Latest / Revelio: A Wizarding World Podcast / Episode 35: Graphic Design in the "Harry Potter" Films

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Episode 35: Graphic Design in the "Harry Potter" Films · Revelio: A Wizarding World Podcast

• 0:11
  Speaker 1: Hello, and welcome to episode thirty five of Ravellio for
• 0:15
  Speaker 1: January eighth, twenty twenty six. I'm Amy and I'm.
• 0:31
  Speaker 2: Nicole, and today Tom is still, you know, enjoying the holidays.
• 0:37
  Speaker 2: So we are joined by special guest Carolyn.
• 0:42
  Speaker 3: Hello, I'm Carolyn.
• 0:44
  Speaker 1: Carolyn.
• 0:45
  Speaker 2: Yeah, So if you want to you guys might be
• 0:48
  Speaker 2: familiar with Carolyn as our graphic designer of our logo.
• 0:52
  Speaker 2: We have definitely shouted her out before. But if you
• 0:54
  Speaker 2: want to tell us a little bit about yourself.
• 0:59
  Speaker 3: Well, I am a graphic designer and illustrator and I'm
• 1:06
  Speaker 3: a mom, which is probably my real job most of
• 1:10
  Speaker 3: the day. Luckily they're at school and I work. Then
• 1:16
  Speaker 3: I got into Harry Potter. I think I was about
• 1:24
  Speaker 3: fourteen or fifteen, so I was older when I started
• 1:26
  Speaker 3: reading the books. And I don't know, I don't know
• 1:31
  Speaker 3: how far how many years separate us, So I'm going
• 1:34
  Speaker 3: to just go with meh. But my parents used to
• 1:37
  Speaker 3: watch Sixty Minutes and the reason I picked up the
• 1:39
  Speaker 3: Harry Potter books was a JK. Rowling interview where they
• 1:42
  Speaker 3: were talking about how this book was getting kids to read.
• 1:45
  Speaker 3: And as a kid who liked to read, I was like, well,
• 1:47
  Speaker 3: wait a minute, I got to see what this is,
• 1:49
  Speaker 3: and I was hooked by the end of the first chapter,
• 1:53
  Speaker 3: and very early on thought oh, I'd be a Gryffindor.
• 1:58
  Speaker 3: And then you know, you kind of get further to
• 2:00
  Speaker 3: the books and you think. I remember thinking, oh, I
• 2:02
  Speaker 3: like to read and I like to do this, and
• 2:03
  Speaker 3: I'm probably a raven clawd And then I actually got
• 2:05
  Speaker 3: sorted into Slytherin, which confused me at first until I
• 2:10
  Speaker 3: read the potter More description and yeah, that's definitely more
• 2:16
  Speaker 3: me personality wise. So I'm a Slytherin and I'm in
• 2:22
  Speaker 3: a house of snakes and puffs very tonks. In terms
• 2:29
  Speaker 3: of our household dynamic, I'm the Slytherin, my husband's the puff,
• 2:35
  Speaker 3: and then our children are split. I got one Slytherin
• 2:38
  Speaker 3: and one other hufflepuff in there, so and then let's
• 2:42
  Speaker 3: see what else. I started working for MuggleNet and met
• 2:44
  Speaker 3: all you wonderful people, and now I do fun stuff
• 2:47
  Speaker 3: all the time with you guys.
• 2:48
  Speaker 1: So I think that's the gist of it.
• 2:51
  Speaker 2: Well, I'm glad to finally have another slyther and with me,
• 2:56
  Speaker 2: I'm usually always the like minority, and so I'm super excited.
• 3:01
  Speaker 2: And it's funny that you mentioned like that your house
• 3:04
  Speaker 2: is like that your house is literally split amongst the
• 3:06
  Speaker 2: two houses, because like Amy and I always talk all
• 3:08
  Speaker 2: the time about house slotherins and hufflepuffs just work well.
• 3:11
  Speaker 2: And it's like you almost show that maybe like houses
• 3:14
  Speaker 2: are genetically passed down a little. Yeah, well, thank you
• 3:23
  Speaker 2: again for joining us, and we thought that, you know,
• 3:27
  Speaker 2: it would be perfect to have Carolyn on this episode
• 3:29
  Speaker 2: because in this episode we're going to be discussing graphic
• 3:33
  Speaker 2: design in the Harry Potter films.
• 3:37
  Speaker 4: But first.
• 3:43
  Speaker 3: Listening to w W in the Wizarding Wireless Network.
• 3:48
  Speaker 1: Now for the latest headlines.
• 3:50
  Speaker 2: So we've obviously been off for a couple of weeks,
• 3:53
  Speaker 2: but we haven't missed too much news because it's still
• 3:56
  Speaker 2: been pretty slow. But there's been a few things that
• 3:59
  Speaker 2: has come out. So first, the Elephant House, which is
• 4:03
  Speaker 2: in Edinburgh, Scotland, has reopened after being closed for four
• 4:07
  Speaker 2: years following a fire in twenty twenty one. If you
• 4:11
  Speaker 2: don't know, this is the coffee house known as the
• 4:13
  Speaker 2: place where JK. Rowling wrote parts of the Harry Potter books.
• 4:16
  Speaker 2: They do claim they're like the birth of Harry Potter,
• 4:19
  Speaker 2: but there's several places in Edinburgh where the story was written.
• 4:23
  Speaker 2: One of many birthplaces yep.
• 4:27
  Speaker 4: But the table where JK.
• 4:30
  Speaker 2: Rowling wrote a lot of Harry Potter was salvaged from
• 4:35
  Speaker 2: that fire, and so the BBC reports that the owners
• 4:39
  Speaker 2: of the building also signed a twenty year lease with
• 4:42
  Speaker 2: the owner of the Elephant House, so.
• 4:44
  Speaker 4: It'll be there for a good long while.
• 4:47
  Speaker 2: And I was telling Amy, I'm really excited about this
• 4:50
  Speaker 2: news because I think I definitely mentioned on this podcast
• 4:53
  Speaker 2: before that I had the opportunity to live and study
• 4:55
  Speaker 2: in Edinburgh for a year and I frequented the Elephant.
• 4:59
  Speaker 4: House quite a lot to work on all the work
• 5:02
  Speaker 4: of my master's program.
• 5:04
  Speaker 2: And so I'm glad to see that they are reopening
• 5:08
  Speaker 2: and they were able to salvage the table, and it's
• 5:12
  Speaker 2: definitely a high traffic place for Edinburgh.
• 5:15
  Speaker 1: So and not just Harry Potter, right, aren't there other
• 5:19
  Speaker 1: books and authors that are known to have written there too?
• 5:21
  Speaker 4: There are?
• 5:22
  Speaker 1: Like it's good like that this has been reopened as
• 5:26
  Speaker 1: a place that people can visit.
• 5:27
  Speaker 2: Yeah, it's a really cute cafe and the bathroom is
• 5:30
  Speaker 2: really cool because people.
• 5:31
  Speaker 4: Sign the walls.
• 5:33
  Speaker 2: I have some pictures in there, which just sounds so
• 5:36
  Speaker 2: weird till I go to the bathroom and take pictures.
• 5:38
  Speaker 2: But I remember taking a picture of this, like Harry
• 5:41
  Speaker 2: Potter doodle that somebody did in the bathroom, and it's
• 5:45
  Speaker 2: just obviously I don't know if that's that's still there
• 5:47
  Speaker 2: because I don't know exactly It's.
• 5:49
  Speaker 4: Been several years since I lived in Edinburgh, and I don't.
• 5:52
  Speaker 2: Know exactly what was salvage, you know, from the fire,
• 5:54
  Speaker 2: but I hope that maybe some of that was because
• 5:57
  Speaker 2: I know it's just the bathroom, but it was really
• 5:59
  Speaker 2: cool to see like everybody like draw and like write
• 6:03
  Speaker 2: notes and you know, say that they were here. And
• 6:06
  Speaker 2: it's a place that's definitely a tourist destination.
• 6:09
  Speaker 4: For people when they go to Edinburgh.
• 6:11
  Speaker 2: So yeah, definitely excited to whenever I get back there
• 6:17
  Speaker 2: to pop in there and see, you know, kind of
• 6:19
  Speaker 2: what it looks like now.
• 6:21
  Speaker 1: Yeah.
• 6:26
  Speaker 2: And then also we have some Curse Child news carrying
• 6:29
  Speaker 2: on from our last episode.
• 6:31
  Speaker 4: But Harry Potter and the Curse Child on Broadway set
• 6:34
  Speaker 4: an attendance.
• 6:35
  Speaker 2: Record over the Christmas week, grossing over three million, seven
• 6:39
  Speaker 2: hundred thousand dollars over nine performances.
• 6:44
  Speaker 4: Yeah, that's a lot of money.
• 6:46
  Speaker 1: A lot.
• 6:46
  Speaker 2: Yeah, And this is the week that ended with December
• 6:49
  Speaker 2: twenty eighth, or starting with December twenty eighth.
• 6:52
  Speaker 4: Wasn't that the start of the week. I don't know.
• 6:54
  Speaker 2: Holidays, I don't know, you know, holidays, you can't remember,
• 6:58
  Speaker 2: even though I've been working.
• 6:59
  Speaker 4: It's like you don't know what day it is.
• 7:01
  Speaker 2: But this is a new record, not just for Curse Child,
• 7:05
  Speaker 2: but also for the Lyric theater itself, so that's really cool.
• 7:10
  Speaker 2: Of course, this boost likely has a lot to do
• 7:13
  Speaker 2: with Tom Felton's current run in the show. A lot
• 7:15
  Speaker 2: of people also visit the city for Christmas, so while
• 7:19
  Speaker 2: you're there, you might as well pop in and see
• 7:21
  Speaker 2: Tom on the stage. And so these box office numbers
• 7:25
  Speaker 2: make Curse Child the fourth highest grossing Broadway show of
• 7:29
  Speaker 2: that week, behind Wicked, The Lion King and Hamilton Wow.
• 7:34
  Speaker 4: Out there with his Big Place.
• 7:38
  Speaker 3: Didn't his run get extended to.
• 7:40
  Speaker 4: Through May something?
• 7:42
  Speaker 2: I don't remember the exact date, but I think originally
• 7:45
  Speaker 2: was it through like March, and then they extended it
• 7:47
  Speaker 2: through May.
• 7:49
  Speaker 1: Yeah. Yeah, because if we were looking at dates and
• 7:53
  Speaker 1: we're like, oh, we'd really like to avoid it possibly
• 7:56
  Speaker 1: snowing on the drive down, but you know, ended in March,
• 8:00
  Speaker 1: so we're like, okay, maybe November is the best bet.
• 8:03
  Speaker 4: And then of course, right, we would have waited, Yeah,
• 8:05
  Speaker 4: we would.
• 8:05
  Speaker 3: Have snow wasn't too bad.
• 8:10
  Speaker 4: No, we got really lucky that.
