Yeah, So the one that like immediately always comes to
• 25:58
  Speaker 4: mind for me is The Beast and Chamber of Secrets,
• 26:02
  Speaker 4: which I think one of the things that's so amazing
• 26:06
  Speaker 4: about that is obviously this is one of our earliest films,
• 26:10
  Speaker 4: and just even all the scenes in the Chamber of Secrets,
• 26:14
  Speaker 4: you know, the whole battle of Harry and the Basilisk
• 26:17
  Speaker 4: like that, I mean, it really looks real, like I
• 26:23
  Speaker 4: I mean, it looks like something straight out of Jurassic Park,
• 26:25
  Speaker 4: you know, thinking about Jurassic Park.
• 26:27
  Speaker 5: Like there's just.
• 26:29
  Speaker 4: I just there's nothing about that scene and the construction
• 26:34
  Speaker 4: of the Basilisk that I I mean, I have like
• 26:36
  Speaker 4: no notes.
• 26:37
  Speaker 5: I think it's just so good.
• 26:38
  Speaker 4: And you know, even when we get a closer up
• 26:41
  Speaker 4: of it, you know when we see Harry like driving
• 26:44
  Speaker 4: the sort of gryffindor in and I mean.
• 26:46
  Speaker 5: It still looks real.
• 26:49
  Speaker 1: Yeah, yeah, well this is Yeah. I was just gonna say,
• 26:56
  Speaker 1: this is one of those examples of the mix between
• 26:58
  Speaker 1: CGI and the tangible because it's a puppet, so it's
• 27:04
  Speaker 1: puppetry and CGI, and it's just it's so good.
• 27:08
  Speaker 2: This was so integrated. Yeah, yeah, Like you can tell
• 27:12
  Speaker 2: when it's a puppet. When Harry kind of like he
• 27:15
  Speaker 2: goes and he stabs the Basilisk, you can tell that's
• 27:19
  Speaker 2: the animatronic. But it still looks realistic. And that's the
• 27:23
  Speaker 2: point of it. It's not about which one is the CGI,
• 27:25
  Speaker 2: which one is a you know, it's about, oh, this
• 27:28
  Speaker 2: feels like a real basilisk and you watch it today
• 27:30
  Speaker 2: and it's still holds up so so well. And I
• 27:34
  Speaker 2: was going to echo on this on Chamber of Secrets
• 27:36
  Speaker 2: because I think the Quidditch Chains compared to SORCER's Stone.
• 27:42
  Speaker 2: Because they had a lot more budget and more time.
• 27:44
  Speaker 2: One of their priorities was to make this vast improvement
• 27:48
  Speaker 2: on the visual effects, so everything was kind of rushed
• 27:51
  Speaker 2: in the first film, so they said, we want to
• 27:53
  Speaker 2: spend our time with working on this. So they worked
• 27:55
  Speaker 2: on the Basilisk, they worked on Dubby, which to me
• 27:58
  Speaker 2: still looks amazing. They improved Chamber Secrets e Quidditch scenes
• 28:03
  Speaker 2: are such a huge improvement from the first one. The
• 28:06
  Speaker 2: first one looks like PlayStation two, and the Chamber of
• 28:09
  Speaker 2: Secrets was like, wow, like this is you know, this
• 28:12
  Speaker 2: is so different and so good. And they've really you know,
• 28:16
  Speaker 2: put a lot of effort and put a lot of like, uh,
• 28:19
  Speaker 2: there's a lot of like team collective effort, put in
• 28:22
  Speaker 2: a lot more budget and a lot so I think
• 28:24
  Speaker 2: that really shows in this film.
• 28:30
  Speaker 4: I think it's impressive too that it didn't even it
• 28:32
  Speaker 4: didn't necessarily need to take a million years and a
• 28:36
  Speaker 4: million films in between. It's not like we had Sorcerer's
• 28:40
  Speaker 4: Stone level kind of imagery all the way up until
• 28:43
  Speaker 4: Order of the Phoenix. I mean it was just literally
• 28:45
  Speaker 4: the next film that you know, was not released that
• 28:48
  Speaker 4: long after, and just the improvements that they were able
• 28:51
  Speaker 4: to make and that and that short time is really impressive.
• 28:55
  Speaker 5: Yeah, yeah, you're up, Tom.
• 29:05
  Speaker 2: Okay, another small moment. Okay, Nicole, I think you have
• 29:09
  Speaker 2: your own opinion on this. I might have to rewatch
• 29:12
  Speaker 2: this scene, but I remember it as really like still
• 29:15
  Speaker 2: holding out pretty well, the brickwall opening and the brickwall
• 29:19
  Speaker 2: opening scene, which is the entrance to diagon Alley, taking
• 29:23
  Speaker 2: into acount the year this was filmed and how long
• 29:25
  Speaker 2: it's been. I think compared to a lot of the
• 29:28
  Speaker 2: visual effects from this film, it's kind of like stood
• 29:32
  Speaker 2: out a little bit more. I might maybe the four
• 29:36
  Speaker 2: K version, which is the one I watched recently, kind
• 29:39
  Speaker 2: of like I don't know if it enhances it more
• 29:41
  Speaker 2: than just colors or whatever, but I kind of have
• 29:45
  Speaker 2: that image. I might have to rewatch it, but yeah,
• 29:47
  Speaker 2: what do you think of it?
• 29:49
  Speaker 4: Yeah, it was funny because when I saw that you
• 29:52
  Speaker 4: had put this in the dock as one of the best,
• 29:54
  Speaker 4: I kind of like chuckled because I was like, man,
• 29:56
  Speaker 4: this is one of the worst for me and turns
• 29:58
  Speaker 4: off what I don't think held up. And obviously I
• 30:01
  Speaker 4: don't want to jump too much ahead because we're going
• 30:03
  Speaker 4: to talk about that next, but yeah, that's one of
• 30:05
  Speaker 4: the ones that I don't think has held up in
• 30:07
  Speaker 4: my opinion. I think that and now it could be
• 30:11
  Speaker 4: because you, yeah, maybe because you saw it and like
• 30:13
  Speaker 4: a four K remastering and that obviously can really improve.
• 30:17
  Speaker 4: But I was recently actually watching Sorcerer's Stone and that
• 30:21
  Speaker 4: scene happened, and I was like, man, that looks so.
• 30:23
  Speaker 5: Fake, and I feel like the stone just.
• 30:27
  Speaker 4: Looks kind of like fuzzy, and it just it just
• 30:31
  Speaker 4: looks so fake, Like yeah, I could just see if
• 30:36
  Speaker 4: that was remade now, like well, we'll see in the
• 30:39
  Speaker 4: TV show, you know, I think that it will look
• 30:42
  Speaker 4: so much better. And I because technology has improved so
• 30:45
  Speaker 4: much and so that they can really I think our
• 30:48
  Speaker 4: technology where it's at now will just make that look
• 30:50
  Speaker 4: so much more realistic. And I think part of it
• 30:53
  Speaker 4: is because obviously, like Hagard and Harry look so real,
• 30:56
  Speaker 4: and then diagon Alley looks so real because it's a
• 31:00
  Speaker 4: real it's not a CGI set, right, it's a practical set.
• 31:04
  Speaker 4: And then you've got this like weird CGI in the
• 31:07
  Speaker 4: middle of it, and so it just kind of I don't.
• 31:10
  Speaker 2: Know, I'm wondering this could have been done with practical effects,
• 31:14
  Speaker 2: because it doesn't seem to be that impossible to recreate
• 31:19
  Speaker 2: it or kind of like put some kind of practicality
• 31:21
  Speaker 2: to it. They could have probably pulled that off.
• 31:27
  Speaker 1: I like the movement of the bricks, like, I think
• 31:30
  Speaker 1: it's cool visually how it like rolls like that. I
• 31:35
  Speaker 1: just yeah, I feel like there's something missing and I
• 31:38
  Speaker 1: don't know what it is, Like it's almost like budget, yes,
• 31:42
  Speaker 1: budget at the time. Yeah, I just I feel like
• 31:47
  Speaker 1: it needed to be more gritty, like there needed to
• 31:49
  Speaker 1: be more like dust and more I don't know, and
• 31:53
  Speaker 1: something about the bricks that it doesn't look.
• 31:55
  Speaker 4: Like they move like I feel like in real life,
• 31:59
  Speaker 4: like bricks would be more.
• 32:00
  Speaker 5: Like, yeah, you know, like shadow kind of thing.
• 32:04
  Speaker 4: So like, yeah, I wonder, I think of when you
• 32:06
  Speaker 4: were mentioning if they could have done it practically one thing,
• 32:09
  Speaker 4: like a practical effect I love.
• 32:11
  Speaker 5: And I got to see if you've been to that, well,
• 32:12
  Speaker 5: if you've been to the Warner Brothers.
• 32:15
  Speaker 4: Studio tour in London, they have this here and they
• 32:19
  Speaker 4: will I don't know if I went when they had
• 32:20
  Speaker 4: a special event and they were modeling it.
• 32:23
  Speaker 5: But it's like the.
• 32:24
  Speaker 4: Entrance, the big door entrance to the Chamber of Secrets
• 32:28
  Speaker 4: that has the snake, Like that's not cgi they built that,
• 32:32
  Speaker 4: and that is a snake that moves along the track
• 32:34
  Speaker 4: and so that really holds up because you don't have
• 32:38
  Speaker 4: this weird snake, and so I wonder, was there a
• 32:41
  Speaker 4: way they could have done that brick wall opening that's
• 32:45
  Speaker 4: like a Pulley system or something, and all of the
• 32:48
  Speaker 4: bricks kind of, I don't know, concave into each other
• 32:52
  Speaker 4: or something that.
• 32:53
  Speaker 5: Would have helped it to hold up over time.
• 32:56
  Speaker 2: Yeah, maybe some puppetry or something like they could have.
• 32:59
  Speaker 2: I think they could pulled it out, but it's probably
• 33:02
  Speaker 2: faster the other way.
• 33:03
  Speaker 1: Yeah. What does work for it, though, is the nostalgia
• 33:06
  Speaker 1: of that moment, because I think when I watch it,
• 33:09
  Speaker 1: I'm so distracted by Yeah, the revealed that I'm not
• 33:13
  Speaker 1: so looking at the bricks as much. Yeah.
• 33:17
  Speaker 2: That's why we can be biased sometimes because we're just
• 33:20
  Speaker 2: too you know, we're just too caught up on nostalgia
• 33:23
  Speaker 2: and it's like, no, this looks perfect, and maybe someone
• 33:26
  Speaker 2: who's a little you know, more new trouble will be like,
• 33:30
  Speaker 2: are you sure about that.
• 33:33
  Speaker 1: Master piece? Yeah?
• 33:38
  Speaker 2: So yeah. So the next one I wanted to mention
• 33:40
  Speaker 2: is a Hungarian horne chase in Goblet of Fire. I
• 33:45
  Speaker 2: mentioned this earlier, but I think it's so good, so
• 33:48
  Speaker 2: well done. This. I think it's so realistic, like the
• 33:52
  Speaker 2: when Harry's flying over Hogwarts and he's going through the
• 33:55
  Speaker 2: towers and he falls down this tower and through the
• 33:59
  Speaker 2: the singles everything. Yes, it's so good. It's so good,
• 34:04
  Speaker 2: and it's so seamlessly done and incorporated, and the dragon
• 34:08
  Speaker 2: looks so detailed, and it's yeah, it doesn't look it
• 34:13
  Speaker 2: doesn't look old, it doesn't look like it belongs to
• 34:15
  Speaker 2: a twenty year old film. I think it's so good.
• 34:19
  Speaker 2: I think it's it's in Goblet of Fire, like you said, Amy,
• 34:23
  Speaker 2: like in general, it has some amazing visual effects, and
• 34:27
  Speaker 2: I think they probably knew that. They were probably saving
• 34:29
  Speaker 2: up a lot of it for that movie, because I
• 34:32
  Speaker 2: think when Goblet of Fire kit was filmed, it was
• 34:35
  Speaker 2: at that time the highest the most expensive one to
• 34:40
  Speaker 2: that date, so the one with most budget, So they
• 34:45
  Speaker 2: probably took it up a notch and just really improved
• 34:50
  Speaker 2: even further so, and you can really tell.
• 34:53
  Speaker 1: Yeah, yeah, yeah, I mean they needed to with the
• 34:57
  Speaker 1: try Wizard stuff going on, and yeah, especially the.
• 35:01
  Speaker 4: Black Lake scene in generally, I can imagine that that
• 35:04
  Speaker 4: was such a chunk of budget between it because you're
• 35:08
  Speaker 4: essentially creating this entire cgi environment and not really being
• 35:13
  Speaker 4: able to rely.
• 35:13
  Speaker 5: On anything else.
• 35:15
  Speaker 4: And right, obviously, you know Victor Crum had to have
• 35:18
  Speaker 4: that shark head, and you know, there was a lot
• 35:21
  Speaker 4: of things there yeah, that had to go into that, so.
• 35:24
  Speaker 1: Yeah, yeah, yeah. But the horntal too is also animatronic. Obviously,
• 35:32
  Speaker 1: when it's chasing Harry, that's you know, cgi but the
• 35:35
  Speaker 1: base of it's animatronic. And I think you can really
• 35:39
  Speaker 1: appreciate those moments in the film where we get that
• 35:42
  Speaker 1: full on animatronic dragon because it just it looks so real,
• 35:48
  Speaker 1: like the moments where it's in the cage in the
• 35:50
  Speaker 1: forest initially, when it's like they're in the arena before
• 35:56
  Speaker 1: it's flying, like, it's just so so realistic.