• 8:12
  Speaker 2: I mean, basically, the weather's been absolutely horrible where I
• 8:15
  Speaker 2: lived since we went there, So we got really lucky
• 8:18
  Speaker 2: that the drive down that that that weekend was great.
• 8:21
  Speaker 4: It's been terrible since, so it was meant to be there.
• 8:25
  Speaker 1: You go.
• 8:26
  Speaker 4: Yeah, but that's exciting for Curse Child.
• 8:29
  Speaker 2: And yeah, we'll talk a little bit more about urs
• 8:32
  Speaker 2: Child again at the end of this episode, but I'm
• 8:34
  Speaker 2: excited for them that they broke those records. So, and
• 8:38
  Speaker 2: then lastly, Dame Shirley Bassie. Again, we probably we butchered
• 8:45
  Speaker 2: names all the time on this podcast, so I don't
• 8:47
  Speaker 2: know if it's Bassie or Basie, but was announced Bassie,
• 8:51
  Speaker 2: That's what I thought. So she was announced as the
• 8:53
  Speaker 2: voice of Celestina Warback in the Harry Potter full cast
• 8:56
  Speaker 2: audio editions on Audible. And I think this is really
• 9:01
  Speaker 2: cool because Dame Shirley was actually the original inspiration for Celestina,
• 9:09
  Speaker 2: and they yeah, I did not know that either until
• 9:12
  Speaker 2: I saw that, So that's really cool that they got
• 9:14
  Speaker 2: her to come in and voice Celestina. And they also
• 9:18
  Speaker 2: wrote and recorded three original songs from Celestina specifically for
• 9:25
  Speaker 2: these full cast audio editions, which is really cool too.
• 9:30
  Speaker 3: I'm confused she doesn't actually speak in the books, right,
• 9:33
  Speaker 3: Like they just talk about her plane in the background.
• 9:35
  Speaker 2: I think she's singing like they have like they have
• 9:39
  Speaker 2: Christmas or something. Yeah, and they well the first I
• 9:45
  Speaker 2: haven't so I haven't gotten too Chamber of Secrets yet
• 9:48
  Speaker 2: in my listen. It just it released while I was
• 9:51
  Speaker 2: on my trip, so I haven't had a chance to
• 9:53
  Speaker 2: listen to it yet, so I'm curious to see.
• 9:55
  Speaker 4: Yeah, how they weave it in.
• 9:57
  Speaker 1: I know that I remember in the book I did
• 10:00
  Speaker 1: have the lyrics written out when they're gathered around the radio,
• 10:04
  Speaker 1: so like the Cauldron full of Hot Strong Love. Yes,
• 10:07
  Speaker 1: they like actually had some of the lyrics.
• 10:09
  Speaker 3: Oh okay, so she'll just be playing in the background.
• 10:15
  Speaker 2: I think it'll be interesting though with these original songs though,
• 10:18
  Speaker 2: like how they're gonna weave those in, because are we
• 10:21
  Speaker 2: gonna still hear like the song that was like in
• 10:25
  Speaker 2: the book lyrics or is it just going to be
• 10:27
  Speaker 2: replaced by the original song? But the first of the
• 10:31
  Speaker 2: three original songs, which is called You Stole My Cauldron
• 10:34
  Speaker 2: but You Can't Have My Heart, is in Chamber of Secrets,
• 10:38
  Speaker 2: which was just released in December, and then the other
• 10:41
  Speaker 2: two originals will be in Half Blood Prints when that releases.
• 10:46
  Speaker 3: Say, that's the other one that I remember it.
• 10:49
  Speaker 1: So at the theme parks, Clestina does sing you Stole
• 10:54
  Speaker 1: My Cauldron. Do we think it's going to be that
• 10:57
  Speaker 1: same iteration of that song or are they totally redoing
• 11:00
  Speaker 1: it with a different tune and everything.
• 11:03
  Speaker 4: I'll let you know when I eventually get to that part.
• 11:07
  Speaker 1: I haven't gotten there either, So listeners if anyone's gotten there.
• 11:11
  Speaker 3: Yeah, just introducing my youngest to Jim Dale's version of
• 11:15
  Speaker 3: the audio books and she won't listen to audio books
• 11:22
  Speaker 3: where the reader doesn't do voices. Now she's like this,
• 11:29
  Speaker 3: she I can't remember what. She had to listen to
• 11:32
  Speaker 3: a different one for school for a book report that
• 11:35
  Speaker 3: wasn't getting done fast enough and she was like, I
• 11:36
  Speaker 3: don't like the reader. They don't do voices.
• 11:38
  Speaker 1: It's like, it's not Jim Dale, it's not Jim Dale.
• 11:42
  Speaker 2: Well in these audio full cast audio are like next
• 11:47
  Speaker 2: level though, and if she really enjoys all the will
• 11:51
  Speaker 2: love that because I love the is like I mean,
• 11:55
  Speaker 2: I've talked about that a million times in episodes, between
• 11:57
  Speaker 2: the sounds and the music and the score and the
• 11:59
  Speaker 2: sound track. And I have heard though, which I mean,
• 12:03
  Speaker 2: I haven't gotten to this point yet and will I
• 12:05
  Speaker 2: don't want to go on a tangent, but I've heard
• 12:07
  Speaker 2: that a lot of people have not really been a
• 12:10
  Speaker 2: fan of the actor who's voicing Snape. So I really
• 12:17
  Speaker 2: like him as an actor because he's been in Star
• 12:18
  Speaker 2: Wars and stuff. But I'm really curious to see his portrayal.
• 12:21
  Speaker 2: But I also wonder if it's curious.
• 12:24
  Speaker 3: I'm going to look it up.
• 12:25
  Speaker 2: I know I haven't listened to any snippets of him
• 12:27
  Speaker 2: as Snape yet, but I've just seen that online a
• 12:29
  Speaker 2: little bit, and I'm wondering if it's just because like
• 12:32
  Speaker 2: it's obviously so different than like an Alan Rickman type voice.
• 12:37
  Speaker 3: I think that throws a lot of people off, to
• 12:40
  Speaker 3: be honest.
• 12:40
  Speaker 1: That's so distinctive.
• 12:42
  Speaker 2: Yes, And like the actor who's voicing Hagrid for these
• 12:46
  Speaker 2: actually does a really good job sounding like you know,
• 12:49
  Speaker 2: Robbie Coltrane. Like when I first listened, I was like, wow,
• 12:51
  Speaker 2: Like he's just so distinctly Hagrid in his voice. So
• 12:55
  Speaker 2: I think, like you said, Snape's another character that has
• 12:58
  Speaker 2: you know, has a very distinct voice where I think
• 13:01
  Speaker 2: a lot of the other characters we can kind of
• 13:03
  Speaker 2: like interchange them with people.
• 13:05
  Speaker 4: So we'll see it.
• 13:07
  Speaker 2: I don't know if that's like the masses have that opinion.
• 13:10
  Speaker 2: I've just seen that floating around a little bit. But
• 13:13
  Speaker 2: I haven't gotten far enough in Sorcerer's Stone either to
• 13:18
  Speaker 2: get to the point of Snape, so so behind on those.
• 13:22
  Speaker 2: But yeah, but either way, this is exciting. And they,
• 13:27
  Speaker 2: like I said, they fully recorded this with a seventeen
• 13:31
  Speaker 2: piece band. They recorded it in London at the famous
• 13:34
  Speaker 2: Abbey Road studios, and then Shirley's singing was recorded at
• 13:39
  Speaker 2: a studio in France. And Dame Shirley was asked about,
• 13:44
  Speaker 2: you know, her feelings I'm being part of the project,
• 13:46
  Speaker 2: and she said, quote, I'm honored to have been an
• 13:49
  Speaker 2: inspiration for the original character of Celestina Warback in the
• 13:52
  Speaker 2: Harry Potter series, bringing her music to life in this
• 13:55
  Speaker 2: ambitious project from Pottermore Publishing and audible was a joy,
• 13:59
  Speaker 2: and I hope the songs throughout the audiobooks offer a
• 14:02
  Speaker 2: truly magical listening experience for fans worldwide.
• 14:06
  Speaker 1: So I just had to do a quick google because
• 14:13
  Speaker 1: I remember seeing Shirley Bassey on TV like twenty years
• 14:19
  Speaker 1: ago and she wasn't young then, so I was just
• 14:23
  Speaker 1: curious she's eighty eight years old.
• 14:25
  Speaker 4: I mean the picture she's still singing. Yeah in the
• 14:28
  Speaker 4: picture I saw she looked up for you, and.
• 14:34
  Speaker 2: Yeah, excited to hear in the in the in the audiobook.
• 14:38
  Speaker 2: But yeah, that's cool, and yeah, that's really kind of all.
• 14:44
  Speaker 4: For the news.
• 14:44
  Speaker 2: There's a little I saw like if you're if you
• 14:47
  Speaker 2: play like Monopoly go, there's like a limited time where
• 14:51
  Speaker 2: Harry Potter is going to be part of that, which
• 14:53
  Speaker 2: is kind of cool. And of course the new lego
• 14:57
  Speaker 2: sets and stuff are out that I think we talked
• 14:58
  Speaker 2: about town brought up in a previous episode, and but
• 15:02
  Speaker 2: other than that, we're pretty quiet in the Wizarding World
• 15:07
  Speaker 2: news front.
• 15:08
  Speaker 3: It's that time of year unless they drop more TV
• 15:11
  Speaker 3: show stuff, which I don't think you have recently.
• 15:14
  Speaker 4: I know, And it's we were saying too for a
• 15:16
  Speaker 4: while there.
• 15:16
  Speaker 2: We were getting the like sneak peak looks at them
• 15:19
  Speaker 2: filming outside, but now it's like cold out and they're
• 15:22
  Speaker 2: probably doing a lot of inside shoots, and so.
• 15:25
  Speaker 4: Now we're back in the dark, look about what's going on.
• 15:28
  Speaker 1: I wonder, I wonder if we'll get a release date
• 15:31
  Speaker 1: pretty soon, because I was supposed to come out in
• 15:34
  Speaker 1: twenty twenty seven. I feel like in another few months
• 15:38
  Speaker 1: maybe we'll get an actual date.
• 15:43
  Speaker 2: I mean I think maybe, like uh, like Netflix and
• 15:48
  Speaker 2: Warner Brothers, an HBO and all of them probably have
• 15:51
  Speaker 2: to figure out what's going on too.
• 15:52
  Speaker 4: With that.
• 15:53
  Speaker 3: True, we're in the middle of a hostel takeover.
• 15:58
  Speaker 4: Right, so delay something's a little bit.
• 16:01
  Speaker 2: But you know, in Paramount coming in with the with
• 16:04
  Speaker 2: the the counter offer and yeah, no and no, just.
• 16:09
  Speaker 3: Give them a Netflix to be done with it. Paramount
• 16:11
  Speaker 3: doesn't be done everything.
• 16:13
  Speaker 1: It'll just drop when it drops, just out of the blue,
• 16:15
  Speaker 1: and I'll be like, oh, what's here today?
• 16:17
  Speaker 2: Okay, there will be no explanation.
• 16:21
  Speaker 4: There will just be the Harry Potter TV series.
• 16:24
  Speaker 2: Yes, it'll drop the same day as Reputation Vault tracks.
• 16:27
  Speaker 3: Yes, I'm not doing a Percy Jackson with this, nothing coordinated.
• 16:36
  Speaker 1: No, no, no.
• 16:39
  Speaker 4: Well, when we find out, you'll hear it here on.
• 16:42
  Speaker 1: This podcast, probably with a few Taylor Swift references thrown in.
• 16:52
  Speaker 2: I know, I'm sorry I made it twenty minutes in
• 16:54
  Speaker 2: without a Tailor reference.
• 16:56
  Speaker 4: Sorry, sorry, not.
• 16:58
  Speaker 3: A new record.
• 16:59
  Speaker 4: Yeah that might your record. Yeah, you know, Carol.
• 17:03
  Speaker 3: Because I know what Ara Harry is in. I'm good.
• 17:06
  Speaker 1: There you go.
• 17:07
  Speaker 2: Yeah, well, I mean he changes, you know, throughout the series.
• 17:10
  Speaker 2: But either way, potential future episode idea. But you know,
• 17:14
  Speaker 2: we always joke about how as soon as we're done recording,
• 17:17
  Speaker 2: some like massive news breaks.
• 17:20
  Speaker 4: So who knows, maybe next week met.
• 17:23
  Speaker 3: Late on a Friday in time.
• 17:27
  Speaker 1: Yeah, yeah, want more Revellion Join our Patreon for exclusive
• 17:34
  Speaker 1: perks and content, including digital downloads, extended conversations, and access
• 17:40
  Speaker 1: to the Revellio Hogshead meet up Facebook group. Find out
• 17:44
  Speaker 1: how you can help support the show at patreon dot
• 17:47
  Speaker 1: com slash Revellio Podcast. Okay, so now for our main discussion.
• 17:55
  Speaker 1: Of course, as Nicole mentioned, since we have Carolyn here,
• 18:00
  Speaker 1: our graphic design expert, we want to talk about graphic
• 18:04
  Speaker 1: design in the Harry Potter films because there's so much
• 18:07
  Speaker 1: of it and so many designs that we really love
• 18:11
  Speaker 1: and have become so iconic in the fandom and pop
• 18:16
  Speaker 1: culture in general. Really, so jumping in just a little
• 18:22
  Speaker 1: bit of background about the graphic design for the films
• 18:25
  Speaker 1: before we discuss some of our favorite and most iconic designs.
• 18:31
  Speaker 1: So we know that all eight Harry Potter films featured
• 18:35
  Speaker 1: work from graphic design duo Meeta Lima, which is, you know,
• 18:41
  Speaker 1: the combination of the names for Mirafora Mina and Eduardo Lima,
• 18:46
  Speaker 1: who of course also went on to do the design
• 18:48
  Speaker 1: work for the Fantastic Beast films and various book editions
• 18:53
  Speaker 1: as well. Interestingly, and I guess I didn't really know
• 18:59
  Speaker 1: this part of the history, have min Alima. They actually
• 19:02
  Speaker 1: met while working on the Harry Potter films, and Mirafora
• 19:07
  Speaker 1: worked on the first film alone. Eduardo didn't come in
• 19:12
  Speaker 1: until Chamber of Secrets. And actually the way this all
• 19:18
  Speaker 1: came to be was Eduardo sent Mirafora an email because
• 19:22
  Speaker 1: they had a mutual friend in the film industry and
• 19:25
  Speaker 1: he wanted to begin working in graphic design like she
• 19:28
  Speaker 1: was currently doing, and he wanted to meet with her
• 19:31
  Speaker 1: about getting some work experience. So they met and Mira
• 19:37
  Speaker 1: offered him a week of work experience which got extended
• 19:42
  Speaker 1: and then extended and then extended and became a full
• 19:48
  Speaker 1: time job. So he was doing work on Chamber of
• 19:53
  Speaker 1: Secrets and Mina Lima. The design studio would eventually officially
• 19:58
  Speaker 1: get founded into two thousand and nine, so quite a
• 20:03
  Speaker 1: while before you know, min Alima became min Aalima, but
• 20:08
  Speaker 1: they were there working together almost from the very beginning,
• 20:12
  Speaker 1: so kind of cool. One of the first props designed
• 20:18
  Speaker 1: was Harry's Hogwarts acceptance letter, which was of course designed
• 20:23
  Speaker 1: by Mira Forest and she was the one working on
• 20:25
  Speaker 1: Sorcerer's Stone, so that it seems pretty fitting that, you know,
• 20:31
  Speaker 1: kind of the thing that brings us into the Wizarding
• 20:36
  Speaker 1: World itself and brings Harry into that world is that
• 20:39
  Speaker 1: first thing that got designed. So that's pretty cool. So
• 20:45
  Speaker 1: what inspired the look of the Wizarding World? It has
• 20:48
  Speaker 1: a very specific look. And I was able to find
• 20:53
  Speaker 1: some information from the Magic of Mina Lima companion book
• 20:58
  Speaker 1: which if you have not seen this book, looked at
• 21:01
  Speaker 1: this book. It's a really cool book. Highly recommend. Nicole
• 21:06
  Speaker 1: mentioned before we start recording that it's actually available and
• 21:09
  Speaker 1: Kindle unlimited.
• 21:10
  Speaker 3: Right now, I think, yeah, maybe keep in mind by
• 21:16
  Speaker 3: the time this airs, Yes it was at one point.
• 21:21
  Speaker 1: So check it might be there. But yeah, it's a
• 21:25
  Speaker 1: very cool book. So some information about the inspiration for
• 21:30
  Speaker 1: that look, Stuart Craig said to quote, take reality and
• 21:36
  Speaker 1: twist it by twenty percent. So that was kind of
• 21:41
  Speaker 1: the guidance that they were given at the start of production,
• 21:46
  Speaker 1: and you know, from there they kind of thought about
• 21:49
  Speaker 1: the stories are set in modern times, but magic itself
• 21:52
  Speaker 1: takes the place of technology, so they wanted the designs
• 21:56
  Speaker 1: to have a mixture of modern and historical elements. So
• 22:01
  Speaker 1: they ended up with a very large mixture of inspiration
• 22:06
  Speaker 1: including Victorian England, medieval manuscripts, pop art, packaging, and Bolshevik propaganda.
• 22:16
  Speaker 1: So I feel like we really see all of these.
• 22:18
  Speaker 1: So it's kind of interesting. When I was looking at
• 22:22
  Speaker 1: the list, I was like, oh, yeah, okay, I can
• 22:24
  Speaker 1: think of like different pieces that definitely pull from each
• 22:28
  Speaker 1: of these.
• 22:30
  Speaker 3: Well, and a lot of what you see, I think
• 22:34
  Speaker 3: is like take the Magical letter. I mean, this is
• 22:40
  Speaker 3: set what roughly early to late nineties Harry nineteen eighty
• 22:46
  Speaker 3: so early nineties, and so emails not really a thing yet,
• 22:53
  Speaker 3: computers aren't are sort of a thing. But you get
• 22:58
  Speaker 3: passing references to video game because that's still pretty young
• 23:01
  Speaker 3: of a technology in a lot of ways. But then
• 23:08
  Speaker 3: it's kind of I think it's I think it's mister
• 23:13
  Speaker 3: Weasley who says it best. It's like the things these
• 23:15
  Speaker 3: muggles come up with. I think that's where you get
• 23:19
  Speaker 3: a lot of the older like wizards don't need an email.
• 23:23
  Speaker 3: They can make sure your letter gets there without it.
• 23:27
  Speaker 3: So I think you see that in a lot of
• 23:31
  Speaker 3: the early, especially in the first film, which, if you
• 23:34
  Speaker 3: think about it in terms of a chronological to the
• 23:37
  Speaker 3: timeline is set what ninety one ninety two, so kind
• 23:43
  Speaker 3: of you could see that connection in the older references
• 23:50
  Speaker 3: of some of that early like the acceptance letters. What's
• 23:54
  Speaker 3: stuck in my head at the moment.
• 23:55
  Speaker 1: But I'm picturing an acceptance letter that's like design after
• 24:01
  Speaker 1: aim messages. Thank god they didn't go with you know, well,
• 24:08
  Speaker 1: I just think about modern technology.
• 24:10
  Speaker 3: Time we have to age the paper and we have
• 24:13
  Speaker 3: to hand letter. I mean there's even a picture in
• 24:17
  Speaker 3: the Minalima book that you referenced of of her kind
• 24:22
  Speaker 3: of hand lettering out.
• 24:26
  Speaker 2: I think we got a picture or a video or
• 24:30
  Speaker 2: reel or something recently when it was a fit. I
• 24:34
  Speaker 2: remember us talking about it in a news segment in
• 24:36
  Speaker 2: some episode over the last year where you could order
• 24:40
  Speaker 2: for like two hundred something dollars like a personalized letter
• 24:43
  Speaker 2: from Theraphora, and there was a video online of her,
• 24:46
  Speaker 2: you know, handwriting it. And yeah, I mean, I think
• 24:50
  Speaker 2: if if this had been more modern touches like it
• 24:53
  Speaker 2: really would have lost like that charm because you wouldn't
• 24:56
  Speaker 2: have somebody i think, necessarily handwriting something that looks old
• 25:01
  Speaker 2: and like you mentioned, Carolyn, kind of like them aging
• 25:03
  Speaker 2: the paper, and.
• 25:06
  Speaker 4: I just don't think it would have the same effect.
• 25:09
  Speaker 3: Early two thousands, when this movie was being done, still
• 25:12
  Speaker 3: would have been doing a lot by hand too, So.
• 25:15
  Speaker 1: Yeah, and they mentioned that in that book too, where
• 25:20
  Speaker 1: like a lot of what could be thought of as
• 25:23
  Speaker 1: limitations of the time of the early nineties actually became
• 25:28
  Speaker 1: like their signature and their strong suit of like these
• 25:31
  Speaker 1: hand crafted things, hand lettering, cutouts, all of that stuff
• 25:37
  Speaker 1: that's so familiar to that world and their style in general,
• 25:44
  Speaker 1: like expanding beyond the Wizarding World just mina lima themselves.
• 25:49
  Speaker 1: It's yeah, I mean I think it like a lot
• 25:54
  Speaker 1: of things. I know we've talked about how these films
• 25:59
  Speaker 1: would be friend if they weren't made at the time
• 26:03
  Speaker 1: that they were made. And I think this is definitely
• 26:07
  Speaker 1: one of them. And I don't know the technology would
• 26:10
  Speaker 1: have served us well in that regard.