• 36:00
  Speaker 5: You know.
• 36:01
  Speaker 4: I think what really makes it look so realistic because
• 36:04
  Speaker 4: I think of someone who is, like, I'm a huge
• 36:07
  Speaker 4: Game of Thrones fan, House of the Dragon fantasy fan
• 36:11
  Speaker 4: in general, right, So I like watch a lot of
• 36:13
  Speaker 4: media that has dragons in it, and so I've seen
• 36:17
  Speaker 4: so many different ways that different films and TV shows
• 36:19
  Speaker 4: have done dragons, and I think that part of what
• 36:24
  Speaker 4: really helps it hold up in Harry Potter is yes,
• 36:29
  Speaker 4: because of that animatronic And I really feel like it
• 36:31
  Speaker 4: has to do with the face, because when you have
• 36:34
  Speaker 4: an animatronic, you've built the head the eyes. Eyes are
• 36:39
  Speaker 4: such a big thing, right, because that's where you get
• 36:42
  Speaker 4: that like Uncanny Valley thing. And when we see people
• 36:45
  Speaker 4: even try to recreate digital humans, they always look just
• 36:49
  Speaker 4: a little bit off because of the eyes versus if
• 36:52
  Speaker 4: you can build an animatronic and build an eye, a
• 36:56
  Speaker 4: glass eye that has the right kind of light reflecting
• 37:00
  Speaker 4: off of it, like there's such a craft that goes
• 37:02
  Speaker 4: into it. And I think that it's you don't realize
• 37:05
  Speaker 4: how much how important it is to like have something
• 37:09
  Speaker 4: that's practical, because you don't really think of, like, oh,
• 37:11
  Speaker 4: light reflects off of our eyes a certain way, right,
• 37:14
  Speaker 4: but it does. And so I think it's the similar
• 37:17
  Speaker 4: with the basilisk. And when we have those up close,
• 37:19
  Speaker 4: you're not looking at this computer generated image of it.
• 37:23
  Speaker 4: It looks real because humans are so talented when it
• 37:28
  Speaker 4: comes to like making props and things that they're really
• 37:31
  Speaker 4: able to make things look so real. And I think
• 37:35
  Speaker 4: that's what's missing from maybe some of these newer shows
• 37:39
  Speaker 4: that do rely.
• 37:40
  Speaker 5: On a full cgi dragon.
• 37:43
  Speaker 4: And granted they have to write like House of the
• 37:45
  Speaker 4: Dragon has like ten plus dragons, so like they can't
• 37:48
  Speaker 4: have that would be so much budget, right, And they're
• 37:54
  Speaker 4: doing their flying, they're fighting each other, like they're doing
• 37:57
  Speaker 4: all these things like they can't do that with animatronic,
• 37:59
  Speaker 4: but I think that, Yeah, that's exactly why this scene
• 38:04
  Speaker 4: looks so good.
• 38:05
  Speaker 2: Yeah, and I love and I love how the dragon
• 38:08
  Speaker 2: has like personality, like it you can see it so
• 38:11
  Speaker 2: scared when it's kind of like on the top roof,
• 38:13
  Speaker 2: like it's clutching onto the roof and it's like really
• 38:16
  Speaker 2: scared of there, like it knows it's in danger and
• 38:19
  Speaker 2: can fall, and it's like it has like you can
• 38:22
  Speaker 2: feel the fear in the dragon, which is amazing because
• 38:25
  Speaker 2: many many companies, many movies don't fail to do that,
• 38:28
  Speaker 2: but they've always, I think the Potter Phones always managed
• 38:32
  Speaker 2: to give creatures so much depth and personality. Yeah, and
• 38:36
  Speaker 2: that combination, like you sat nicle of animatronic and having
• 38:40
  Speaker 2: like real eyes and breathing out real fire and it's
• 38:44
  Speaker 2: it just adds to that realism and helps the audience
• 38:49
  Speaker 2: connect more and feel like this is a real creature.
• 38:53
  Speaker 1: Mm hmm. Yeah so good. Yeah. Yeah, So continue talking
• 39:00
  Speaker 1: about gabblet of Fire. One of my all time favorite
• 39:04
  Speaker 1: scenes is the graveyard scene because it's just there's so
• 39:09
  Speaker 1: much here that's so good. It's amazing. Ray Finds is amazing.
• 39:14
  Speaker 1: The special effects are amazing, scary. I just.
• 39:19
  Speaker 5: The part his head and just like looks.
• 39:21
  Speaker 2: Up and you're just like, all I've had nightmares with that.
• 39:25
  Speaker 4: Like literally, if I was like an actor in that scene,
• 39:28
  Speaker 4: I would I don't know if I could do like
• 39:30
  Speaker 4: I would have a moment of like, oh.
• 39:33
  Speaker 5: This is Baltimore.
• 39:35
  Speaker 2: Yeah, well, Daniel said he was terrified of Row. He
• 39:37
  Speaker 2: said he was like he like he was so into
• 39:40
  Speaker 2: his character that he was like, that's his literal reaction.
• 39:44
  Speaker 2: That's not just acting, it's his literal reaction to it.
• 39:46
  Speaker 5: And in that moment, yeah, yeah exactly.
• 39:48
  Speaker 1: Like yeah, so good. But like Baltimore's free birth specifically,
• 39:56
  Speaker 1: just the way it was done with the cauldron melting away,
• 40:00
  Speaker 1: the smoke becoming his cloak and his robes is so good.
• 40:06
  Speaker 1: Just the way it just like melts onto him is amazing.
• 40:09
  Speaker 1: It looks so realistic even now. And then just the face,
• 40:17
  Speaker 1: Like we were talking about eyes already with the animatronics, right,
• 40:21
  Speaker 1: this is one of those same kind of ideas where
• 40:24
  Speaker 1: they didn't go with the red eye because they needed
• 40:27
  Speaker 1: to have that sort of human thing left in the face,
• 40:31
  Speaker 1: so they left his eyes and just the way that
• 40:34
  Speaker 1: they did the nose and everything. They actually they were
• 40:39
  Speaker 1: talking about trying to do prosthetics, but then they realized
• 40:43
  Speaker 1: they couldn't do prosthetics because the point is you have
• 40:46
  Speaker 1: to take away part of the face. So they had
• 40:50
  Speaker 1: to like do the dots on his face and take
• 40:52
  Speaker 1: away half of it so that they could get rid
• 40:54
  Speaker 1: of the nose and do the negative space with the slits.
• 41:00
  Speaker 1: But yeah, it's so cool, and like the veins and
• 41:04
  Speaker 1: stuff on the top of the head that was like
• 41:06
  Speaker 1: almost like a temporary tattoo thing that they put on it.
• 41:10
  Speaker 1: It's just all looks so good.
• 41:12
  Speaker 2: It looks kind of like almost like alien esque when
• 41:15
  Speaker 2: he's morphing into this sort of human like he almost
• 41:19
  Speaker 2: looked like he's coming from a different planet. Yes, it's
• 41:23
  Speaker 2: so so well done, and it's so scary, and the
• 41:25
  Speaker 2: music and everything it's just so compelling. I love it.
• 41:29
  Speaker 1: Mm hmmm. Yeah, And I was I actually rewatched the
• 41:33
  Speaker 1: behind the scenes stuff from that DVD. Oh that's preparation
• 41:38
  Speaker 1: for this, because I was like, oh, I remember, that
• 41:40
  Speaker 1: was so good, and it's got like all behind the
• 41:43
  Speaker 1: scenes of him like playing with different ways of delivering
• 41:46
  Speaker 1: the lines and doing it over and over and it's
• 41:48
  Speaker 1: just all so good. But yeah, he said in the
• 41:55
  Speaker 1: behind the scenes saying Ray Fine said that it was
• 41:58
  Speaker 1: the concept art that they showed him before he accepted
• 42:03
  Speaker 1: the role. I guess they had drawn out the concept
• 42:06
  Speaker 1: art with his face in it and like how they
• 42:09
  Speaker 1: were going to morph his features in with Baltimore, and
• 42:12
  Speaker 1: he was like, yeah, that's what sold me, like just
• 42:15
  Speaker 1: seeing the visual Yah.
• 42:18
  Speaker 4: Yeah, like you said, I mean, I'm really glad actually
• 42:20
  Speaker 4: that they didn't go with the red eyes because I
• 42:23
  Speaker 4: think and also didn't go with like prosthetics because he's
• 42:28
  Speaker 4: such an emotive actor and such a good actor that
• 42:33
  Speaker 4: you know, he's that.
• 42:34
  Speaker 1: Type of actor.
• 42:35
  Speaker 5: You don't want to cover that up.
• 42:36
  Speaker 4: You want him to be able to emote with his features,
• 42:40
  Speaker 4: and if you slap prosthetics on it, you slap contact
• 42:43
  Speaker 4: contact lenses in, it could take away from that and
• 42:47
  Speaker 4: affect his ability to be able to fully.
• 42:49
  Speaker 2: Emote life, facial expressions. Everything.
• 42:54
  Speaker 1: Yeah.
• 42:54
  Speaker 4: Absolutely, Now, maybe a weaker actor, you know, you might
• 42:59
  Speaker 4: need to add something like Russ addicts because it can
• 43:01
  Speaker 4: help the performance.
• 43:03
  Speaker 5: But absolutely, yeah, we'll finds you don't. You don't need
• 43:06
  Speaker 5: that at all.
• 43:08
  Speaker 2: Perfect Baltimore.
• 43:09
  Speaker 1: Yeah, yeah, but yeah, I mean besides the rebirth, Like,
• 43:15
  Speaker 1: this scene in general has a lot of really great
• 43:18
  Speaker 1: special effects moments. I feel like the tombstone, how it
• 43:22
  Speaker 1: like snaps into place to hold Harry, it's really good.
• 43:28
  Speaker 1: The Death Eaters being summoned and like appearing out of
• 43:32
  Speaker 1: the sky like, that's a good one. Priori and Cantatam
• 43:36
  Speaker 1: in general, in my opinion, I feel like it still
• 43:39
  Speaker 1: holds up really well, just the way they did the
• 43:42
  Speaker 1: wanes connecting, just the imagery of how they made that work,
• 43:47
  Speaker 1: was showing the magic going between the wands, the way
• 43:53
  Speaker 1: that all of like the ghostly figures appear like they
• 43:56
  Speaker 1: don't look hokey, like they're not like. I like that
• 44:02
  Speaker 1: they made them more like misty and stuff rather than
• 44:05
  Speaker 1: like fully formed and just like a transparent person, because
• 44:09
  Speaker 1: I feel like that would have just looked silly. Like
• 44:11
  Speaker 1: I think a lot of the artistic choices here just
• 44:14
  Speaker 1: really held up very well throughout the years.
• 44:18
  Speaker 2: Yeah, and also the misty feel, it kind of makes
• 44:22
  Speaker 2: it more apparent that it's coming from the want. It's
• 44:25
  Speaker 2: not like they're appearing from somewhere else. You can tell.
• 44:27
  Speaker 2: It's all part of that aura that's informed. So yeah,
• 44:31
  Speaker 2: I completely agree with that, I think it's such a
• 44:33
  Speaker 2: good choice. And also when you watch the VFX breakdown
• 44:37
  Speaker 2: of that scene, the layers and everything that's put onto it,
• 44:41
  Speaker 2: you're like, wow, man, this takes weeks and months and
• 44:44
  Speaker 2: months and it's such an incredible amount of work and hours,
• 44:50
  Speaker 2: and just yeah, it's a beautiful. It's beautiful, and it's
• 44:54
  Speaker 2: a beautiful sequence too, you know, it's I think, well,
• 44:58
  Speaker 2: obviously the music helps a lot the acting. You're kind
• 45:03
  Speaker 2: of like at the edge of your seat, and that's
• 45:05
  Speaker 2: you know, that's because of how good the visual effects were.
• 45:09
  Speaker 1: M Yeah, yeah, I know we mentioned the second task
• 45:19
  Speaker 1: a little bit earlier, but that whole underwater sequence and
• 45:23
  Speaker 1: the murder people and everything, that's all really really really
• 45:26
  Speaker 1: good too. Like just I feel like the direction they
• 45:32
  Speaker 1: went with the murdor people works because it's so out there,
• 45:37
  Speaker 1: like I think it probably would look a little bit
• 45:41
  Speaker 1: worse if it was like an actual murder people that
• 45:45
  Speaker 1: would look weird like how we picture them. And then
• 45:50
  Speaker 1: just like just the nature of how they filmed it
• 45:53
  Speaker 1: with the tank and having the actors underwater like it
• 45:56
  Speaker 1: just it just looks really good instead of like having
• 46:01
  Speaker 1: them just there with like the the green cap on
• 46:06
  Speaker 1: and then like CGI, their hair later floating like no,
• 46:09
  Speaker 1: it's like actually floating in the water and you can
• 46:12
  Speaker 1: tell and it looks really good.
• 46:15
  Speaker 2: Yeah.