• 26:15
  Speaker 3: I think you can see the difference between Movie three
• 26:18
  Speaker 3: and Movie four, the cutoffs right about there where they
• 26:21
  Speaker 3: started relying a lot more on computer animation. Yeah, And
• 26:26
  Speaker 3: one of the things you notice, or I always notice
• 26:29
  Speaker 3: as a graphic designer. I mean even watching Star Wars.
• 26:35
  Speaker 3: Take Rogue one for example, that was one of the
• 26:41
  Speaker 3: first films where they did that deaging thing, or they
• 26:44
  Speaker 3: did the computer animated like that's how they did what's
• 26:48
  Speaker 3: his face? Who passed away? The guy who plays Tarkin?
• 26:51
  Speaker 3: And I'm sitting in the theater and I'm looking up
• 26:53
  Speaker 3: at that screen and I'm like, he doesn't look right.
• 26:57
  Speaker 3: It doesn't look right.
• 27:00
  Speaker 2: It's the right, like it's the eyes and you get
• 27:03
  Speaker 2: kind of like Uncanny Valley kind of thing, right.
• 27:06
  Speaker 3: And I went to see this with my dad, who
• 27:08
  Speaker 3: loves Star Wars, and we walk out of that movie
• 27:10
  Speaker 3: and I went and they and at the very end
• 27:12
  Speaker 3: they had because she was still alive, they had Carrie
• 27:16
  Speaker 3: Fisher doing the lay a bit and they had the
• 27:18
  Speaker 3: same thing, like a stand in and they aged it
• 27:21
  Speaker 3: down and same thing. I'm like, going, there's something off
• 27:23
  Speaker 3: about this, and my dad goes, what it was fine,
• 27:27
  Speaker 3: I'm like, you don't see it.
• 27:30
  Speaker 4: It's like that video game kind of character, little kind
• 27:33
  Speaker 4: of thing.
• 27:34
  Speaker 3: It's something to me, was just like, and I don't
• 27:36
  Speaker 3: know if that's just I need to pull more people
• 27:40
  Speaker 3: and see if that was just me, because I'm used
• 27:42
  Speaker 3: to looking at computer screens. But then the other thing
• 27:44
  Speaker 3: I hear a lot for many people is like, practical
• 27:48
  Speaker 3: effects hold up better, Yeah, anytime you don't have to
• 27:51
  Speaker 3: use computer animation. And what I'm what you're what I'm
• 27:55
  Speaker 3: seeing when I go and see behind the scene things
• 27:57
  Speaker 3: of shows or TV or movies that I like is
• 27:59
  Speaker 3: they're starting to rely more on practical effects again because
• 28:04
  Speaker 3: they're realizing how much better I think it holds up.
• 28:08
  Speaker 1: Yeah, And I think, go ahead, Oh sorry, I was
• 28:12
  Speaker 1: just gonna say. I think like having such a robust
• 28:18
  Speaker 1: art department and the graphic design and all of that
• 28:22
  Speaker 1: being practical in these films just makes it that much
• 28:26
  Speaker 1: more real because when we're seeing scenes where there are signage,
• 28:31
  Speaker 1: there's shop names painted on the sides of buildings. All
• 28:36
  Speaker 1: that stuff is like real and it's there and it's designed,
• 28:41
  Speaker 1: rather than generating some fake art in design in the
• 28:48
  Speaker 1: background of a CGI set like it's it's there, and
• 28:54
  Speaker 1: you can tell the difference, Like you know, when you
• 28:58
  Speaker 1: think about what has to be design for these films.
• 29:00
  Speaker 1: You've got signage. You've got packaging for like sweets and
• 29:06
  Speaker 1: Weasley products, and like anything that's sold in any of
• 29:09
  Speaker 1: the stores that they ever show for any second on screen.
• 29:13
  Speaker 1: You've got letters, You've got newspapers, magazines, textbooks. You've got
• 29:19
  Speaker 1: Ron's comic book that we never actually see up close,
• 29:23
  Speaker 1: but it was designed right. Any potions ingredient, any prop
• 29:28
  Speaker 1: that has writing or images on it literally like everything, well.
• 29:32
  Speaker 2: I think it makes it look like like kind of
• 29:33
  Speaker 2: what you were saying any about, like just the realism
• 29:36
  Speaker 2: that it gives it. It makes it look tangible, like
• 29:39
  Speaker 2: you could actually like reach into the film and grab
• 29:42
  Speaker 2: that chocolate frog box. Not you know, obviously the chocolate
• 29:45
  Speaker 2: frog animated is obviously animated, but the box itself you
• 29:50
  Speaker 2: can tell unfortunately. But I think too that this is
• 29:53
  Speaker 2: also why you know, something like The Wizarding World at
• 29:57
  Speaker 2: Universal has worked so well because since you know, I
• 30:01
  Speaker 2: think of like Diagon Alley, right, and all the graphic
• 30:03
  Speaker 2: design and artwork and real artists making real things that
• 30:09
  Speaker 2: went into that set, and then it just it just
• 30:12
  Speaker 2: looks so real when you're there because it looked so
• 30:16
  Speaker 2: real it was so real in the film, and it
• 30:18
  Speaker 2: just translates.
• 30:20
  Speaker 1: You can actually, for real walk into Honey Dukes, see
• 30:24
  Speaker 1: the sign that was designed for Honey Dukes, see the birdiebods,
• 30:29
  Speaker 1: beans and the chocolate frogs, and walk out with one like.
• 30:32
  Speaker 1: That's what's cool about it is there is this world
• 30:37
  Speaker 1: that was creative for the films and created in such
• 30:40
  Speaker 1: detail that.
• 30:41
  Speaker 4: They can make it a real place, that.
• 30:43
  Speaker 1: They can literally make it a place you can just
• 30:44
  Speaker 1: like walk there and like be like wow, I'm in it,
• 30:48
  Speaker 1: Like that's so cool.
• 30:52
  Speaker 3: I agree.
• 30:54
  Speaker 1: Yeah, But anyway, it's it's estimated that they were thousands
• 31:00
  Speaker 1: of designs made for the Harry Potter films. There's no
• 31:03
  Speaker 1: exact number, but when you think about everything that had
• 31:07
  Speaker 1: to be created and then of course multiples of things,
• 31:12
  Speaker 1: that number is probably insane.
• 31:18
  Speaker 3: Yeah, there's no just one of anything. When you're doing
• 31:24
  Speaker 3: that kind of stuff, it's tons of paper that goes
• 31:27
  Speaker 3: into that kind of prints, and.
• 31:30
  Speaker 1: Yeah, for sure. So there's obviously a lot of designs
• 31:37
  Speaker 1: that come to mind when we think of the Wizarding
• 31:41
  Speaker 1: World designs. So I tried to pull some that are
• 31:45
  Speaker 1: obviously like the more iconic ones, and I thought we
• 31:49
  Speaker 1: could kind of go through and look at them and maybe, Carolyn,
• 31:53
  Speaker 1: since you have like a design perspective, maybe you can
• 31:57
  Speaker 1: explain to us people why this works. Maybe I just
• 32:03
  Speaker 1: look at it, I'm like, oh, it's pretty. I like it.
• 32:05
  Speaker 1: You can like actually be like, oh, well, you know,
• 32:09
  Speaker 1: here's the reason.
• 32:10
  Speaker 3: Well, and you gave me beautiful links here so I
• 32:12
  Speaker 3: can open my fast is always nice. I love when
• 32:15
  Speaker 3: you do that.
• 32:16
  Speaker 4: Love that.
• 32:18
  Speaker 1: So we're going to start with the Harry acceptance letter,
• 32:21
  Speaker 1: which we talked about already a little bit here. But
• 32:24
  Speaker 1: obviously there's the front and back both had to be designed.
• 32:29
  Speaker 1: The inside had to be designed too.
• 32:31
  Speaker 3: But yeah, well and you can I mean, I maybe
• 32:36
  Speaker 3: I don't know if you're gonna have the link somewhere,
• 32:38
  Speaker 3: but I mean when you look at what the letter
• 32:40
  Speaker 3: looks like, Like I said, that goes back to one
• 32:42
  Speaker 3: of the first things I said, which is they're actually
• 32:44
  Speaker 3: probably taking the time to that's not just paper, it's
• 32:48
  Speaker 3: they took the time. That's probably something that's been doused
• 32:53
  Speaker 3: in something, soaked in something to give it some color.
• 32:59
  Speaker 3: Could even be handmade paper if they were particularly ambitious.
• 33:04
  Speaker 3: And if it's not something that they handmade the paper for,
• 33:08
  Speaker 3: which is a fun process if you've never done it,
• 33:11
  Speaker 3: I can probably tell you how how detailed you want me, No,
• 33:18
  Speaker 3: but my guess is more likely it's regular paper, probably
• 33:20
  Speaker 3: a thicker, heavier parchment that's already started with, like something organic,
• 33:25
  Speaker 3: where they've got some grain and texture to it, and
• 33:27
  Speaker 3: then they're soaking it in something for color, and then
• 33:29
  Speaker 3: they're probably sticking it in an oven to cook it
• 33:32
  Speaker 3: a little bit and give it a kind of age look,
• 33:34
  Speaker 3: which is interesting because these aren't necessarily old things like
• 33:38
  Speaker 3: Harry's getting it brand new, but yet it has an
• 33:41
  Speaker 3: aged look to it, like they would have just sitting around.
• 33:46
  Speaker 1: Yeah, it's like as if all these envelopes have just
• 33:48
  Speaker 1: been like a sitting and they've been using the same
• 33:51
  Speaker 1: envelopes and stationary for the past one hundred years. At Hogwarts,
• 33:56
  Speaker 1: they just ordered a lot in bulk supply and they
• 34:00
  Speaker 1: haven't run out for a while.
• 34:02
  Speaker 3: What always gets me though, is the text on it,
• 34:06
  Speaker 3: because clearly she took a lot of time to handwrite
• 34:11
  Speaker 3: all of this out. But I just keep thinking if
• 34:15
  Speaker 3: it's a regular letter being written. I mean, think about
• 34:18
  Speaker 3: anytime you address a letter, it's not usually hand you know,
• 34:23
  Speaker 3: this is this is clearly hand done calligraphy. Yeah, Like
• 34:28
  Speaker 3: I can see it in how you've got some letters
• 34:31
  Speaker 3: or capital, some are lowercase, some are you know, and
• 34:35
  Speaker 3: there's not really a It's strategically chosen and that's why
• 34:43
  Speaker 3: it all works. But there's not really a whyme or
• 34:45
  Speaker 3: reason when you look at it. I don't think to oh,
• 34:49
  Speaker 3: this one's big, this one's little, like all the rs
• 34:52
  Speaker 3: are upper case, so little kind of design choices that,
• 34:56
  Speaker 3: Like I said, this is why she's hired for this.
• 35:00
  Speaker 3: It's clearly well thought out about what makes it look right.
• 35:04
  Speaker 3: But everything had to be hand lettered. My guess is
• 35:10
  Speaker 3: they all said covered under the stairs, regardless of because
• 35:16
  Speaker 3: in the books they all change oh smallest bedroom, Like
• 35:20
  Speaker 3: by the time you get to them coming out of
• 35:22
  Speaker 3: the fireplace, he's in the smallest bedroom. He's not under
• 35:25
  Speaker 3: the stairs anymore. Well, my guess they probably only did
• 35:29
  Speaker 3: it one way.
• 35:31
  Speaker 4: There.
• 35:32
  Speaker 2: I was just pulling up in the book, there's a
• 35:34
  Speaker 2: page specifically on the acceptance letter. It talks actually more
• 35:37
  Speaker 2: about the actual letter than it does the envelope, of course,
• 35:42
  Speaker 2: because the letter obviously has a lot more detail. But
• 35:45
  Speaker 2: it did say that in there that once they designed
• 35:47
  Speaker 2: the original prop, they handmade around twenty more to kind.
• 35:50
  Speaker 4: Of allow for the close ups.
• 35:53
  Speaker 2: Okay, and then yeah, really interesting back Sorry, go ahead.
• 35:59
  Speaker 3: Oh, I was gonna say. That doesn't surprise me because
• 36:00
  Speaker 3: you're gonna have any any number of things go wrong
• 36:03
  Speaker 3: in the process.
• 36:05
  Speaker 2: Well, and that was just that they used real owls,
• 36:07
  Speaker 2: you know, to carry these letters, and you know, obviously
• 36:10
  Speaker 2: the animal actors are not necessarily going to you know,
• 36:15
  Speaker 2: uh maybe not accidentally, you know, do something on them
• 36:19
  Speaker 2: or with them. And they actually mentioned it or red
• 36:22
  Speaker 2: it well, and they mentioned here that actually initially their
• 36:26
  Speaker 2: envelopes were too heavy for the owls security, so they
• 36:32
  Speaker 2: had to rush, they had to rush to make a
• 36:35
  Speaker 2: more lightweight version of them. So then it looks like
• 36:40
  Speaker 2: they printed thousands after on even lighter paper.
• 36:45
  Speaker 3: Oh, I'm sure there was a point where they just
• 36:46
  Speaker 3: went to printing.
• 36:48
  Speaker 4: That's for when you have all of those ones come through.
• 36:51
  Speaker 3: Yeah, yep, hm, so, but I mean, and then you
• 36:58
  Speaker 3: look at the back of the card and they clearly
• 37:00
  Speaker 3: took the time to make a custom wax seal. This
• 37:05
  Speaker 3: is this is the envelope we're looking at. I don't know,
• 37:10
  Speaker 3: I wonder if they said the letter was what they
• 37:12
  Speaker 3: designed first. So my guess is the crest would have
• 37:14
  Speaker 3: been pretty early designed too, Yeah, the original Hogwarts crest,
• 37:19
  Speaker 3: because that has to go at the top of the
• 37:23
  Speaker 3: letter head and you've got that handprinted on the back
• 37:28
  Speaker 3: and like, I mean you can even see the detail
• 37:29
  Speaker 3: and how they cut the envelope on the flap, like
• 37:33
  Speaker 3: they got crest itself.
• 37:35
  Speaker 1: Like how recognizable that is, like and just how prevalent,
• 37:41
  Speaker 1: Like that's just wild to me that like someone one
• 37:44
  Speaker 1: day was just like this is what it all look like.
• 37:47
  Speaker 1: Like obviously more complicated than that, but like it's just
• 37:51
  Speaker 1: so funny, Like fast forward what twenty five years at
• 37:56
  Speaker 1: this point, it's like, yeah, it's pretty crazy.
• 38:01
  Speaker 2: Yeah, I mean it helped like too, And they talk
• 38:03
  Speaker 2: about a little bit in the book about how it
• 38:05
  Speaker 2: was helpful that it was described in quite a bit
• 38:09
  Speaker 2: of detail in the book, like how it looked, especially
• 38:12
  Speaker 2: the envelope, and so they were able to kind of
• 38:16
  Speaker 2: really have good inspiration and a good vision of what
• 38:19
  Speaker 2: at least the envelope, yeah, needle to look.
• 38:22
  Speaker 1: The green writing comes direct from the books.
• 38:24
  Speaker 4: Yeah, it was written in emerald green ink. There was
• 38:26
  Speaker 4: no stamp.
• 38:27
  Speaker 2: Turning the envelope over his hand trembling, Harry saw a
• 38:30
  Speaker 2: purple wax seal bearing a coat of arms, a lion
• 38:32
  Speaker 2: and eagle, a badger and a snake surrounding a large letter.
• 38:35
  Speaker 3: H Well, and then they have I mean even the
• 38:41
  Speaker 3: the letter kind of matches how it's blocked in the
• 38:44
  Speaker 3: books too. If you look at the letter on that page,
• 38:49
  Speaker 3: it's the text blocking is almost identical to what it
• 38:55
  Speaker 3: would have been or to what it looks like when
• 38:57
  Speaker 3: you look at the book. So they had a lot
• 39:00
  Speaker 3: to start with for that one. Probably a good place
• 39:04
  Speaker 3: to start, given how well it was described.
• 39:09
  Speaker 1: Yeah. So then our next design is the daily Profit design,
• 39:17
  Speaker 1: which obviously everyone loves the Daily Profit. Put that in
• 39:21
  Speaker 1: a print and we're there for it. So obviously, you know,
• 39:27
  Speaker 1: for designers who love lettering, this is like in heaven.
• 39:37
  Speaker 3: I mean, as a graphic designer, I just love the
• 39:40
  Speaker 3: choices they made for how to block out the text
• 39:45
  Speaker 3: mm hmm. One of the first things they teach you
• 39:49
  Speaker 3: in design school is how to not overwhelm with your
• 39:55
  Speaker 3: font choices and make too many. And in general, the
• 40:00
  Speaker 3: rule of thumb is to try and keep it to two.
• 40:04
  Speaker 3: But really good designers can get away with any number.
• 40:09
  Speaker 3: And that's that twenty percent. Like, yeah, it's gonna look
• 40:12
  Speaker 3: like normal, but it's also not gonna look like normal. Yeah,
• 40:16
  Speaker 3: so they can play.
• 40:19
  Speaker 1: Our brains can recognize it instantly as a newspaper, but
• 40:25
  Speaker 1: it's a wizarding newspaper. So it's like, here's news, but
• 40:29
  Speaker 1: make it super whimsy, like you're gonna have textas like
• 40:33
  Speaker 1: on its side, and then maybe this article. Instead of
• 40:36
  Speaker 1: just like changing things to like fit it in, they're
• 40:39
  Speaker 1: gonna just like tilt it and then make it fit
• 40:41
  Speaker 1: that way.
• 40:42
  Speaker 3: Yeah, it it And when you look at it, it's
• 40:46
  Speaker 3: not like if you go pick up the New York
• 40:48
  Speaker 3: Times or Wall Street Journal or any you know, national
• 40:53
  Speaker 3: paper that we would all know and recognize. They've evolved
• 40:58
  Speaker 3: over time. So like you look at a New York
• 41:01
  Speaker 3: Times from the nineteen twenties and you look at a
• 41:05
  Speaker 3: New York Times from now, you're gonna recognize both as
• 41:08
  Speaker 3: a newspaper, but you're going to see the differences in
• 41:10
  Speaker 3: how they block everything, and how things have changed, and
• 41:13
  Speaker 3: how even the heading has changed. What kind of works
• 41:16
  Speaker 3: about the Daily Profit is it is? Again, it goes
• 41:19
  Speaker 3: back to that wizards don't have to make these changes.
• 41:22
  Speaker 3: If they don't want to make these changes. We have
• 41:24
  Speaker 3: magical ways of doing things. It's just gonna be. And
• 41:27
  Speaker 3: so they get to be more whimsical and it gets
• 41:29
  Speaker 3: to look frozen in the nineteen twenties a little bit
• 41:32
  Speaker 3: and have this kind of cool look that you still
• 41:34
  Speaker 3: see when you go to the Fantastic Beast films and
• 41:37
  Speaker 3: you see that parallel when they're showing you the beginning
• 41:41
  Speaker 3: of the first one and you're getting all these news
• 41:43
  Speaker 3: things from all the different parts of the world. But
• 41:46
  Speaker 3: yet it still feels very Daily Profit nineteen circa nineteen
• 41:51
  Speaker 3: ninety because we can just wave our ones and it'll
• 41:55
  Speaker 3: do what it wants us to do.
• 41:57
  Speaker 1: Yeah. I just I love the one image that I lanked,
• 42:06
  Speaker 1: the headline on the right side where it says several
• 42:09
  Speaker 1: high security prisoners escape. I just find it so funny
• 42:13
  Speaker 1: that first of all, they have that headline going down
• 42:16
  Speaker 1: sideways on the side of the newspaper, and then it's
• 42:19
  Speaker 1: like they ran out of room for the word escape
• 42:22
  Speaker 1: the last words, so then that one's just like the
• 42:25
  Speaker 1: other way, just sandwiched in. It's so intentional but like
• 42:30
  Speaker 1: so funny because.
• 42:31
  Speaker 3: That's the thing. It is extremely intensible because even if
• 42:33
  Speaker 3: you look next to the frum on the right hand side,
• 42:36
  Speaker 3: all the text is turned just right there mm hmm
• 42:40
  Speaker 3: to go what looks like right to left instead of
• 42:45
  Speaker 3: left to right like you read it normal, but you
• 42:49
  Speaker 3: gotta turn.
• 42:50
  Speaker 2: It and it's yeah, it's like yeah under the e
• 42:53
  Speaker 2: as well too.
• 42:55
  Speaker 1: Yep. It's very like we're wizards, so like we can
• 42:58
  Speaker 1: do things how we want. But also Wizarding news is
• 43:02
  Speaker 1: the same as muggle news, and that we are going
• 43:05
  Speaker 1: to do everything we can do to pinch pennies, and
• 43:07
  Speaker 1: we're not going to go to another paper. We're going
• 43:10
  Speaker 1: to stay on the same paper and we're gonna make
• 43:13
  Speaker 1: this work because it's within our budget.
• 43:16
  Speaker 3: Yep. But even with the what would at first glance
• 43:24
  Speaker 3: look like a massive amount of font choices, they all
• 43:27
  Speaker 3: work together. And that's that's where you can kind of
• 43:30
  Speaker 3: see the expertise. I think of a really talented graphic
• 43:34
  Speaker 3: designer in my opinion, but it's kind of it's one
• 43:39
  Speaker 3: of those things where it's like good design versus oh,
• 43:42
  Speaker 3: you paid five dollars and then someone design your logo,
• 43:47
  Speaker 3: didn't you.