• 46:15
  Speaker 4: I think that's something that's hard to recreate, is like
• 46:17
  Speaker 4: the hair flowing in the water, and it's like I
• 46:20
  Speaker 4: feel like, you know, in a lot of movies and
• 46:22
  Speaker 4: stuff do utilize that where they do film in the
• 46:25
  Speaker 4: tank so that you can get that true effect. Because
• 46:29
  Speaker 4: I think of so another film, another underwater film that
• 46:33
  Speaker 4: I do like, but is like Aquaman, right, so that's
• 46:37
  Speaker 4: that's also a thing that's completely underwater, but you can
• 46:41
  Speaker 4: tell when it's more like we're cgiing you to look underwater,
• 46:46
  Speaker 4: like you can just tell.
• 46:49
  Speaker 2: Happened with the Little Mermaid too.
• 46:51
  Speaker 1: I was just thinking that that's kind of what I
• 46:54
  Speaker 1: was picturing when I'm thinking of the Green swim cap
• 46:57
  Speaker 1: because like, I love that film, you can tell CGI
• 47:03
  Speaker 1: it's not.
• 47:04
  Speaker 7: Yeah.
• 47:04
  Speaker 4: Well, I think that what's hard, is right, is when
• 47:07
  Speaker 4: you have films like the live action Little Mermaid or Aquaman,
• 47:11
  Speaker 4: or films where the majority of the film is spent underwater,
• 47:16
  Speaker 4: you just logistically and practically can't have your actors like
• 47:20
  Speaker 4: underwater for that long. You know, so it's like, I
• 47:22
  Speaker 4: feel like these movies or TV shows that have scenes
• 47:27
  Speaker 4: underwater versus the whole thing needing to be underwater always
• 47:31
  Speaker 4: turn out better because you can stick them underwater. But
• 47:36
  Speaker 4: also though kind of to bring back in Avatar way
• 47:39
  Speaker 4: of water, and they did film a lot underwater for that,
• 47:46
  Speaker 4: and actually one thing that really came out with that
• 47:48
  Speaker 4: film was how much breath work and training that those
• 47:52
  Speaker 4: actors and actresses did to be able to film that.
• 47:55
  Speaker 4: And so that is also where you have a film
• 47:59
  Speaker 4: that's pretty much all cgi right, like they're wearing the
• 48:03
  Speaker 4: suits with all the dots and everything, but it's kind
• 48:06
  Speaker 4: of like almost this mix of a practical effect being
• 48:09
  Speaker 4: the practical effect being the human like the actor. But
• 48:13
  Speaker 4: even then it looks better because as much as possible,
• 48:16
  Speaker 4: they tried to film these actor and actresses when they
• 48:19
  Speaker 4: were in water because they knew it would just look better,
• 48:23
  Speaker 4: and it does.
• 48:24
  Speaker 1: Yeah.
• 48:24
  Speaker 2: Yeah, Well, just this fun fact, Daniel spent forty one
• 48:29
  Speaker 2: hours and thirty eight minutes underwater and the sequence was
• 48:32
  Speaker 2: filmed in over three weeks. So he had like this
• 48:36
  Speaker 2: little list, little folder, this little glog of the amount
• 48:39
  Speaker 2: of hours that he spent in underwater and just for
• 48:42
  Speaker 2: these how many minutes is this film because it's not
• 48:46
  Speaker 2: like some of it is CGI. Yeah, and there are
• 48:49
  Speaker 2: there ares where you can tell not even like not
• 48:52
  Speaker 2: even even yeah, because some of the some of the
• 48:56
  Speaker 2: sequences is actually CGI Harry where you can tell kind
• 48:59
  Speaker 2: of like when swimming on the more panoramic shots. But
• 49:04
  Speaker 2: just for those minutes, probably four or five minutes of
• 49:07
  Speaker 2: screen time, three weeks forty one hours is a lot.
• 49:11
  Speaker 2: So if you have to make like a film like
• 49:13
  Speaker 2: The Little Mermaid, which is kind of like almost like
• 49:15
  Speaker 2: sixty or seventy percent underwater, obviously, like you said, Nicole,
• 49:19
  Speaker 2: it's just logistics and makes more sense to making CGI
• 49:22
  Speaker 2: and work around that rather than making your actors go
• 49:27
  Speaker 2: underwater for five months or something.
• 49:30
  Speaker 1: Yeah.
• 49:31
  Speaker 2: So another sequence I think has aged really well is
• 49:36
  Speaker 2: a Dumbledore versus Voldemort duel and Order of the Phoenix
• 49:40
  Speaker 2: is also one of my favorite all time like one
• 49:43
  Speaker 2: battle sequence as scenes just the way it's carried out.
• 49:48
  Speaker 2: It's so beautifully done in the way like the tiles
• 49:55
  Speaker 2: exploding around Harry and all of these you know, the water,
• 49:59
  Speaker 2: the fan in Baltimore kind of like in this kind
• 50:02
  Speaker 2: of like huge water bubble, everything is happening, so like
• 50:09
  Speaker 2: one after the other, one after the other. It's so good.
• 50:11
  Speaker 2: It's the best scene in the film. And it looks
• 50:15
  Speaker 2: so well up to this day, like and there's so
• 50:18
  Speaker 2: much going on just in that probably it lasts for
• 50:21
  Speaker 2: about a minute and a half or two minutes, and
• 50:24
  Speaker 2: there's just so much that went on it. And I
• 50:27
  Speaker 2: think it's amazing. I think it's Yeah.
• 50:30
  Speaker 1: Yeah, I agree, Yeah, looks so good.
• 50:34
  Speaker 2: Yeah. Yeah. So another one I mentioned, well, Dobby, we
• 50:43
  Speaker 2: already mentioned Dobby even in Chamber of Secrets. He looked
• 50:48
  Speaker 2: you can tell it's it's a little aged now, like
• 50:51
  Speaker 2: you can tell it's not new, but it's still you know,
• 50:55
  Speaker 2: it's still kind of like looks good. You can tell
• 50:59
  Speaker 2: it's so far of like this improvement they did in
• 51:02
  Speaker 2: Chamber of Secrets. Maybe they had done w with sorcers
• 51:05
  Speaker 2: Stone budget, who knows what we would have gotten. So
• 51:09
  Speaker 2: I think it's a good one. And yeah, and what
• 51:14
  Speaker 2: else can I think of Buck Peak's flight? That scene
• 51:21
  Speaker 2: again makes practical. So you have the head and you
• 51:25
  Speaker 2: have the CGI model and him flying across the Black
• 51:31
  Speaker 2: Lake and around the castle, the real because which is
• 51:35
  Speaker 2: a real model, and you so it's so beautifully merged together.
• 51:41
  Speaker 2: And again I always mentioned the music, but the music
• 51:44
  Speaker 2: just makes it so much more epic as well. But
• 51:46
  Speaker 2: it's such a beautiful scene, so well put together.
• 51:51
  Speaker 1: And I feel like too, like when you have these
• 51:54
  Speaker 1: practical elements of the creatures, it helps so much with
• 51:58
  Speaker 1: the actor performance, Like you can just tell when they
• 52:01
  Speaker 1: actually have something to interact with versus when they don't.
• 52:05
  Speaker 1: And buck Beak is just such a good one, Like
• 52:08
  Speaker 1: it just feels that much more realistic and feels like
• 52:11
  Speaker 1: it's part of the scene from the beginning because it
• 52:14
  Speaker 1: was while they were filming.
• 52:16
  Speaker 2: Not like the sack of Flower for the Niffler.
• 52:19
  Speaker 4: Yeah, well, I think having seen like, you know, the
• 52:27
  Speaker 4: buck Beak animatronic in person, like, it does look very real.
• 52:33
  Speaker 4: Like you know, obviously you know it's an animatronic, but
• 52:36
  Speaker 4: because of its movements, but it does look it does
• 52:39
  Speaker 4: look very real. And I know a lot of people
• 52:41
  Speaker 4: do like to kind of have commentary about this scene
• 52:45
  Speaker 4: because thinking that, you know, Harry's having a little bit
• 52:48
  Speaker 4: of a Jack from Titanic moment of you know, the
• 52:51
  Speaker 4: King of the World. But I still like it and
• 52:55
  Speaker 4: I'm glad that Dan played it that way, even if
• 52:59
  Speaker 4: it is reminis of that, if I was flying on
• 53:03
  Speaker 4: a hippogriff, I probably would do the same.
• 53:06
  Speaker 2: Yeah. Yeah, it's all kind of a reflection of him
• 53:10
  Speaker 2: entering puberty and during his teenage years. You know, he's
• 53:14
  Speaker 2: kind of a little bit more i know, bold, like
• 53:18
  Speaker 2: kind of more free spirit. He's kind of like letting
• 53:21
  Speaker 2: loose now. So it's just beautiful. And another scene I
• 53:28
  Speaker 2: want to mention is the whole of the Courtyard apocalypse
• 53:31
  Speaker 2: scene and Deathly Hollows. It's so well crafted. There's so
• 53:37
  Speaker 2: much going on. There's a lot more cgi than there
• 53:39
  Speaker 2: would have been in earlier films because again, we have
• 53:42
  Speaker 2: this three D model of the castle, so they're now
• 53:46
  Speaker 2: interacting with this three D space where they put real
• 53:50
  Speaker 2: people against a green screen or blue screen, and it's
• 53:54
  Speaker 2: so well done, Like there's so much going on, and
• 53:56
  Speaker 2: you got giants, you got spiders, you got hundreds of
• 54:00
  Speaker 2: spells being cast and curses, and just feels so real,
• 54:06
  Speaker 2: and it's amazing because it was all filmed, Like of
• 54:10
  Speaker 2: course the courtyard was real, but how it manages to
• 54:13
  Speaker 2: kind of like incorporate these elements together and kind of
• 54:18
  Speaker 2: like seamlessly transition one into the other is so well done,
• 54:24
  Speaker 2: and I think it's an epic scene and it's you
• 54:27
  Speaker 2: can tell how much budget they had, you can tell
• 54:29
  Speaker 2: how much they wanted to, you know, end with a bang.
• 54:31
  Speaker 2: They wanted to do the best they could, and I
• 54:35
  Speaker 2: think they nailed it, and it still looks incredible to
• 54:37
  Speaker 2: this day.
• 54:38
  Speaker 1: It all ends here, yep. I gotta live up to it.
• 54:43
  Speaker 2: Yeah, yeah.
• 54:48
  Speaker 1: One that I also thought of is just Robbie Coltrane's size.
• 54:55
  Speaker 1: He always looks so good and like natural, and the
• 54:57
  Speaker 1: scale never seems weird or like forced. Like I feel
• 55:02
  Speaker 1: like that's one that we kind of take for granted
• 55:04
  Speaker 1: because it's not so flashy, you know, but it's one
• 55:07
  Speaker 1: of those things that is very good and just constant
• 55:11
  Speaker 1: throughout the films. It doesn't come off as like weird
• 55:17
  Speaker 1: and like cartoonish, like it looks like that's the size
• 55:21
  Speaker 1: he's supposed to be mm hm.
• 55:24
  Speaker 2: And again lots of practical effects, probably entirely practical. There
• 55:27
  Speaker 2: was he had an animatronic mask, so who doubled I
• 55:33
  Speaker 2: don't know the name of the person who doubled Robbie,
• 55:36
  Speaker 2: but he would put on this mask which had some
• 55:39
  Speaker 2: like movements, and he would you know, raise his eyes
• 55:42
  Speaker 2: or open his mouth or something. And yeah, like you said,
• 55:45
  Speaker 2: it looks so realistic. You never ever, you know, question
• 55:49
  Speaker 2: whether he's a giant or not. You never say this
• 55:52
  Speaker 2: looks spishy, this looks weird, this looks it's perfectly done.
• 55:57
  Speaker 4: It's like in reverse when you actually see real pictures
• 56:00
  Speaker 4: of like Robbie Coltrane or anything, you're kind of like, wait, what.
• 56:04
  Speaker 5: Expect him to be like hagrid size.
• 56:07
  Speaker 1: He's a normal sized man. This is so weird. Yeah.
• 56:14
  Speaker 1: And just the Dementors too, that's another one for me.
• 56:17
  Speaker 1: They're still so creepy.
• 56:20
  Speaker 2: Yeah. Which I have a question for you both, like
• 56:23
  Speaker 2: which is which version of the dementor do you prefer?
• 56:26
  Speaker 2: Do you prefer the one from Prisoner of Azkaban and
• 56:29
  Speaker 2: the one from Order Phoenix onward?
• 56:32
  Speaker 1: I like the Prisoner of ask Man ones.
• 56:34
  Speaker 2: Yes, yes, yes, agreed. Yeah, they're much spookier. They look
• 56:39
  Speaker 2: a lot more real too.
• 56:42
  Speaker 1: Yeah. Yeah, there's more mystery I think in the additional
• 56:48
  Speaker 1: fabric as opposed to the later ones that are just
• 56:55
  Speaker 1: just like shrunken skeletons. Basically, it's like a skin soup.
• 56:59
  Speaker 4: Yeah yeah, yeah, yeah, yeah.
• 57:03
  Speaker 2: I was so disappointed when I saw that they had
• 57:05
  Speaker 2: changed the design of the de Mentors when or the
• 57:08
  Speaker 2: Phoenix came out, I was like, what, don't Ruin, what's perfect? Like,
• 57:11
  Speaker 2: don't you know? But yeah, yeah.
• 57:19
  Speaker 4: And then like one of the last ones we had
• 57:21
  Speaker 4: on the list that we wanted to mention is one
• 57:24
  Speaker 4: that I thought of, which is Lupin's were wolf transformation scene.