• 43:51
  Speaker 1: So up next, we have one of my favorites, the
• 43:55
  Speaker 1: black family tree tapestry.
• 43:59
  Speaker 3: That is a good one.
• 44:01
  Speaker 1: I love this so much.
• 44:04
  Speaker 3: I'm gonna pull that one up on my in my
• 44:07
  Speaker 3: book because that is a really pretty one to look like.
• 44:09
  Speaker 3: That's the one that they made wrapping paper of and
• 44:11
  Speaker 3: all well.
• 44:14
  Speaker 1: And wallpaper, wallpaper.
• 44:19
  Speaker 2: When I love how this also kind of like set
• 44:21
  Speaker 2: the scene for like how other family tapestries would look later,
• 44:25
  Speaker 2: like because when we see the Strange family tree, it's
• 44:28
  Speaker 2: obviously got its own personal touch to it and it's
• 44:31
  Speaker 2: a little different than this, but it still is the
• 44:34
  Speaker 2: same kind of overall design.
• 44:38
  Speaker 4: And the same family.
• 44:41
  Speaker 1: Yeah. I like how instead of going up, like the
• 44:46
  Speaker 1: branches don't go up, it kind of like goes to
• 44:49
  Speaker 1: the side, so like you have the tree in its roots,
• 44:54
  Speaker 1: but then it like all starts just growing off to
• 44:57
  Speaker 1: the side. To make this elongated, like doing rizontal.
• 45:00
  Speaker 2: Instead of them doing like a they could vertically, they
• 45:03
  Speaker 2: could have like vertically yeah did it?
• 45:07
  Speaker 1: Yeah, which again is just taking that little bit of
• 45:11
  Speaker 1: whimsy and just kind of making it just slightly different
• 45:14
  Speaker 1: than what you would expect.
• 45:18
  Speaker 3: It's also interesting of like if you look at if
• 45:23
  Speaker 3: you look at the part where you start to get
• 45:25
  Speaker 3: to the Bellatrix and Narcissa and Draco, tell which actors
• 45:31
  Speaker 3: they had already cast when they made this, because Narcissa
• 45:38
  Speaker 3: is just a random illustration and Draco and Bellatrix look
• 45:45
  Speaker 3: like the actors. Yeah, and that maybe could should have
• 45:54
  Speaker 3: gotten updated at some point, maybe possibly, But I also wonder.
• 46:02
  Speaker 3: It makes me wonder if they age with it, like
• 46:04
  Speaker 3: the faces age with it magically, because the way you
• 46:07
  Speaker 3: see it gives you that impression. I think.
• 46:12
  Speaker 4: I don't know.
• 46:15
  Speaker 1: So towards the left side, there's a skull and it
• 46:25
  Speaker 1: doesn't have any like name labeled.
• 46:29
  Speaker 2: Yeah, because there's a skull on the far right side
• 46:31
  Speaker 2: that does have a name under it, which.
• 46:35
  Speaker 1: Is interesting because like, presumably most of these people are dead,
• 46:39
  Speaker 1: so it's not just like the dead people are represented
• 46:41
  Speaker 1: by skulls, right, And then like, why does this one
• 46:45
  Speaker 1: not have a name?
• 46:46
  Speaker 4: Why the fancy hatous I can't blow it up enough.
• 46:57
  Speaker 3: Don't know why he's wearing the party hat? But it's
• 47:01
  Speaker 3: that one's Regulus, because I can see it bigger in
• 47:03
  Speaker 3: the mina lima.
• 47:04
  Speaker 4: Oh yeah, you can scroll in, Yeah, you.
• 47:07
  Speaker 3: Can scroll in a little bit more.
• 47:09
  Speaker 1: But Draco's wearing like a peter Pan hat.
• 47:12
  Speaker 3: Yeah, that's an.
• 47:15
  Speaker 4: I mean, they all have some kind of like.
• 47:17
  Speaker 3: Hat on which no Bellatrix doesn't.
• 47:21
  Speaker 4: Well, she's like one of the only ones Bellatrix doesn't,
• 47:24
  Speaker 4: you know.
• 47:24
  Speaker 3: She's one of the few that doesn't.
• 47:26
  Speaker 1: The older ones make sense because they're like medieval kind.
• 47:29
  Speaker 4: Of hats, all right, and everyone wore hats back then.
• 47:33
  Speaker 3: Yeah, but then this isn't necessarily it's gotta be missing
• 47:39
  Speaker 3: some people if it goes back to the medieval times.
• 47:41
  Speaker 3: My guess for the skull with no name just based
• 47:46
  Speaker 3: on my grandmother had. Okay, so I'm gonna explain a
• 47:51
  Speaker 3: little more. My grandmother had a family tree thing, and
• 47:55
  Speaker 3: it was looked like a tree and then on every
• 47:57
  Speaker 3: every grandchild up to a certain in point because my aunt,
• 48:01
  Speaker 3: my one aunt, had like ten kids, and I think
• 48:03
  Speaker 3: my grandmother gave up trying to add figure out how
• 48:06
  Speaker 3: to add to that when the family got that big.
• 48:07
  Speaker 3: But she added just names and birthstones like not real
• 48:15
  Speaker 3: not the real stone, just like a little like crystal
• 48:18
  Speaker 3: of whatever their birthstone was. So mine was pink because
• 48:21
  Speaker 3: I am born in October, and for some reason, nobody
• 48:24
  Speaker 3: can just put something that looks kind of opal like
• 48:27
  Speaker 3: I gonna go like this and shrug at the camera.
• 48:31
  Speaker 3: So I always get that weird pink birthstone. That's not
• 48:34
  Speaker 3: really my birthstone, in my opinion. And she had one
• 48:40
  Speaker 3: that for a child that died in childbirth or during
• 48:45
  Speaker 3: childbirth that didn't and it wasn't it was. She ended
• 48:50
  Speaker 3: up naming the baby and putting a name on there.
• 48:53
  Speaker 3: But would maybe that's what that skull is se be
• 48:57
  Speaker 3: child that didn't survive. That would have been more common
• 49:03
  Speaker 3: the further back in history you go. So that would
• 49:06
  Speaker 3: be my guess with no real knowledge and no description
• 49:10
  Speaker 3: in here about why they did that. Yeah, yeah, something
• 49:15
  Speaker 3: that would maybe represent that.
• 49:18
  Speaker 2: Huh maybe yeah, because I mean it's not like it's
• 49:21
  Speaker 2: just a random skull to like just have there for
• 49:23
  Speaker 2: aesthetic reasons, because we obviously have a skull that's in
• 49:27
  Speaker 2: the exact same design with a name, so it clearly
• 49:31
  Speaker 2: is somebody.
• 49:33
  Speaker 1: Maybe anyone who died before well how old was regulous
• 49:38
  Speaker 1: when he died.
• 49:42
  Speaker 3: He would have been young, wouldn't he have?
• 49:45
  Speaker 1: Yeah, but I think he would have been technically of
• 49:48
  Speaker 1: age who was over seventeen, right, I don't know.
• 49:52
  Speaker 3: I don't know how far. I don't know how far
• 49:54
  Speaker 3: between him and Serious they are, Like, I don't know
• 49:59
  Speaker 3: how of an age now, and Serious is the same
• 50:03
  Speaker 3: age as James and Lily and they were twenty one,
• 50:07
  Speaker 3: and this is around that time.
• 50:11
  Speaker 1: Because that's what I was thinking. I wonder if anyone
• 50:14
  Speaker 1: who died before they hit that seventeen years is represented
• 50:20
  Speaker 1: by the skull, could be Yeah.
• 50:23
  Speaker 2: I mean the wiki obviously give or you know, take
• 50:26
  Speaker 2: that with a grain of salt, says that he died
• 50:30
  Speaker 2: in nineteen seventy nine and was age either seventeen or eighteen.
• 50:33
  Speaker 2: But I'd say it'd be fair to say that he
• 50:35
  Speaker 2: was probably at least at or close to of age.
• 50:42
  Speaker 1: Interesting, Yeah, but I think other than just like the
• 50:46
  Speaker 1: overall design of this, I've just I really love the
• 50:50
  Speaker 1: color scheme. I just something about that rich.
• 50:55
  Speaker 3: It was very of color to a fan. But that's
• 50:58
  Speaker 3: the kind of attention to detail that they always set
• 51:00
  Speaker 3: to give, which is that it's clearly a family that
• 51:04
  Speaker 3: cared about their pure blood nature and the Slytherin of
• 51:08
  Speaker 3: their family history, and so that it would be represented
• 51:13
  Speaker 3: in the tree kind of makes sense.
• 51:16
  Speaker 2: It definitely has the noble and ancient house of Black
• 51:20
  Speaker 2: Vibes depicted graphically in the design and the colors and
• 51:28
  Speaker 2: very I would look at this and say, this is
• 51:30
  Speaker 2: a noble house.
• 51:34
  Speaker 4: I see the vision.
• 51:41
  Speaker 1: So then next is our Marauders map print, which obviously
• 51:47
  Speaker 1: again is another one that's duplicated over and over and
• 51:50
  Speaker 1: over because it's just so cool and it's one of
• 51:55
  Speaker 1: those props that I think when you see it in
• 51:58
  Speaker 1: the movie, you don't really lives just how detailed it
• 52:02
  Speaker 1: is until you look at close ups because all of
• 52:07
  Speaker 1: the outlines of all of the rooms and all of
• 52:10
  Speaker 1: the places, all that stuff is hand lettered. Oh and
• 52:14
  Speaker 1: there's like actual words worked into this map in pretty
• 52:20
  Speaker 1: incredible ways, like you've got the womping willow. That's all words. Yeah,
• 52:26
  Speaker 1: It's just it's very cool.
• 52:29
  Speaker 3: Well, and for an animator to take this and animate it,
• 52:32
  Speaker 3: it has to all be done in hand by hand,
• 52:35
  Speaker 3: has to be scanned in, it has to be I'm
• 52:39
  Speaker 3: fairness of animation is not necessarily my forte. But my
• 52:43
  Speaker 3: guess is there is a certain amount of this being
• 52:45
  Speaker 3: done in tandem of the physicalness of this plus something
• 52:52
  Speaker 3: digital where they've done it in pieces to a certain extent,
• 52:55
  Speaker 3: it's to hand over to an animator so that they
• 52:58
  Speaker 3: it's easier to pull. But I mean there's also I
• 53:01
  Speaker 3: have ways of pulling images out of things, So probably
• 53:05
  Speaker 3: some combination of computer And this is in two thousand
• 53:09
  Speaker 3: and what six the third movie when they really had
• 53:12
  Speaker 3: to put this down on paper. Yeah, two thousand and
• 53:15
  Speaker 3: three was the first, was it two thousand? Two thousand
• 53:17
  Speaker 3: and one was the first one, So this would have
• 53:21
  Speaker 3: been three or four two thousand and three or four.
• 53:24
  Speaker 1: No Prisoner Aska been movie released two thousand and fours.
• 53:31
  Speaker 1: When it was released.
• 53:33
  Speaker 3: Three or four, I was close at first, I said
• 53:35
  Speaker 3: six that was way off. Sorry, sorry everybody, But yeah,
• 53:41
  Speaker 3: so depending on the technology at the time, which I'm
• 53:45
  Speaker 3: sure it was a decent chunk that could do a lot,
• 53:48
  Speaker 3: but you then have to animate things like the footprints
• 53:52
  Speaker 3: going through and the the moving elements of it, because like, yeah,
• 53:58
  Speaker 3: this is all hand lettered the womping willow. But wasn't
• 54:00
  Speaker 3: it moving in the movie too?
• 54:02
  Speaker 1: M h Yeah, Yeah, this one's interesting to me too,
• 54:09
  Speaker 1: because you've got the very like rigid like architectural lines
• 54:17
  Speaker 1: of like Hogwarts and like the corridors, but then you
• 54:21
  Speaker 1: also have so much movement and like curved lines and
• 54:25
  Speaker 1: flow with like marking the landscape around Hogwarts, and just
• 54:32
  Speaker 1: the way the two work together in this is very.
• 54:35
  Speaker 3: Also reads like what they thought a bunch of kids
• 54:40
  Speaker 3: would have put down on paper, because you have to
• 54:43
  Speaker 3: remember that this was made by James and Sirius and
• 54:46
  Speaker 3: Peter and Ramus, and it's oh, we ran out of room,
• 54:54
  Speaker 3: we got to put this here, and it gives that
• 55:01
  Speaker 3: look while still being readable in a lot of yes,
• 55:06
  Speaker 3: and then they had to think about it in three
• 55:07
  Speaker 3: dimensions too, right, because of the way the folds work.
• 55:12
  Speaker 1: Yeah, and this is where that you know, handcut folding
• 55:17
  Speaker 1: and all that stuff comes in.
• 55:19
  Speaker 3: Yeah, practical design is always good when you can make
• 55:23
  Speaker 3: it physical.
• 55:25
  Speaker 1: Well.
• 55:26
  Speaker 2: Some fun things I just kind of saw, like in
• 55:29
  Speaker 2: the book too about the map is that they talk
• 55:33
  Speaker 2: about how like they.
• 55:35
  Speaker 4: Did make mistakes with the map.
• 55:38
  Speaker 2: They had actually accidentally included the Room of Requirement and
• 55:42
  Speaker 2: it nearly made it onto the camera until one of
• 55:44
  Speaker 2: the crew kind of saw and they said, pointed out
• 55:46
  Speaker 2: it shouldn't be visible, so they quickly had to conjure
• 55:50
  Speaker 2: up a decorative compass motif to replace it.
• 55:55
  Speaker 1: Whoops.
• 55:57
  Speaker 4: And yeah, they talk a lot about the folds and everything.
• 55:59
  Speaker 2: You guys are just talking about being being definitely a
• 56:03
  Speaker 2: challenge for them, and yeah, it's really cool to see
• 56:08
  Speaker 2: they list in the book, like all the materials that
• 56:10
  Speaker 2: they use to make the map and yeah, and they
• 56:15
  Speaker 2: also say too, when they first made the prop, they
• 56:16
  Speaker 2: had no idea it would be so crucial to the storyline.
• 56:20
  Speaker 2: So here it was kind of started off with, yeah,
• 56:23
  Speaker 2: is this like, okay, well we have this for this
• 56:26
  Speaker 2: but yeah, but they talk about too about how you know,
• 56:33
  Speaker 2: they wanted to craft a piece that could be versatile
• 56:35
  Speaker 2: enough that could evolve as the story unfolded. And I
• 56:38
  Speaker 2: think they you know, I think they did that. They
• 56:44
  Speaker 2: say too. It's also one of their favorite.
• 56:45
  Speaker 4: Props, So they're with you, Amy, I love it.
• 56:51
  Speaker 2: So before we move on to the next one, I
• 56:53
  Speaker 2: want to actually circle back to the Black Family tapestry
• 56:56
  Speaker 2: because they actually answer the question in the book about
• 56:59
  Speaker 2: the Yeah, so they what happens when I just glance
• 57:03
  Speaker 2: at I know we need to don't We actually need
• 57:06
  Speaker 2: to go and read this book.
• 57:07
  Speaker 4: There's us there's so much in here. We're right about
• 57:12
  Speaker 4: the skulls being for oh my goodness, why.
• 57:19
  Speaker 5: Yes?
• 57:19
  Speaker 2: And then oh right here we're hear we included a
• 57:22
  Speaker 2: couple of skulls in the family tree to suggest that
• 57:25
  Speaker 2: they died young or were met with a violent.
• 57:28
  Speaker 3: Death, which even if you decide that Regulus is.
• 57:37
  Speaker 4: We talked about this in the past episode.
• 57:39
  Speaker 2: We think it would be a violent death like I
• 57:41
  Speaker 2: would mean or his you know, but died young. That
• 57:44
  Speaker 2: I mean for a wizard who they live, they have,
• 57:47
  Speaker 2: you know, a more advanced age. Dying at seventeen or
• 57:50
  Speaker 2: eighteen would be would be young.
• 57:52
  Speaker 3: We know enough about his story from books six and
• 57:56
  Speaker 3: seven to know that it was probably pretty funny.
• 57:59
  Speaker 1: Yeah, getting dragged under the water.
• 58:01
  Speaker 5: But we talked about the Yeah, but I think we
• 58:06
  Speaker 5: might be right about the other skull that isn't named,
• 58:10
  Speaker 5: that it could possibly be someone who died so young
• 58:12
  Speaker 5: that it was before they had a name.
• 58:15
  Speaker 1: Yeah, that makes sense. See little details like that.
• 58:22
  Speaker 4: M hm, But okay, we cank care. I saw it
• 58:26
  Speaker 4: was funny.
• 58:27
  Speaker 2: I opened up the book looking for the marauders map page,
• 58:29
  Speaker 2: and I opened right up to the tapestry page. Because
• 58:31
  Speaker 2: there's actually if you have the physical book. There are
• 58:34
  Speaker 2: a couple pieces in the physical book that open up
• 58:38
  Speaker 2: like all of Mina Lima's stuff, right this interactive elements,
• 58:42
  Speaker 2: and you can open up the Black family tree and
• 58:44
  Speaker 2: see it in much more detail. And so I opened
• 58:47
  Speaker 2: up to that page also just to go back to
• 58:50
  Speaker 2: before too. It is still on Kindle unlimited as of Friday,
• 58:54
  Speaker 2: January tewod and it's also the hardcover book is only
• 58:58
  Speaker 2: twenty six dollars.
• 58:58
  Speaker 4: On Amazon at the moment. Oh not bad, not bad.
• 59:04
  Speaker 1: Nice. Okay, So next we have one of the many
• 59:08
  Speaker 1: logos that they had to design, the Ministry of Magic
• 59:13
  Speaker 1: logo with that signature M with the wand Carolyn, you've
• 59:21
  Speaker 1: designed many logos.
• 59:23
  Speaker 3: I have designed a few.
• 59:25
  Speaker 4: Yeah.
• 59:25
  Speaker 3: The funny thing is I have not read the ins
• 59:30
  Speaker 3: and outs of their weight. I want to find my
• 59:31
  Speaker 3: bookmarks so that I can kind of maybe I will
• 59:36
  Speaker 3: screenshot this page and send it along to you guys
• 59:39
  Speaker 3: to post in the social media. Maybe it'll entice people
• 59:44
  Speaker 3: to buy this book because it is really cool. Where
• 59:47
  Speaker 3: am I going the right I'm going the wrong direction. Ha,
• 59:50
  Speaker 3: excuse me one second. Here it is there is a
• 59:57
  Speaker 3: page in the mean alm A book where you see
• 1:00:02
  Speaker 3: a bunch of different sketches and doodles, and I think
• 1:00:06
  Speaker 3: that breaks down really how any graphic designer starts with logos.
• 1:00:12
  Speaker 3: So with the Ministry of Magic, it's no different. You're
• 1:00:17
  Speaker 3: going to pull out a sketch book. You're going to
• 1:00:20
  Speaker 3: make every little doodle for what are the icons that
• 1:00:24
  Speaker 3: you think identify with now in this one, in this
• 1:00:29
  Speaker 3: case Ministry of Magic. So there's going to be an
• 1:00:31
  Speaker 3: EM somewhere and a wand in that and it they
• 1:00:34
  Speaker 3: play with in this book different ways of kind of
• 1:00:39
  Speaker 3: do we do multiple ms? Do we have them intertwining?
• 1:00:42
  Speaker 3: And you can see it in there what are called
• 1:00:44
  Speaker 3: thumbnail sketches, which is usually how I start that is
• 1:00:47
  Speaker 3: not usually what goes to the client. Amy, who I've
• 1:00:50
  Speaker 3: sent many a design to, knows that usually by the
• 1:00:53
  Speaker 3: time it gets to your client, you're going to see
• 1:00:55
  Speaker 3: something a little bit more finalized, because a lot of
• 1:00:57
  Speaker 3: this usually gets scrapped. But while the page with the
• 1:01:05
  Speaker 3: thumbnails was interesting, the other thing I noticed was they
• 1:01:07
  Speaker 3: have a page in the ministry section that shows you
• 1:01:12
  Speaker 3: how the Ministry of Magic evolved throughout the movies. In
• 1:01:18
  Speaker 3: terms of the book, it's page one seven. If you
• 1:01:23
  Speaker 3: have it, and you can see in the upper left
• 1:01:26
  Speaker 3: corner of that page it says this is in Fantastic
• 1:01:31
  Speaker 3: Beasts more than anything else, or at least in the beginning,
• 1:01:35
  Speaker 3: so that, like you can tell, they kind of designed
• 1:01:37
  Speaker 3: from different times. For Fantastic Beasts, there's one logo and
• 1:01:42
  Speaker 3: there's two different versions of it, and then you see
• 1:01:46
  Speaker 3: different Ministry of Magic logos depending on which a Harry
• 1:01:49
  Speaker 3: Potter film they were working on with kind of the
• 1:01:53
  Speaker 3: idea that the Ministry might have made changes or a
• 1:01:56
  Speaker 3: rebrand the movies went along, although it it doesn't change
• 1:02:00
  Speaker 3: very much until Harry Potter five. That's where you get
• 1:02:03
  Speaker 3: the one that is the link that you sent, and
• 1:02:05
  Speaker 3: it hasn't seemed to have changed much since then, and
• 1:02:10
  Speaker 3: it still has a lot of the same element to
• 1:02:13
  Speaker 3: the m but you can tell they kind of cleaned
• 1:02:16
  Speaker 3: it up a little bit, made it less ornate. It's like, yeah,
• 1:02:21
  Speaker 3: the most simplified version, which is usually actually what you're
• 1:02:23
  Speaker 3: looking for with a logo. You want it to be simple,
• 1:02:26
  Speaker 3: you want it to be iconic. There's a reason the
• 1:02:28
  Speaker 3: target logo is a bunch of circles and look like
• 1:02:30
  Speaker 3: a target. There is a reason why when you go
• 1:02:33
  Speaker 3: to McDonald's. It's the arches that everybody recognizes. You want
• 1:02:38
  Speaker 3: something simple and identifiable, something that even if you change it,
• 1:02:43
  Speaker 3: you don't have to change it much for it to
• 1:02:45
  Speaker 3: still be because you always want to keep that. And
• 1:02:49
  Speaker 3: then if you can hide a little detail in which
• 1:02:51
  Speaker 3: I don't think they did with the Ministry of Magic logo.