• 57:29
  Speaker 4: So this is a scene that I still love, and
• 57:31
  Speaker 4: I think that it holds up and it very easily
• 57:35
  Speaker 4: could not hold up because of just everything that goes
• 57:39
  Speaker 4: into what you have to do to create that. And
• 57:43
  Speaker 4: I think that I rewatched it actually last night and
• 57:48
  Speaker 4: I was just like, man, this scene just looks so
• 57:49
  Speaker 4: good and it I don't know, it just looks so
• 57:53
  Speaker 4: real to me, Like it just looks so real, and
• 57:56
  Speaker 4: even just the effects of Lupin as a were wolf
• 58:00
  Speaker 4: and all of that. And again, this is where we
• 58:03
  Speaker 4: bring in some practical and the CGI. So of course,
• 58:07
  Speaker 4: you know, the theme of this episode is we love
• 58:09
  Speaker 4: when there's practical fact added because it's gonna make it
• 58:12
  Speaker 4: look good. But again, it's just another example of why.
• 58:17
  Speaker 2: It's unofficial to do that. So it's like a horror
• 58:20
  Speaker 2: film when he's transforming almost like, yeah, you know, it's
• 58:23
  Speaker 2: kind of terrifying to see him the pupils.
• 58:29
  Speaker 1: Oh, that's so good. And like how many where wild
• 58:32
  Speaker 1: transformations have we seen over the years in movies? So many,
• 58:37
  Speaker 1: But for some reason, this one is just still so good.
• 58:40
  Speaker 2: Yeah.
• 58:41
  Speaker 4: I thin because sometimes like they can get kind of comical,
• 58:47
  Speaker 4: and this one wasn't. Yeah, like you said, Tom, this
• 58:50
  Speaker 4: is like straight up like a horror film. And I
• 58:52
  Speaker 4: think that it's it's just everything about it. I think
• 58:56
  Speaker 4: it's it's the I think a lot of it is
• 59:00
  Speaker 4: David Thulis, and like his acting at the beginning, and
• 59:03
  Speaker 4: like you said, the attention to detail of dilating the
• 59:05
  Speaker 4: pupils and then his eyes color changing and even the
• 59:09
  Speaker 4: like panting.
• 59:10
  Speaker 5: Like turning into like a dog like creature.
• 59:13
  Speaker 4: Yeah, just the sound design, just literally everything about it,
• 59:19
  Speaker 4: I think just is what makes it seem so real.
• 59:23
  Speaker 5: And I think that, you.
• 59:26
  Speaker 4: Know, even the way they decided to design the were
• 59:29
  Speaker 4: wolves in this universe, which is obviously so different than
• 59:32
  Speaker 4: like a classic were wolf when you think of it,
• 59:36
  Speaker 4: I think worked so well. And yeah, even just even
• 59:41
  Speaker 4: when his face is transforming and kind of transforming into
• 59:44
  Speaker 4: like the snout, like it doesn't ever look like I
• 59:49
  Speaker 4: don't know, I don't even feel like you have to
• 59:50
  Speaker 4: suspend your disbelief.
• 59:51
  Speaker 5: Like it looks real. It just it looks real.
• 59:55
  Speaker 2: And the backdrop, the moon and the whole, like the
• 59:58
  Speaker 2: whole like atmosphere is still so realistic. And I think
• 1:00:02
  Speaker 2: that was just a painting they had. It wasn't even
• 1:00:05
  Speaker 2: green screen. It was like a painting of the moon
• 1:00:07
  Speaker 2: and the mountains and it was still like, it looks
• 1:00:09
  Speaker 2: so realistic still to this day, so well done. So
• 1:00:13
  Speaker 2: we'll put together Yeah what that scene too? Yeah, so good.
• 1:00:20
  Speaker 1: Now that we've talked about a lot of the ones
• 1:00:23
  Speaker 1: that still really hold up and we love, let's bring
• 1:00:27
  Speaker 1: up some of those ones that ooh, not so much
• 1:00:31
  Speaker 1: look a little bit outdated now.
• 1:00:35
  Speaker 4: Yeah, So similarly to like when you think of the
• 1:00:37
  Speaker 4: good ones, and I immediately think of the basket as
• 1:00:40
  Speaker 4: when we think of the bad ones, I immediately think
• 1:00:42
  Speaker 4: of the flying Lesson scene and Sorcerers Stone with Neville
• 1:00:47
  Speaker 4: and yeah, I mean I don't even need to say
• 1:00:51
  Speaker 4: anything more about it. I think everyone knows exactly what
• 1:00:53
  Speaker 4: I'm talking about. Yeah, and unfortunately there's some close up
• 1:00:59
  Speaker 4: shots of the end, so you can really tell all
• 1:01:02
  Speaker 4: that it is CGI, and yeah, that does not hold
• 1:01:07
  Speaker 4: up at all.
• 1:01:09
  Speaker 2: Yeah, yeah, it's so easy to tell that it's CGI. Like,
• 1:01:14
  Speaker 2: like I said, like any quidditch scene from Sorcerer's Stone,
• 1:01:17
  Speaker 2: Like you can see some of the close ups of
• 1:01:18
  Speaker 2: the players and they're literally PlayStation two characters. They don't
• 1:01:23
  Speaker 2: even like even the movements sound like they're so unrealistic
• 1:01:27
  Speaker 2: and the faces are so computer generated. And the same
• 1:01:31
  Speaker 2: thing happens with Neville, like you saidecle when they get
• 1:01:33
  Speaker 2: those close ups. The only real thing is when he
• 1:01:36
  Speaker 2: falls off the you know, the fire how do you
• 1:01:41
  Speaker 2: call that the his cloak is hanging from the fireplace,
• 1:01:46
  Speaker 2: the fire.
• 1:01:47
  Speaker 1: The like it's like a torch or something, right, yeah,
• 1:01:52
  Speaker 1: they call the holder.
• 1:01:54
  Speaker 2: But yeah, yeah, and that part is CG. But when
• 1:01:58
  Speaker 2: he falls, like it kind of like goes back into
• 1:02:01
  Speaker 2: like real practical like it.
• 1:02:04
  Speaker 1: Looks good.
• 1:02:06
  Speaker 2: No, it's not good at all.
• 1:02:08
  Speaker 4: Just like it looks like yeah, PlayStation two character.
• 1:02:13
  Speaker 1: It's just not how objects actually move.
• 1:02:20
  Speaker 2: Speaking of sorcers Stone, we also have Fluffy, which we
• 1:02:24
  Speaker 2: all love Fluffy, but you know, we know he it
• 1:02:27
  Speaker 2: hasn't aged. The best way you can tell, it's very
• 1:02:31
  Speaker 2: easy to tell. It's very CGI. Probably when we saw
• 1:02:35
  Speaker 2: it the first time in theaters, we were like, wow,
• 1:02:38
  Speaker 2: this is like the movie did seem amazing when it
• 1:02:41
  Speaker 2: there's a reason why it was so popular, but the
• 1:02:44
  Speaker 2: fact that they could have done something better at this time, yeah,
• 1:02:49
  Speaker 2: Like you you can tell the I think when they
• 1:02:52
  Speaker 2: move the paw, I think the paw is probably practical,
• 1:02:55
  Speaker 2: I'm not sure, but the heads it's very like it. Yeah,
• 1:03:01
  Speaker 2: you can tell. It's kind of like maybe not PlayStation two,
• 1:03:04
  Speaker 2: but somewhere in between PlayStation two PlayStation three. It's yeah,
• 1:03:09
  Speaker 2: not that good.
• 1:03:10
  Speaker 1: The CGI dog combined with that, now everyone look this
• 1:03:14
  Speaker 1: way and scream at the exact same.
• 1:03:17
  Speaker 2: Time, you're like, yeah.
• 1:03:22
  Speaker 1: It's important.
• 1:03:23
  Speaker 3: Well.
• 1:03:23
  Speaker 4: I think the other problem too is kind of like
• 1:03:25
  Speaker 4: we were talking about earlier, is like, I mean I
• 1:03:28
  Speaker 4: really noticed it, like in their eyes, like in that
• 1:03:31
  Speaker 4: close up of their face, and it's just yeah, it
• 1:03:35
  Speaker 4: just looks. And unfortunately it's a situation where you have
• 1:03:39
  Speaker 4: to have this close up shot like of them. So
• 1:03:42
  Speaker 4: the closer you are it's gonna look It's like with
• 1:03:45
  Speaker 4: the quidditch thing, right, If they just keep it far back,
• 1:03:48
  Speaker 4: it looks okay, But the second they have to kind
• 1:03:51
  Speaker 4: of get a little bit closer as when you're like, oh,
• 1:03:53
  Speaker 4: I can tell that that's a fake. And yeah, so
• 1:03:56
  Speaker 4: I think you have to be so careful when you're
• 1:03:58
  Speaker 4: doing a computer generated menage that you have to have
• 1:04:01
  Speaker 4: that close up for because people are looking right at
• 1:04:05
  Speaker 4: that computer generated image.
• 1:04:07
  Speaker 7: Yeah.
• 1:04:07
  Speaker 4: And I think especially now, we're so used to seeing
• 1:04:10
  Speaker 4: computer generated images, so we immediately are going to notice
• 1:04:16
  Speaker 4: that earlier technology because we've we've just at this point
• 1:04:19
  Speaker 4: we've seen so much better.
• 1:04:25
  Speaker 5: Yeah.
• 1:04:25
  Speaker 2: Yeah, yeah. We also have in the same vein like
• 1:04:29
  Speaker 2: the Mountain troll from Halloween CGI Harry as well, when
• 1:04:33
  Speaker 2: he's mounting the when he's on top of the you know,
• 1:04:36
  Speaker 2: and he's hanging upside down, it looks so it's it's
• 1:04:39
  Speaker 2: almost cringey to look out because it's aged so bad
• 1:04:43
  Speaker 2: and it's not so much I mean, it's not so
• 1:04:46
  Speaker 2: much on the troll, it's not good, but Harry CGI
• 1:04:48
  Speaker 2: Harry in that scene. God, it's it's like they ran
• 1:04:52
  Speaker 2: out of budget at that at that moment, I don't know,
• 1:04:56
  Speaker 2: they probably spent everything on you know, paying the actors
• 1:04:59
  Speaker 2: and doing the Hogwarts model or something, because you can
• 1:05:02
  Speaker 2: tell that they were on a really like you know,
• 1:05:06
  Speaker 2: a very tight budget at that time. But yeah, that's no.
• 1:05:12
  Speaker 1: Every time we think of this scene, my friends and
• 1:05:16
  Speaker 1: I we took my mom's camcorder and we tried to
• 1:05:22
  Speaker 1: do a recreation of the Sorcerers of Stone film. This
• 1:05:26
  Speaker 1: scene in particular, I always remember because we did the
• 1:05:29
  Speaker 1: best special effects ever. Someone stood in the shower so
• 1:05:35
  Speaker 1: that when the troll raises the club, this hand pops
• 1:05:39
  Speaker 1: up from the shower to hold the club. I'm just
• 1:05:45
  Speaker 1: where the shower curtain drops the club.
• 1:05:51
  Speaker 2: Hey, it's probably better than the one in the film. Yeah,
• 1:05:57
  Speaker 2: we'd love to see it.
• 1:05:59
  Speaker 1: For a platform.
• 1:06:00
  Speaker 3: Out of threecorders, we couldn't edit, so mind you were
• 1:06:03
  Speaker 3: doing all of these, Like as we're recording, we all
• 1:06:08
  Speaker 3: walked at the pantry doors in the kitchen, and then
• 1:06:12
  Speaker 3: we stopped recording when the person got to the door.
• 1:06:14
  Speaker 1: Had them run away, and then recorded with them not there.
• 1:06:21
  Speaker 1: Oh I had to find that tape someday.
• 1:06:24
  Speaker 2: Yeah. Please, we'd love to watch it.
• 1:06:28
  Speaker 1: It's comedy gold.
• 1:06:32
  Speaker 5: That's funny.
• 1:06:35
  Speaker 1: So it could be worse, is what I'm saying.
• 1:06:37
  Speaker 3: Yeah, it could be a bunch of ten year olds.
• 1:06:43
  Speaker 4: I mean, I would hope that a big budget fell
• 1:06:46
  Speaker 4: wouldn't need to.
• 1:06:49
  Speaker 5: Do those things.
• 1:06:51
  Speaker 6: Oh my gosh, yeah, yeah, what else?
• 1:07:05
  Speaker 2: So I don't know why this isn't red. I didn't.
• 1:07:07
  Speaker 2: I didn't put serious animagus for him. Oh huh, did
• 1:07:12
  Speaker 2: any of you?
• 1:07:13
  Speaker 7: Mm hmmm.
• 1:07:14
  Speaker 5: I think it looks pretty good. I saw that there.
• 1:07:16
  Speaker 5: I was like, hm, I'm curious what Tom has to
• 1:07:18
  Speaker 5: say about that.
• 1:07:19
  Speaker 2: Yeah, I don't I don't remember putting that.
• 1:07:22
  Speaker 5: I think he looks pretty good at the dog.
• 1:07:26
  Speaker 2: I mean I think no, I think now, I probably
• 1:07:29
  Speaker 2: when he's chasing after Ron and he's grabbing him by.
• 1:07:33
  Speaker 5: The there's with something with the head. There is a
• 1:07:36
  Speaker 5: moment there ye again that Yeah, it's that close up.
• 1:07:41
  Speaker 4: On his head and it looks a little uncanny, like yeah,
• 1:07:45
  Speaker 4: in the.
• 1:07:45
  Speaker 2: Act, but then you have the battle between the the
• 1:07:49
  Speaker 2: werewolf and serious as an Anaga look looks so good.
• 1:07:55
  Speaker 2: So I think there was something in that little scene
• 1:07:57
  Speaker 2: when it first pops up and it's such a pivotal
• 1:08:00
  Speaker 2: important scene that I'm like, uh, like it's not bad,
• 1:08:04
  Speaker 2: but like it's in the same movie. You get the
• 1:08:07
  Speaker 2: same dog and it looks a lot better. So there
• 1:08:12
  Speaker 2: was something there that kind of.
• 1:08:13
  Speaker 4: Like I wonder if it had to do with the
• 1:08:16
  Speaker 4: way they had to animate, you know, him in the
• 1:08:21
  Speaker 4: dog form, like holding on to Ron and dragging Ron,
• 1:08:26
  Speaker 4: but like Ron was real, and so you're like having
• 1:08:29
  Speaker 4: to add the CGI thing grabbing and pulling it. Yeah,
• 1:08:33
  Speaker 4: and so then just something got a little masked up,
• 1:08:36
  Speaker 4: because yeah, I think any other time we see him
• 1:08:38
  Speaker 4: in dog form, I think he looks really great. Yeah,
• 1:08:41
  Speaker 4: even Order of the Phoenix, like every other time. But
• 1:08:43
  Speaker 4: I do know exactly what you're talking about.
• 1:08:45
  Speaker 2: Yeah, So it's not it's not so much about his
• 1:08:47
  Speaker 2: animagus form. It's about that that moment when we first
• 1:08:52
  Speaker 2: when we were first introduced to the actual to the
• 1:08:56
  Speaker 2: actual creature, that kind of like feels a little kind
• 1:09:00
  Speaker 2: of like you know. And in the same scene, we
• 1:09:03
  Speaker 2: have some green screen backdrops, mostly during the womping willow sequence,
• 1:09:08
  Speaker 2: which is also when the dog appears and they have
• 1:09:11
  Speaker 2: to they have to kind of like dodge the dog,
• 1:09:16
  Speaker 2: so they kind of like and it's a little weird,
• 1:09:19
  Speaker 2: like you can tell there's kind of like some green
• 1:09:22
  Speaker 2: screen going on the close up shots. There is something
• 1:09:26
  Speaker 2: about that scene that I think was probably either rushed
• 1:09:30
  Speaker 2: or like you said, Nicole, maybe there was a lot
• 1:09:32
  Speaker 2: of things that they had to like make work together,
• 1:09:36
  Speaker 2: and it was a little you know, like it was
• 1:09:38
  Speaker 2: a little difficult to achieve it in a seamless way,
• 1:09:41
  Speaker 2: so that was probably the best way around it. But yeah,
• 1:09:45
  Speaker 2: there's something that kind of screams like green screen alert
• 1:09:49
  Speaker 2: in that in that particular scene.
• 1:09:52
  Speaker 1: Yeah.
• 1:09:54
  Speaker 4: Yeah, and I had kind of like noted just like
• 1:09:58
  Speaker 4: the whole scene, what like Hermione kind of being in
• 1:10:01
  Speaker 4: the womping willow and being tossed around, and it like
• 1:10:04
  Speaker 4: it kind of goes from some sometimes it looks really
• 1:10:08
  Speaker 4: great and then all of a sudden it doesn't. And
• 1:10:10
  Speaker 4: it's usually when we have those close up face shots
• 1:10:12
  Speaker 4: where it doesn't. And I think that in these scenes
• 1:10:15
  Speaker 4: where you have CGI that looks really good and then
• 1:10:18
  Speaker 4: all of a sudden there is something that happens that
• 1:10:21
  Speaker 4: doesn't look so good, that's what makes it stand stand out,
• 1:10:24
  Speaker 4: is because it did look great, but then now you've
• 1:10:27
  Speaker 4: done something right where you've had to use your CGI
• 1:10:30
  Speaker 4: thing to act on your practical thing, and then it
• 1:10:33
  Speaker 4: kind of just that moment takes you out of it
• 1:10:37
  Speaker 4: looking right.
• 1:10:38
  Speaker 5: It's like you almost just need to not do the
• 1:10:41
  Speaker 5: close up.
• 1:10:41
  Speaker 4: You need to just keep it far back because that's
• 1:10:43
  Speaker 4: when it looks okay, but I understand why you need
• 1:10:46
  Speaker 4: to do the close up, but it just takes you
• 1:10:48
  Speaker 4: out of the moment. But I think that's something that
• 1:10:51
  Speaker 4: has improved with technology, and that's exactly why it's in
• 1:10:55
  Speaker 4: our list of it not standing up, because it's really
• 1:10:58
  Speaker 4: what you could do with the techechnology of the time. Now,
• 1:11:01
  Speaker 4: if they're recreating it, like if we have a recreation
• 1:11:04
  Speaker 4: of this scene and the TV show, I'm sure it'll
• 1:11:07
  Speaker 4: actually look like loads better.
• 1:11:09
  Speaker 2: Yeah, we're talking twenty two or maybe twenty five years
• 1:11:14
  Speaker 2: down the road.
• 1:11:15
  Speaker 5: So thanks for how many years?
• 1:11:18
  Speaker 2: Yeah?
• 1:11:21
  Speaker 5: Yeah, but I feel like it was just yesterday.
• 1:11:23
  Speaker 4: Like technology has advanced since Prisoner of Azkaban, Like, well,
• 1:11:27
  Speaker 4: of course it has.
• 1:11:27
  Speaker 5: It's been over twenty years.
• 1:11:30
  Speaker 2: But I think Prisoner of Azkaben is a whole century.
• 1:11:32
  Speaker 2: It has a lot of that practical effect element to
• 1:11:36
  Speaker 2: it which none of the other movies have, and it's
• 1:11:40
  Speaker 2: very interesting how they played with it and kind of
• 1:11:42
  Speaker 2: try to migrate these two different ways of conveying something,
• 1:11:50
  Speaker 2: and this is one of them, like one of the scenes.
• 1:11:53
  Speaker 2: But at the same time, the womping willow looks great. Yeah,
• 1:11:57
  Speaker 2: So it's it's like little like said, like small close
• 1:12:01
  Speaker 2: ups things that they could have probably found another way
• 1:12:05
  Speaker 2: around it and make it look a lot more realistic.
• 1:12:09
  Speaker 2: But yeah, I mean it's not a bad scene by
• 1:12:11
  Speaker 2: any means, but there's you can tell there's a lot
• 1:12:13
  Speaker 2: of post mm hm yeah.
• 1:12:17
  Speaker 1: Yeah.
• 1:12:17
  Speaker 4: I think that that's the problem too, is the like
• 1:12:20
  Speaker 4: you're like, the womping willow does look great and that
• 1:12:23
  Speaker 4: and I don't have any notes really on it, but
• 1:12:25
  Speaker 4: the womping willow is not like a human or an
• 1:12:30
  Speaker 4: animal or something, So I think it kind of just
• 1:12:32
  Speaker 4: comes back to that always is that that's where you
• 1:12:36
  Speaker 4: get this when things don't hold up really a lot
• 1:12:41
  Speaker 4: is when it's something that is human or animal or
• 1:12:46
  Speaker 4: something that is life like, is where it all of
• 1:12:49
  Speaker 4: a sudden starts to look not so great.
• 1:12:53
  Speaker 2: Yeah.
• 1:12:58
  Speaker 1: Yeah, for me, some of the weird moments happened in
• 1:13:03
  Speaker 1: Sorcerer's Stone, you know, as we've already talked about obviously
• 1:13:07
  Speaker 1: the first to go around not as good as future installments,
• 1:13:12
  Speaker 1: but the weird slithering cloak Baltimore in the Forbidden Forest.
• 1:13:20
  Speaker 2: I see it. I just kind of like a puppet.
• 1:13:23
  Speaker 4: Well, I was gonna say, I get what they're doing there, right,
• 1:13:26
  Speaker 4: I think the concept was great, but it just looks
• 1:13:29
  Speaker 4: like a flat sheet, Like it just.
• 1:13:31
  Speaker 1: Looks funny to me, Like what comes?
• 1:13:33
  Speaker 2: What's the concept? What is a concept behind that? Because
• 1:13:38
  Speaker 2: is it like trying to convey he was kind of
• 1:13:41
  Speaker 2: like snaked or something like some I don't know what
• 1:13:46
  Speaker 2: is it?
• 1:13:46
  Speaker 1: Like the bodyless, like I don't know it's creepy.
• 1:13:50
  Speaker 4: Because at this moment, well, and I think it's right.
• 1:13:52
  Speaker 4: I think it's it's your you want to do something
• 1:13:54
  Speaker 4: to make it creepy. You don't want to present him
• 1:13:58
  Speaker 4: as like a human, right, like, so it kind of
• 1:14:02
  Speaker 4: is that uncanniness of like what that is creepy? Like
• 1:14:07
  Speaker 4: that's why things that are uncanny are creepy, because it
• 1:14:10
  Speaker 4: doesn't look like something you'd naturally see. So I think
• 1:14:13
  Speaker 4: like it made sense to kind of have him move
• 1:14:16
  Speaker 4: in an unnatural way, although it's also scary when is walking,
• 1:14:21
  Speaker 4: you know, but like, but I think that there's just
• 1:14:24
  Speaker 4: something about the way they did it that didn't necessarily
• 1:14:28
  Speaker 4: fully translate yea, or.
• 1:14:31
  Speaker 2: When he flies away and.
• 1:14:33
  Speaker 1: Then it like pops up before it looks.
• 1:14:36
  Speaker 2: Like an eighties film. I remember watching that film yeah
• 1:14:39
  Speaker 2: in theaters and being like, hey, this has like kind
• 1:14:41
  Speaker 2: of like an eighties vibe to it. It looks looks weird,
• 1:14:45
  Speaker 2: like what were they trying to do with this? When
• 1:14:47
  Speaker 2: it kind of flies away and you can see the
• 1:14:48
  Speaker 2: cloak like it's.
• 1:14:50
  Speaker 4: It's it flies away, it does look exactly like like
• 1:14:54
  Speaker 4: in that moment, right if you're thinking about how do
• 1:14:56
  Speaker 4: you practically do it?
• 1:14:57
  Speaker 5: Right, So, say you've got this float this cloak and
• 1:15:00
  Speaker 5: you've got.
• 1:15:00
  Speaker 4: Strings on it and you're pulling it off. But I
• 1:15:04
  Speaker 4: understand that, but the problem is that it looks like
• 1:15:07
  Speaker 4: that's what you're doing exactly. Yes, yes, so I get
• 1:15:11
  Speaker 4: that's how you have to do it, but you've got
• 1:15:13
  Speaker 4: to do it in a way that doesn't look like
• 1:15:16
  Speaker 4: that's what you're doing. And it literally looks like they're
• 1:15:18
  Speaker 4: just like, let's lift this puppet up and it just
• 1:15:21
  Speaker 4: flaps off into the wind.
• 1:15:23
  Speaker 2: I think it was literally a puppet. I'm I mean,
• 1:15:26
  Speaker 2: I think, yeah, it's so funny to me.
• 1:15:30
  Speaker 1: Yeah, But like in this same note, the unicorn also
• 1:15:35
  Speaker 1: looks so fake, like I don't know, like yeah, yeah.
• 1:15:43
  Speaker 1: And then the other things I could think of was
• 1:15:45
  Speaker 1: like Hedwig's eyes when they widened during the Chamber of
• 1:15:48
  Speaker 1: flying car scene, the man Drakes.
• 1:15:54
  Speaker 2: Yeah, yeah, but I think that the one in the
• 1:15:57
  Speaker 2: car scene, I think it's funny. It always it is,
• 1:16:01
  Speaker 2: because you know, Headway kind of gets this kind of
• 1:16:05
  Speaker 2: like I don't know, personified version like it does like,
• 1:16:09
  Speaker 2: oh it just it's a funny secret. I think they
• 1:16:12
  Speaker 2: did that on purpose. They did that very like exaggerated yeah,
• 1:16:16
  Speaker 2: yeah expression. I think it's funny, but yeah, it definitely
• 1:16:19
  Speaker 2: doesn't look realistic. A real owl wouldn't do that.
• 1:16:23
  Speaker 4: No, But I see in that moment like Hedwig being like,
• 1:16:26
  Speaker 4: how the hell did this become my life?
• 1:16:30
  Speaker 5: Like how did I get put with this person who
• 1:16:35
  Speaker 5: has me in this situation?
• 1:16:37
  Speaker 1: And they really majestic creature with this idiot idea.
• 1:16:42
  Speaker 5: Yeah, and so they did a really good job.
• 1:16:44
  Speaker 4: At like portraying that, because I truly think that's what
• 1:16:47
  Speaker 4: Hadwig was thinking in that moment. But I agree that
• 1:16:50
  Speaker 4: because it looks unnatural to how a real owl would be.
• 1:16:55
  Speaker 2: Yeah, you're kind.
• 1:16:56
  Speaker 5: Of like whoa, but yeah, cartoonish same time, Yeah.
• 1:17:01
  Speaker 4: It was Hedwig's yeah FML moment, Hedwig medva, we love it.
• 1:17:10
  Speaker 4: And then the last one I had on the list
• 1:17:12
  Speaker 4: here was grop And I think that this one the
• 1:17:15
  Speaker 4: reason for it echoes back to everything that you know
• 1:17:19
  Speaker 4: I keep bringing up and we keep talking about, is
• 1:17:21
  Speaker 4: that you have this fully CGI ish kind of thing that.
• 1:17:29
  Speaker 5: In a lot of scenes.
• 1:17:30
  Speaker 4: I know they did make an animatronic head, but in
• 1:17:32
  Speaker 4: a lot of the scenes where it is like a
• 1:17:33
  Speaker 4: full kind of CGI, you can tell, you can tell
• 1:17:36
  Speaker 4: in the face almost sometimes looks like a really nice
• 1:17:41
  Speaker 4: video game character, like an advanced video game. And again, yeah,
• 1:17:46
  Speaker 4: I think it's just because you're trying to recreate someone
• 1:17:49
  Speaker 4: that has human features and it's just hard to create
• 1:17:52
  Speaker 4: that and CGI, so I think, and it's hard to
• 1:17:56
  Speaker 4: because that's a later film and a lot of the
• 1:17:59
  Speaker 4: other like visual effects in that film, I think, do
• 1:18:04
  Speaker 4: hold up. I mean we talked to you know, we
• 1:18:06
  Speaker 4: talked about the whole h Dumbledore Baltimore scene, Like there's
• 1:18:10
  Speaker 4: a lot in that film that works similarly to Actually,
• 1:18:14
  Speaker 4: I think the Centaurs, I don't know. I think the
• 1:18:18
  Speaker 4: centaurs every time we have the centaurs could be improved
• 1:18:23
  Speaker 4: in Sorcerer's Stone, and I think here as well. I
• 1:18:26
  Speaker 4: think they did improve them because they could. But yeah,
• 1:18:31
  Speaker 4: there's just something about Grop and I think because it's
• 1:18:33
  Speaker 4: like every other when we have the giants and like
• 1:18:38
  Speaker 4: later on we see them and like Dathly Hallows, like
• 1:18:40
  Speaker 4: when you were talking about like the Courtyard apocalypse scene
• 1:18:42
  Speaker 4: in the battle and all that, like everything looks so
• 1:18:45
  Speaker 4: much more realistic at that point, and then up until
• 1:18:48
  Speaker 4: this point, every time we've seen giants, it's like Hagrid
• 1:18:52
  Speaker 4: and like Madam Maxim and obviously we're looking at real
• 1:18:55
  Speaker 4: people and so just something about all of a sudden
• 1:18:58
  Speaker 4: having grop You're like, you look fake next to Hagrid.
• 1:19:02
  Speaker 2: Yeah.
• 1:19:03
  Speaker 5: Yeah.
• 1:19:04
  Speaker 2: Also when he picks her mindy up. You know there's
• 1:19:06
  Speaker 2: something about that motion, you know, it's yeah, yeah, it's.
• 1:19:11
  Speaker 1: It's very much like hearkening back to Harry being picked
• 1:19:15
  Speaker 1: up by the troll.
• 1:19:16
  Speaker 2: Yeah.
• 1:19:16
  Speaker 1: Yeah, like it's the same vibes.
• 1:19:19
  Speaker 5: Like there are so many films in between. We couldn't
• 1:19:22
  Speaker 5: fix it more.
• 1:19:23
  Speaker 4: But it's like when you have to combine a real
• 1:19:26
  Speaker 4: person with a CGI, that's where the issue is. It's like,
• 1:19:30
  Speaker 4: if everything is real people, it works. If everything is CGI,
• 1:19:35
  Speaker 4: it kind of works because everything looks the same. But
• 1:19:38
  Speaker 4: it's when you have to have this mixture right next
• 1:19:41
  Speaker 4: to each other, touching each other, interacting each other, that
• 1:19:46
  Speaker 4: you can get this.
• 1:19:47
  Speaker 5: This looks weird, and it might always look weird.
• 1:19:51
  Speaker 2: Yeah, and you're also constantly looking for these little details
• 1:19:54
  Speaker 2: like you're kind of seeing, oh it, you know, there's
• 1:19:56
  Speaker 2: kind of like this thing looks a little odd because
• 1:19:59
  Speaker 2: you're your head is already set on that. You know,
• 1:20:02
  Speaker 2: your mindset is already like this is CGI combined with it,
• 1:20:05
  Speaker 2: so it looks fake. So you start picking up on
• 1:20:07
  Speaker 2: things that otherwise you never in a good one and
• 1:20:10
  Speaker 2: a good CGI or good practical effects you never do.
• 1:20:14
  Speaker 2: But in these you start finding these little like you know,
• 1:20:18
  Speaker 2: uh kind of like how do you call it, the
• 1:20:23
  Speaker 2: failures in the matrix? Kind of like you know, so
• 1:20:28
  Speaker 2: it's uh, yeah, it's a little weird.
• 1:20:32
  Speaker 1: Yeah. Yeah. Well, I mean, all in all, we were
• 1:20:39
  Speaker 1: able to find many more moments that we did like
• 1:20:43
  Speaker 1: than moments that were like mah, so I'd say, you know, overall,
• 1:20:49
  Speaker 1: the films have done a decent job of holding up.
• 1:20:52
  Speaker 4: Over time, which is I think, especially if you compare
• 1:20:56
  Speaker 4: them to other films around the same time. I think,
• 1:20:59
  Speaker 4: like exactly that like right forgetting how long ago, but
• 1:21:03
  Speaker 4: that Prisoner of Azkabaan actually came out, I think is
• 1:21:06
  Speaker 4: a testament to how well it looks because they don't
• 1:21:10
  Speaker 4: fully age themselves, you know, even being films that I
• 1:21:15
  Speaker 4: mean at least I watch them all the time, and
• 1:21:18
  Speaker 4: I watch a lot of older films, I watch a
• 1:21:20
  Speaker 4: lot of newer films, so like I really do see
• 1:21:22
  Speaker 4: the differences, but they just they do still look so great.
• 1:21:26
  Speaker 4: And again, I really think it's because of how much
• 1:21:30
  Speaker 4: they did rely on building physical sets and using animatronics
• 1:21:33
  Speaker 4: and whenever.
• 1:21:35
  Speaker 5: They could, really.
• 1:21:39
  Speaker 4: And I think that's exactly why we feel like we
• 1:21:41
  Speaker 4: don't need this TV show right now, because we've got
• 1:21:43
  Speaker 4: this set of films that still looks great.
• 1:21:45
  Speaker 2: That's the thing. Yeah, yeah, And also like obviously the
• 1:21:50
  Speaker 2: budget of a TV show is nowhere near as a
• 1:21:52
  Speaker 2: budget for a you know, full feature film, like I
• 1:21:56
  Speaker 2: even see even though like I yeah, like.
• 1:21:59
  Speaker 4: Well know, some TV series now get like insane budgets,
• 1:22:04
  Speaker 4: like your big ones, like House of the Dragon, like
• 1:22:07
  Speaker 4: those types of shows, like who they get a budget.
• 1:22:09
  Speaker 2: But do you think maybe if they were brought onto
• 1:22:11
  Speaker 2: the big screen they would be better?
• 1:22:15
  Speaker 4: Because I think that show looks really great, like and
• 1:22:17
  Speaker 4: I think the dragons look really good in that show,
• 1:22:19
  Speaker 4: and they do a good job at like giving them
• 1:22:20
  Speaker 4: all personalities so like maybe yes, right, maybe if they
• 1:22:25
  Speaker 4: had a two hour long movie, they would be able
• 1:22:28
  Speaker 4: to spend more time at like perfecting it because they
• 1:22:32
  Speaker 4: could devote more you You. It's funny because in certain
• 1:22:37
  Speaker 4: shows like that too, you do realize that they become
• 1:22:41
  Speaker 4: very intentional when they use the dragons, Like you see
• 1:22:45
  Speaker 4: this in Game of Thrones as well, right, Like especially
• 1:22:49
  Speaker 4: like they're not there all the time, even though you'd
• 1:22:53
  Speaker 4: think they would be there because you're like, oh, Denaris
• 1:22:55
  Speaker 4: is there, like where's her dragons? Well, because it costs
• 1:22:58
  Speaker 4: so much money to have those dragons in that scene,
• 1:23:01
  Speaker 4: so it's like you need to use them intentionally because
• 1:23:05
  Speaker 4: there's your whole budget right there.
• 1:23:07
  Speaker 5: So I think that that that's what's.
• 1:23:09
  Speaker 4: Hard about a TV show kind of is that, Like,
• 1:23:12
  Speaker 4: especially if you have a TV show that uses creatures
• 1:23:14
  Speaker 4: and a lot of effects like that is like I
• 1:23:17
  Speaker 4: think you do have to be more intentional because you
• 1:23:21
  Speaker 4: it is going to eat up so much of your budget.
• 1:23:23
  Speaker 4: So it'll be really interesting to see, like what they
• 1:23:25
  Speaker 4: do with a Harry Potter TV show, like if they're
• 1:23:28
  Speaker 4: going to take that direction of still utilizing practical effects
• 1:23:34
  Speaker 4: or if they're going to kind of be I think now,
• 1:23:38
  Speaker 4: you know, too many movies and shows use CGI. Everything
• 1:23:41
  Speaker 4: is CGI, like you know, like I've mentioned before, and
• 1:23:44
  Speaker 4: I'm kind of nervous that with the show they're going
• 1:23:47
  Speaker 4: to kind of like jump on that bandwagon of well,
• 1:23:50
  Speaker 4: it's twenty twenty five, like we have this amazing technology.
• 1:23:53
  Speaker 4: Of course we're going to use CGI. But obviously we've
• 1:23:57
  Speaker 4: discussed the limitations of that. And then what does that
• 1:24:01
  Speaker 4: do to the budget? Like does certain things get cut
• 1:24:04
  Speaker 4: because you had to use so much budget because you
• 1:24:06
  Speaker 4: wanted to do something CGI instead of doing it practically,
• 1:24:09
  Speaker 4: Like it'll just I don't know, it'll just be really interesting,
• 1:24:12
  Speaker 4: especially after we had a film series that did rely
• 1:24:17
  Speaker 4: so much on building elaborate sets and practical things, so
• 1:24:22
  Speaker 4: they were able to kind of like then put the
• 1:24:24
  Speaker 4: budget where it needed to go.
• 1:24:27
  Speaker 5: I don't know.
• 1:24:28
  Speaker 2: Yeah, well they were already doing it in the Fantastic
• 1:24:30
  Speaker 2: B series, so they were like for a Secrets of Dumbledore,
• 1:24:34
  Speaker 2: they made the CGI Great Hall, they didn't even film
• 1:24:38
  Speaker 2: in the real Greate Hall, and you can tell there's
• 1:24:42
  Speaker 2: something iffy about it. There's something that doesn't quite click. Yeah,
• 1:24:47
  Speaker 2: So like even the Room of Requirement, it's all like
• 1:24:50
  Speaker 2: blue screen it's not bad. It's not that it takes
• 1:24:54
  Speaker 2: away the attention like it takes away the immersiveness. But
• 1:25:00
  Speaker 2: it's obviously not the same as a real set as
• 1:25:02
  Speaker 2: going on location is going and having. But I do
• 1:25:06
  Speaker 2: feel like because of the quick turnaround times, they will
• 1:25:10
  Speaker 2: probably rely more on these CGI three D sets rather
• 1:25:16
  Speaker 2: than building them. Yeah, because the turnaround times are much faster. Also,
• 1:25:25
  Speaker 2: the amount of time the post is going to take
• 1:25:27
  Speaker 2: probably is going to be a year. I'm very doubtful
• 1:25:30
  Speaker 2: they're going to be able to air a season per year.
• 1:25:32
  Speaker 2: They're probably going to be taking Even if they can
• 1:25:34
  Speaker 2: film it back to back like in ten years, I'm
• 1:25:37
  Speaker 2: sure it will take at least two years in between
• 1:25:40
  Speaker 2: seasons because there's a lot of things that have to
• 1:25:42
  Speaker 2: like even Stranger Things is taking so much time. Shows
• 1:25:46
  Speaker 2: like Wednesday, shows like that have even like one third
• 1:25:50
  Speaker 2: of what Harry Potter would have in terms of visual effects.
• 1:25:54
  Speaker 2: These are taking a lot of time in post production.
• 1:25:57
  Speaker 2: So I yeah, I don't think they will be able
• 1:26:01
  Speaker 2: to do a good quality show if the turnaround time
• 1:26:05
  Speaker 2: is so fast, and if they do a season per year,
• 1:26:09
  Speaker 2: So I don't know. We'll have to see what happens
• 1:26:12
  Speaker 2: with that, but.
• 1:26:14
  Speaker 1: I would almost say take their time, you know, Yeah,
• 1:26:18
  Speaker 1: we don't need a season every year.
• 1:26:19
  Speaker 2: Yeah, people will watch m.
• 1:26:24
  Speaker 5: Yeah.
• 1:26:24
  Speaker 4: I was just going to say, it seems like in
• 1:26:26
  Speaker 4: a way like sometimes, right, the decision is made to
• 1:26:30
  Speaker 4: do stuff more CGI versus building the set because obviously
• 1:26:34
  Speaker 4: of all the logistics they have to go into building
• 1:26:36
  Speaker 4: a set, and I mean, and sometimes you have to
• 1:26:37
  Speaker 4: build a set that takes, like you, like you said,
• 1:26:40
  Speaker 4: Tom a while to build for a scene that's going
• 1:26:43
  Speaker 4: to be five minutes, and it just kind of seems like, wait,
• 1:26:46
  Speaker 4: what this doesn't make sense when we can just literally
• 1:26:48
  Speaker 4: build this all up after. But at the same time,
• 1:26:51
  Speaker 4: the more you're building now, you're adding more work in
• 1:26:53
  Speaker 4: post production, and it's almost like the more practical stuff
• 1:26:57
  Speaker 4: you had before that it's like it took more time
• 1:27:00
  Speaker 4: time in pre production. So it's like the same amount
• 1:27:02
  Speaker 4: of time. It's just when it was if it was before,
• 1:27:04
  Speaker 4: if it was after.
• 1:27:06
  Speaker 2: Yeah, yeah, but yeah, either way, you get it's hard
• 1:27:09
  Speaker 2: to build effects, right right.
• 1:27:12
  Speaker 4: Yeah, it's just deciding when you want to spend the
• 1:27:16
  Speaker 4: time and where you want to spend the money. Really, yeah,
• 1:27:20
  Speaker 4: long story short, use practical effects, yes.
• 1:27:24
  Speaker 2: Yes, do you use practical effects.
• 1:27:30
  Speaker 4: It's about to leave, grab on to the port Key.
• 1:27:38
  Speaker 2: Okay, So for our next segment, our rotating segment for
• 1:27:42
  Speaker 2: this episode, we got the port Key, and today I
• 1:27:45
  Speaker 2: wanted to talk about personal experience I went through and
• 1:27:50
  Speaker 2: it was the jacket Bite train in the Scottish Highlands,
• 1:27:55
  Speaker 2: and I wanted to title it Harry Potter Fans Dream Journey.
• 1:27:59
  Speaker 2: So I think if you're a Harry Potter fan, there's
• 1:28:01
  Speaker 2: no experience like boarding the actual Hogwarts Express, which is
• 1:28:05
  Speaker 2: the Jacobite Train. It's nestle and stunning Scottish Highlands, and
• 1:28:09
  Speaker 2: this magical journey starts in Fort William and takes you
• 1:28:12
  Speaker 2: all the way to meleg maleeg.
• 1:28:16
  Speaker 1: Love those pronunciations, they make it so simple. Yeah.
• 1:28:21
  Speaker 2: Yeah, This magical journey starts in Fort William and takes
• 1:28:25
  Speaker 2: you all the way to malig offering breath taking views
• 1:28:29
  Speaker 2: and once in a lifetime experience that transports you straight
• 1:28:32
  Speaker 2: into the world of Hogwarts. So I think that tickets
• 1:28:36
  Speaker 2: for the Jacobite are must and it's highly recommended to
• 1:28:39
  Speaker 2: book an advance to secure your spot on this train ride.
• 1:28:43
  Speaker 2: But don't worry because if you miss out on early booking,
• 1:28:46
  Speaker 2: first come first serve tickets are available on the day
• 1:28:49
  Speaker 2: of departure, so it kind of gives you a chance
• 1:28:51
  Speaker 2: to hop on the train at the last minute. That
• 1:28:54
  Speaker 2: was my experience. This is something that I didn't know
• 1:28:58
  Speaker 2: of when I showed up at the station, so I
• 1:29:00
  Speaker 2: think it's a tip that will come in handy for
• 1:29:02
  Speaker 2: a few So I had booked for the afternoon afternoon service,
• 1:29:08
  Speaker 2: but because I had to take a day off work,
• 1:29:11
  Speaker 2: I was like, can I can I just wop it
• 1:29:13
  Speaker 2: for the morning service because it's going to be make
• 1:29:15
  Speaker 2: my life a little easier. And so I just showed
• 1:29:19
  Speaker 2: up at the station and I, you know, bought a
• 1:29:21
  Speaker 2: ticket there, like you have to pay in cash if
• 1:29:24
  Speaker 2: you if you show up at the station. But yeah,
• 1:29:27
  Speaker 2: it's a good it's a good option. So even if
• 1:29:29
  Speaker 2: they sell out on the website, don't freak out. You
• 1:29:32
  Speaker 2: can still find them. So, as I said, there's a
• 1:29:37
  Speaker 2: morning service and a an afternoon service, so if you
• 1:29:40
  Speaker 2: don't make it to the morning train, you might still
• 1:29:42
  Speaker 2: get some last minute tickets for the afternoon ride. The
• 1:29:45
  Speaker 2: price is very depending on the service booked, so you
• 1:29:47
  Speaker 2: have from you know, first class to standard class. I
• 1:29:51
  Speaker 2: went on standard class and it cost me sixty nine pounds.
• 1:29:54
  Speaker 2: There's also a compartment class, which is actually the one
• 1:29:57
  Speaker 2: that sells out the quickest. It's the one which is
• 1:29:59
  Speaker 2: high based on demand because of an obvious reason, and
• 1:30:02
  Speaker 2: it's because it's a classic compartment carriage that is seen
• 1:30:06
  Speaker 2: in the films. So it's where Harry Ron and Hermione
• 1:30:09
  Speaker 2: travel and all, you know, in each of the years
• 1:30:13
  Speaker 2: that they're traveling to Hogwarts. Unfortunately, this service is currently
• 1:30:17
  Speaker 2: unavailable to maintenance work on the compartment carriage and it
• 1:30:21
  Speaker 2: will not be available until maintenance work is completed. So
• 1:30:24
  Speaker 2: if you're going there in the next couple of months,
• 1:30:27
  Speaker 2: you're probably going to be a little disappointed. But you know,
• 1:30:29
  Speaker 2: it's nothing to worry because I went in standard class
• 1:30:32
  Speaker 2: and it was just beautiful as well. Like it's it,
• 1:30:34
  Speaker 2: I think if you go in, you know, compartment class,
• 1:30:37
  Speaker 2: it does add to the experience because it feels like
• 1:30:40
  Speaker 2: you are literally a Hogwarts student, but the views are
• 1:30:43
  Speaker 2: the same and you know, you feel immersed in the
• 1:30:46
  Speaker 2: same way. So as as the train pulls away from
• 1:30:50
  Speaker 2: Fort Williams station, you'll feel like a student heading off
• 1:30:54
  Speaker 2: to Hogwarts. Along the way, you'll pass several famous spots
• 1:30:58
  Speaker 2: from the Harry Potter films, includes Dumblers, Grape Side, and
• 1:31:03
  Speaker 2: Alien nam Want. I'm not sure if I'm selling it correctly.
• 1:31:07
  Speaker 2: It's a little tricky. So this one is located on
• 1:31:11
  Speaker 2: luck Alets and the iconic glenfin Invited famously featured in
• 1:31:16
  Speaker 2: the films, and you know, you can picture yourself crossing
• 1:31:20
  Speaker 2: the stunning viaduct just like Harry and his fans did.
• 1:31:23
  Speaker 2: And for those of you who are craving its taste
• 1:31:26
  Speaker 2: of the Wizarding World, there's even a trolley on board
• 1:31:28
  Speaker 2: offering hot drinks and a selection of delicious Harry Potter
• 1:31:31
  Speaker 2: themed sweets. So upon reaching my leg or malig, you'll
• 1:31:38
  Speaker 2: have about two hours to grab it by to eat
• 1:31:41
  Speaker 2: and explore this very chill and beautiful coast hilltown. I
• 1:31:44
  Speaker 2: remember it was drizzling and it was super cold, and
• 1:31:49
  Speaker 2: I remember we just, you know, we were sipping on soup.
• 1:31:54
  Speaker 2: We went to a restaurant. It was so good and
• 1:31:56
  Speaker 2: it just felt so cozy and relaxing and it was
• 1:32:00
  Speaker 2: so nice. And it's a very chill, quiet town. It's
• 1:32:04
  Speaker 2: very beautiful. And also right next to the station there's
• 1:32:07
  Speaker 2: a Harry Potter shop, so you know you can find
• 1:32:10
  Speaker 2: official merch and souvenirs. So they thought this, well, like
• 1:32:15
  Speaker 2: these people, the locals were like, hey, we got we
• 1:32:17
  Speaker 2: got a little you know, a money maker here, so
• 1:32:22
  Speaker 2: let's just jump in. So don't worry if you miss
• 1:32:26
  Speaker 2: on any of the breathtaking views on the way to Melick,
• 1:32:30
  Speaker 2: you'll get another chance to soak in the scenery during
• 1:32:33
  Speaker 2: the return trip to Fort William. And if you do,
• 1:32:36
  Speaker 2: be sure to wave other people waiting for the train
• 1:32:38
  Speaker 2: across a glen fin and viduct. It's a magical moment.
• 1:32:42
  Speaker 2: It captures the magic and the everlasting impact of these films.
• 1:32:46
  Speaker 2: It's literally very beautiful to watch every day he herds
• 1:32:49
  Speaker 2: the people climb the mountains surrounding the viduct and take
• 1:32:52
  Speaker 2: a shot of the train that's passing by, and everyone
• 1:32:55
  Speaker 2: wags at each other. It's like such a nice like
• 1:32:58
  Speaker 2: it's pop culture at it's you know, like it's beautiful
• 1:33:03
  Speaker 2: this experience. I think it's a must do for any
• 1:33:06
  Speaker 2: Harry Potter fan. And it's the closest you'll get into
• 1:33:08
  Speaker 2: stepping into the world of the movies. And I say,
• 1:33:12
  Speaker 2: and I was thinking about this earlier, because we do
• 1:33:15
  Speaker 2: get the studio tour, we do get the Wizarding World,
• 1:33:17
  Speaker 2: which the Wizarding World in fact is very immersive. The
• 1:33:20
  Speaker 2: studio tour is more kind of like an approach to
• 1:33:22
  Speaker 2: the technical side of the films. And it's beautiful and
• 1:33:25
  Speaker 2: it's great to be there in the actual sets, but
• 1:33:27
  Speaker 2: being here at this train and you know, you're just
• 1:33:31
  Speaker 2: traveling along the Scottish Highlands and it literally feels like
• 1:33:35
  Speaker 2: you're in this world. It's beautiful, like and I would
• 1:33:40
  Speaker 2: recommend you spending at least one night in Fort William
• 1:33:43
  Speaker 2: to fully enjoy the experience without the rush of heading
• 1:33:45
  Speaker 2: back to Edinburgh the same day. Whether you board the
• 1:33:49
  Speaker 2: morning or afternoon train, don't miss the chance to visit
• 1:33:51
  Speaker 2: the Glenfinn invitict for some incredible photos and videos of
• 1:33:55
  Speaker 2: the train passing by. It is also the home to
• 1:33:58
  Speaker 2: the Black Blake seen in the film, and the actual
• 1:34:00
  Speaker 2: location of the mountain where they digitally added the castle
• 1:34:03
  Speaker 2: in post production. So it's it's it's a beautiful, beautiful
• 1:34:10
  Speaker 2: landscape and you just want you just want to get
• 1:34:14
  Speaker 2: into the lake, you know. It's so like you just
• 1:34:16
  Speaker 2: want to dip your toes into the lakes and be like, oh,
• 1:34:19
  Speaker 2: this is the Black Lake, you know, yes, yes, and
• 1:34:24
  Speaker 2: it's a twenty five minute ride from Fort William, so
• 1:34:28
  Speaker 2: it's not that far off. So if you want even
• 1:34:31
  Speaker 2: more magic, you can take a trip to Glencoe, which
• 1:34:34
  Speaker 2: is the filming location of Hagrid's Hut from Prisoner of Azkaban,
• 1:34:37
  Speaker 2: which I think it's another mussy for diehard fans fans
• 1:34:40
  Speaker 2: in general. It's another thirty minute ride from Fort William,
• 1:34:44
  Speaker 2: so you may even do the train experience and Glenco
• 1:34:47
  Speaker 2: on the same day. But I think if you want
• 1:34:49
  Speaker 2: to really soak in everything and just live in the
• 1:34:52
  Speaker 2: moment and kind of like you should probably spend one
• 1:34:56
  Speaker 2: day doing one the other day, because I did it
• 1:34:59
  Speaker 2: and it was it was a really quick uber ride.
• 1:35:03
  Speaker 2: We spent like one hundred pounds on the Uber. On
• 1:35:05
  Speaker 2: the Uber, my boyfriend was a car sick, so because
• 1:35:11
  Speaker 2: it's not as straight, it's you know, it's very mountain like,
• 1:35:13
  Speaker 2: there's a lot of it's kind of bouncy too, so
• 1:35:18
  Speaker 2: so he was like almost you know, he was very
• 1:35:21
  Speaker 2: he was not feeling well and I and I wanted
• 1:35:23
  Speaker 2: to take pictures, but we had to be back in
• 1:35:25
  Speaker 2: like an hour because the train was leaving back to Edinburgh.
• 1:35:28
  Speaker 2: So so while I was there and I had a
• 1:35:31
  Speaker 2: great time. I was like, man, I wish I would
• 1:35:33
  Speaker 2: spend like at least a couple of hours there. So yeah,
• 1:35:37
  Speaker 2: just just make sure you spend at least a couple
• 1:35:39
  Speaker 2: of days there that if you made it that far
• 1:35:42
  Speaker 2: off to the Scottish Highlands, like you might as well
• 1:35:44
  Speaker 2: just stay a couple of nights. So again, this journey
• 1:35:48
  Speaker 2: is as close as you'll get to living the Harry
• 1:35:50
  Speaker 2: Potter dream. And you know, at least for me, it's
• 1:35:51
  Speaker 2: the most magical experience I've had as a pan And yeah.
• 1:35:56
  Speaker 2: The tickets for the twenty twenty five season are available
• 1:35:58
  Speaker 2: on the West Coast Railways site at West cold Railways
• 1:36:01
  Speaker 2: dot co dot uk. The morning service will run from
• 1:36:05
  Speaker 2: Monday April seventh to Friday October twenty fourth, twenty twenty five,
• 1:36:10
  Speaker 2: and the afternoon service will run from Monday May fifth
• 1:36:13
  Speaker 2: to Friday September twenty sixth, twenty twenty twenty twenty five,
• 1:36:17
  Speaker 2: seven days per week, so there's plenty of availability whoever
• 1:36:21
  Speaker 2: wants to visit.
• 1:36:24
  Speaker 5: So yeah, yeah, don't be like me.
• 1:36:27
  Speaker 4: I lived in Scotland for a year for grad school
• 1:36:29
  Speaker 4: and I never did this.
• 1:36:31
  Speaker 5: Oh, I've been to I've been to the Highlands.
• 1:36:35
  Speaker 4: I've been to Glencoe, I've been on a lot of
• 1:36:38
  Speaker 4: day trips outside of Edinburgh where I lived. But I
• 1:36:43
  Speaker 4: think it's one of those things where you're like, oh,
• 1:36:45
  Speaker 4: I'm here for a full year for school, and then
• 1:36:48
  Speaker 4: you're like, I've got all this time right to do it,
• 1:36:51
  Speaker 4: and then it is a little bit of coordinating work
• 1:36:54
  Speaker 4: to get up to the Highlands and to get there,
• 1:36:55
  Speaker 4: you know, And so it just before I knew it,
• 1:36:58
  Speaker 4: my program was over.
• 1:36:59
  Speaker 5: And then ironically, like a year ish later.
• 1:37:03
  Speaker 4: I moved back to the UK, this time in England,
• 1:37:06
  Speaker 4: and I still didn't do this. So it's still on
• 1:37:09
  Speaker 4: my bucket list for when I eventually get back to,
• 1:37:12
  Speaker 4: you know, my old stomping grounds.
• 1:37:14
  Speaker 2: But we should do it. We should do it. Yeah,
• 1:37:19
  Speaker 2: probably record an episode on the train.
• 1:37:24
  Speaker 4: Now that you'll be kind of like more in like
• 1:37:26
  Speaker 4: the vicinity, like yeah, and I it's been over a
• 1:37:29
  Speaker 4: decade since I lived in in Scotland unfortunately, so I've
• 1:37:33
  Speaker 4: been itching to get back. So this is still definitely
• 1:37:35
  Speaker 4: on my list. But I definitely agree with what you say, Tom,
• 1:37:38
  Speaker 4: in terms of someone who's been to the Highlands like
• 1:37:40
  Speaker 4: you do. It is definitely a very different type of
• 1:37:43
  Speaker 4: experience than just going to like the studio tour, and
• 1:37:45
  Speaker 4: you really start to learn why, you know, it made
• 1:37:49
  Speaker 4: sense that Hogwarts was set in the Highlands.
• 1:37:51
  Speaker 5: It's just this very.
• 1:37:52
  Speaker 4: Magical, mystical place and it just made sense that that's
• 1:37:56
  Speaker 4: where like JK. Rowling decided to put you know, Hogwarts,
• 1:38:01
  Speaker 4: and why they filmed things there, and why they used
• 1:38:06
  Speaker 4: that train in particular to be the mod like it
• 1:38:08
  Speaker 4: just it all makes sense.
• 1:38:10
  Speaker 2: Yeah there, yeah, yeah, and people are so friendly, Like
• 1:38:13
  Speaker 2: the whole staff is super friendly, and they all know
• 1:38:16
  Speaker 2: you're a Harry Potter fan. They all know you're there
• 1:38:18
  Speaker 2: because you want to go through the Glen fin and viduct,
• 1:38:21
  Speaker 2: and when you're passing through the viaduct is just there's
• 1:38:24
  Speaker 2: this feeling of accomplishment of like, you know, full circle
• 1:38:28
  Speaker 2: moment in your life. I feel like this was my
• 1:38:30
  Speaker 2: childhood dream. I remember seeing Prisoner of Basketball and being like,
• 1:38:34
  Speaker 2: I need to go there, I need to experience that.
• 1:38:36
  Speaker 2: One day, I'll do it. And when that day came,
• 1:38:38
  Speaker 2: I was like tearing up and so so emotional and
• 1:38:42
  Speaker 2: it was yeah, no, it's like it's it's one of
• 1:38:45
  Speaker 2: the most beautiful things that I've lived in my life,
• 1:38:47
  Speaker 2: not just as a fan, but in my life for sure.
• 1:38:54
  Speaker 7: So yeah, very cool, so nice.
• 1:39:02
  Speaker 1: All right, Well now for some listener comments. We have
• 1:39:11
  Speaker 1: some great stuff that Jerry C sent us for last
• 1:39:16
  Speaker 1: episodes discussion question, which was all about unanswered questions in
• 1:39:22
  Speaker 1: the series. Jerry sent us a very long list, and
• 1:39:26
  Speaker 1: I'm sorry that we don't have time to address every
• 1:39:29
  Speaker 1: single one of them, but I pulled to that I
• 1:39:32
  Speaker 1: thought would be fun to discuss. So the first one
• 1:39:36
  Speaker 1: is who is Missus Fig related to in the Wizarding World?
• 1:39:41
  Speaker 1: Since she's a squib? How did she get to the
• 1:39:44
  Speaker 1: Ministry of Magic for the trial? I have a full
• 1:39:47
  Speaker 1: theory about this, complete with a short fan fiction that
• 1:39:50
  Speaker 1: won a prize back in the day given by the
• 1:39:52
  Speaker 1: Leaky Cauldron website, and Jerry says if we want, she
• 1:39:57
  Speaker 1: can send us a copy of the theory and the
• 1:39:59
  Speaker 1: fan which absolutely send it our way. Yeah, Missus Fig
• 1:40:08
  Speaker 1: is quite a mystery, isn't she. And Jerry also says,
• 1:40:17
  Speaker 1: how did Dumbledore and the whole Wizarding World learn about
• 1:40:21
  Speaker 1: the events of Godrick's Hollow and then the famous missing
• 1:40:24
  Speaker 1: twenty four hours? Apparently the attack was about midnight on
• 1:40:28
  Speaker 1: Halloween or late in the day and it is late
• 1:40:31
  Speaker 1: in the next day that Hagrid delivers baby Harry to
• 1:40:34
  Speaker 1: dumble Doore. Yeah, how would they find out?
• 1:40:43
  Speaker 2: I wonder this is one of the things that I wonder. Yeah,
• 1:40:47
  Speaker 2: I'm just wonder if these are one of the things
• 1:40:48
  Speaker 2: that they're going to tackle and they're going to just
• 1:40:51
  Speaker 2: try to explain on the TV show, depending on because
• 1:40:54
  Speaker 2: they have so much time to tell the story. I
• 1:40:59
  Speaker 2: wonder if they Jackie Rowling obviously has the whole story
• 1:41:03
  Speaker 2: somewhere vaulted, but wonder if they will kind of like
• 1:41:08
  Speaker 2: start putting some pieces together and kind of like, you know,
• 1:41:13
  Speaker 2: answer some of these questions.
• 1:41:15
  Speaker 1: Okay, So I mean Sirius obviously had to have been
• 1:41:19
  Speaker 1: one of the first people to know, because he gives
• 1:41:22
  Speaker 1: Hagrid the motorbike, right, so he knows at some point
• 1:41:26
  Speaker 1: during that time. I wonder if he showed up like
• 1:41:31
  Speaker 1: at the house or something and discovered it, because he
• 1:41:36
  Speaker 1: also had to have that time to confront Petty Grew.
• 1:41:41
  Speaker 1: I don't know, or.
• 1:41:48
  Speaker 4: I mean I mean, not Harry, like who took Like
• 1:41:51
  Speaker 4: if Sirius like went to the house right and saw like,
• 1:41:54
  Speaker 4: oh my god, this just happened, Like, I can't imagine
• 1:41:58
  Speaker 4: he would just leave like Harry there and be like, oh,
• 1:42:00
  Speaker 4: I gotta go take my motorbike to Hagrid so Hagrid
• 1:42:03
  Speaker 4: can come pick up Harry to then bring it.
• 1:42:05
  Speaker 1: Like, you know, do you think maybe Bethilda was involved
• 1:42:08
  Speaker 1: in some way.
• 1:42:10
  Speaker 5: Like being right there kind of she was a neighbor.
• 1:42:12
  Speaker 1: Like would she have realized what happened being a neighbor
• 1:42:16
  Speaker 1: and a witch? I wonder if she would have taken
• 1:42:23
  Speaker 1: Harry and alerted like the Order of the Phoenix and stuff.
• 1:42:32
  Speaker 2: Interesting. I don't know.
• 1:42:38
  Speaker 4: Yeah, it's kind of like, I mean, obviously all we
• 1:42:40
  Speaker 4: know is that it happens, and then all of a sudden,
• 1:42:43
  Speaker 4: like Hagrid's delivering Harry and then they're delivering Harry to
• 1:42:49
  Speaker 4: the Dursley. Is like there's a lot missing there right there,
• 1:42:53
  Speaker 4: and it's like we have right we know about Okay, well,
• 1:42:55
  Speaker 4: obviously something would have happened. We're serious would have been involved, right,
• 1:42:59
  Speaker 4: we know that glimmerings of what happened, but like what
• 1:43:02
  Speaker 4: is the timeline of that it is? Yeah, it's that
• 1:43:04
  Speaker 4: missing twenty four hours. A lot happened in that time.
• 1:43:09
  Speaker 1: Yeah, I mean I would imagine that any sort of
• 1:43:15
  Speaker 1: enchantments that would have kept Muggles from noticing anything probably
• 1:43:20
  Speaker 1: were destroyed when everything went down in that house. So
• 1:43:27
  Speaker 1: I mean, would muggle news have broken that there was
• 1:43:33
  Speaker 1: some sort of murder attack or fire or something and
• 1:43:37
  Speaker 1: then it filtered out to the wizarding world too, I
• 1:43:42
  Speaker 1: don't know, it's a good question.
• 1:43:46
  Speaker 2: You kind of also have the sense that Doubledore knows
• 1:43:48
  Speaker 2: everything for some reason, so.
• 1:43:51
  Speaker 4: That's like another unanswered question is how is he just
• 1:43:56
  Speaker 4: so aware of everything everything?
• 1:43:58
  Speaker 2: Yes? Yes, yeah, it's not too.
• 1:44:00
  Speaker 1: Smart as spies. Yeah, great questions, Jerry, Yeah, definitely a
• 1:44:12
  Speaker 1: lot to think about. So this week's discussion question is
• 1:44:20
  Speaker 1: what is your favorite special effect from the Harry Potter films.
• 1:44:25
  Speaker 1: We would love to hear from you, so drop us
• 1:44:27
  Speaker 1: an email at Revellio podcast staff at gmail dot com,
• 1:44:31
  Speaker 1: or reach out to us on social media. You can
• 1:44:34
  Speaker 1: find us on Facebook at Facebook dot com, slash Revelliocast,
• 1:44:38
  Speaker 1: on Twitter or x at Revellio Underscore podcast, and on
• 1:44:42
  Speaker 1: Instagram at Revellio Podcast. You can also support the show
• 1:44:46
  Speaker 1: on Patreon at Patreon dot com slash revellio podcast. Yeah,
• 1:44:54
  Speaker 1: so so much to discuss, whether it's books or move
• 1:45:00
  Speaker 1: you know, there's always something.
• 1:45:02
  Speaker 4: Yeah, I feel like this is another type of episode
• 1:45:06
  Speaker 4: that we could end up having.
• 1:45:07
  Speaker 5: A part two.
• 1:45:08
  Speaker 1: Yeah, I know.
• 1:45:09
  Speaker 5: I said that with our episode last time too.
• 1:45:11
  Speaker 2: Yeah, because I know that, well, we were going, yeah,
• 1:45:14
  Speaker 2: we're going over the scenes. I would started, you know,
• 1:45:16
  Speaker 2: picking up on different scenes and be like, oh, this
• 1:45:17
  Speaker 2: is also so good, and this one is also so good,
• 1:45:19
  Speaker 2: and lots of haplo print sequences that I would have
• 1:45:22
  Speaker 2: loved to mention. But yeah, like we can save it
• 1:45:26
  Speaker 2: for the next episode, for.
• 1:45:27
  Speaker 4: Sure, exactly, And I'm sure now maybe after this episode
• 1:45:34
  Speaker 4: going forward, when anybody who listens to this watches the film,
• 1:45:38
  Speaker 4: we may have now ruined maybe some of it for
• 1:45:40
  Speaker 4: you because you're gonna know what.
• 1:45:44
  Speaker 2: I mean, some of them are too evident, but yeah.
• 1:45:48
  Speaker 5: Some of them you probably already know this.
• 1:45:49
  Speaker 1: But yeah, you probably already laughed at the hanging bathrobe
• 1:45:54
  Speaker 1: Baltimore in the forest.
• 1:45:56
  Speaker 2: We'll be waiting on that video.
• 1:45:58
  Speaker 5: Say that I ever have actually, well now you will yep.
• 1:46:07
  Speaker 1: All right, Well that concludes this episode until next time.
• 1:46:12
  Speaker 1: I'm Amy, I'm Nicole
• 1:46:14
  Speaker 2: And I'm Tom.