• 1:02:54
  Speaker 3: I tried to look closer to see if it had
• 1:02:56
  Speaker 3: cute little like most graphic design classes will be like,
• 1:03:00
  Speaker 3: what do you see when you look at this? And
• 1:03:01
  Speaker 3: they put a big FedEx a logo up, and the
• 1:03:03
  Speaker 3: whole point is that you're supposed to see the arrow
• 1:03:05
  Speaker 3: in the FedEx or that Amazon the arrow underneath is
• 1:03:11
  Speaker 3: to show you they have everything from A to Z.
• 1:03:14
  Speaker 3: That's you know, those are the that's if you look closely.
• 1:03:18
  Speaker 3: Not everybody catches that, but most people at this point
• 1:03:21
  Speaker 3: have heard that, or most and all graphic designers have that.
• 1:03:25
  Speaker 3: That's when you watch the little arrow, that's why it points.
• 1:03:28
  Speaker 3: It starts at A, it goes to Z, and that's
• 1:03:32
  Speaker 3: to get that. And that's usually not the kind of
• 1:03:35
  Speaker 3: thing doesn't change. One that changes a lot, probably a
• 1:03:37
  Speaker 3: little more along the lines of what the logos you'll
• 1:03:39
  Speaker 3: see in the in the Harry Potter films, and through
• 1:03:42
  Speaker 3: their graphic design, which kind of feels like it emulates
• 1:03:45
  Speaker 3: a similar look. The Starbucks Mermaid has evolved a lot
• 1:03:48
  Speaker 3: over the years since Starbucks first started, and that would
• 1:03:51
  Speaker 3: be another one where you could go look it up
• 1:03:53
  Speaker 3: and you could be like, what happened to the logo?
• 1:03:55
  Speaker 3: And you just watch the Mermaid change and it's the
• 1:03:57
  Speaker 3: same kind of concept, which I I think, without having
• 1:04:02
  Speaker 3: read their description of how their identity evolved, kind of
• 1:04:08
  Speaker 3: gives you the same vibe. It's that we always want
• 1:04:11
  Speaker 3: the same thing, but we're trying to show that time
• 1:04:13
  Speaker 3: is changing a little bit. Maybe so, but yeah, I
• 1:04:19
  Speaker 3: mean you see it in how they designed it. I
• 1:04:22
  Speaker 3: mean they started like every graphic designer would, which is
• 1:04:25
  Speaker 3: the little tiny little sketches of just a few little things,
• 1:04:28
  Speaker 3: and how can I tie them in? And how can
• 1:04:30
  Speaker 3: I maybe make it work? And what if I try this?
• 1:04:33
  Speaker 3: And they always look really rough, and they always look
• 1:04:36
  Speaker 3: really weird, and things don't always look as polished. Actually,
• 1:04:39
  Speaker 3: the ones that they published, I bet there's a lot
• 1:04:41
  Speaker 3: of pages that are a lot rougher than the ones
• 1:04:43
  Speaker 3: that they threw in notebook, because if I my sketch
• 1:04:47
  Speaker 3: book is any indication. I've reached the point where I've
• 1:04:52
  Speaker 3: even given up finding proper sketchbooks with blank pages. I'll
• 1:04:55
  Speaker 3: just use any piece of notebook paper at this point
• 1:04:57
  Speaker 3: because those lines aren't going to be there when I
• 1:04:59
  Speaker 3: send it along. But it's a it's a long process
• 1:05:06
  Speaker 3: of all right, these three worked the best, so let's
• 1:05:09
  Speaker 3: polish those up and send them off to they Probably
• 1:05:13
  Speaker 3: for them it would have been the director, but it's
• 1:05:16
  Speaker 3: your client. And then it's the back and forth of
• 1:05:19
  Speaker 3: oh I like this or oh I don't like this,
• 1:05:21
  Speaker 3: And there's plenty of times where stuff comes back and
• 1:05:23
  Speaker 3: you go, oh, I wish they like this, because I
• 1:05:27
  Speaker 3: think this one looks better, and I think eventually you
• 1:05:33
  Speaker 3: get to a mark that is identifiable. And I don't
• 1:05:37
  Speaker 3: think this has changed since movie five, has it?
• 1:05:41
  Speaker 2: No, it has just onwards, and it basically yeah, references
• 1:05:44
  Speaker 2: in here that you know, obviously for Fantastic Beasts coming
• 1:05:47
  Speaker 2: after Harry Potter, that that is where they that kind
• 1:05:50
  Speaker 2: of went back, yeah, to.
• 1:05:52
  Speaker 4: Do a more.
• 1:05:54
  Speaker 2: A logo that would look more right for the period,
• 1:05:57
  Speaker 2: and that's when they did that more fancy.
• 1:06:00
  Speaker 3: But it does evoke the ones from the earlier films too,
• 1:06:03
  Speaker 3: like they tried to stick with their starting point, which
• 1:06:07
  Speaker 3: is interesting.
• 1:06:08
  Speaker 4: Oh yeah, it's pretty much the same as one through three.
• 1:06:11
  Speaker 2: It just gets rid of where it says Ministry of
• 1:06:14
  Speaker 2: Magic and then obviously doesn't have that like the lines.
• 1:06:18
  Speaker 3: Actually, the Fantastic Beast ones reads more art deco, which
• 1:06:21
  Speaker 3: is very appropriate for the period. So that's always a
• 1:06:27
  Speaker 3: good thing. But they probably should have had them design
• 1:06:32
  Speaker 3: the branding for the website because Pottery War has been
• 1:06:35
  Speaker 3: through quite a few logos at this point.
• 1:06:38
  Speaker 4: Don't even talk to me about the logo. Everybody you
• 1:06:41
  Speaker 4: know is here. How upset I am.
• 1:06:43
  Speaker 2: About the the deletion of the Wizarding World logo that
• 1:06:48
  Speaker 2: I thought that logo was absolutely perfect and they just
• 1:06:51
  Speaker 2: axed it. So I buy every piece of merchandise that
• 1:06:55
  Speaker 2: I can find now that still has that logo on
• 1:06:57
  Speaker 2: it before they phase things out.
• 1:06:59
  Speaker 3: I don't blame you.
• 1:07:00
  Speaker 4: I just love that the logo with the so much.
• 1:07:03
  Speaker 2: Yeah, so we won't get on that soapbox, but I
• 1:07:07
  Speaker 2: will say too, I think that this Ministry logo that
• 1:07:10
  Speaker 2: kind of at the end worked really well because I
• 1:07:12
  Speaker 2: really like how they're descriptive, like how they're you know,
• 1:07:14
  Speaker 2: showing it with the you know, inner departmental memos, and
• 1:07:18
  Speaker 2: it just works perfectly in the crease of that you
• 1:07:21
  Speaker 2: know memo that I think the other designs wouldn't have
• 1:07:24
  Speaker 2: worked as well.
• 1:07:25
  Speaker 3: Yeah, oh agreed, I wonder if they would have. You
• 1:07:32
  Speaker 3: kind of wonder what the evolution of it would have
• 1:07:34
  Speaker 3: been after Voldemor though, because when you think about it
• 1:07:39
  Speaker 3: in terms of the time frame, that last iteration of
• 1:07:43
  Speaker 3: the logo feels darker, h starker, bolder. I wonder if
• 1:07:50
  Speaker 3: it would have changed or naturally evolved if you if
• 1:07:54
  Speaker 3: you saw more of what happens after.
• 1:07:57
  Speaker 2: Curse, I could see maybe it's softening back up again.
• 1:08:04
  Speaker 2: But I think what's kind of nice about it is
• 1:08:06
  Speaker 2: that obviously it's got this you know, they talk about
• 1:08:10
  Speaker 2: it as an illuminated wand that's running down the spond
• 1:08:13
  Speaker 2: of the spine of the M and obviously you see
• 1:08:16
  Speaker 2: that illumination, and so it kind of gives us a
• 1:08:19
  Speaker 2: little bit of brightness amongst and obviously that's kind of
• 1:08:22
  Speaker 2: like what was happening in those films. It was really dark,
• 1:08:25
  Speaker 2: but there was these moments of brightness.
• 1:08:31
  Speaker 3: True. No, I think it works well for what they
• 1:08:34
  Speaker 3: wanted to evoke at that point. So yeah, I'm never
• 1:08:39
  Speaker 3: going to criticize me to leave it as the design aesthetic,
• 1:08:42
  Speaker 3: however it ends up, is always perfect. I mean, they're
• 1:08:45
  Speaker 3: my favorite illustrated editions and the only three I will buy.
• 1:08:49
  Speaker 1: Ever, so sad.
• 1:08:52
  Speaker 2: I did just say gob with a Fire for Christmas,
• 1:08:55
  Speaker 2: So I'm I didn't buy it. I got it for Christmas.
• 1:09:00
  Speaker 3: Oh that's fair.
• 1:09:02
  Speaker 4: I will. I am going to flip through it.
• 1:09:04
  Speaker 2: We'll see how I feel.
• 1:09:06
  Speaker 1: I feel.
• 1:09:09
  Speaker 3: I'll be curious to hear what you think you'll have to.
• 1:09:14
  Speaker 1: It's still interesting.
• 1:09:15
  Speaker 4: I haven't opened it yet.
• 1:09:17
  Speaker 3: I think it's I think it's hard to beat perfection.
• 1:09:20
  Speaker 3: And those are beautifully illustrated books.
• 1:09:23
  Speaker 1: They're so good.
• 1:09:24
  Speaker 3: I think I even went and bought my daughter the
• 1:09:25
  Speaker 3: Alice in Wonderland that they did too.
• 1:09:28
  Speaker 1: Yeah, I have a few of their others. Yeah, they're
• 1:09:31
  Speaker 1: really pretty.
• 1:09:32
  Speaker 4: I'm pretty sure those are also on Kindle unlimited. If
• 1:09:34
  Speaker 4: you don't have them.
• 1:09:35
  Speaker 2: Obviously, again, you're going to miss being able to pull
• 1:09:38
  Speaker 2: things out in the tangible nature of it, but.
• 1:09:42
  Speaker 4: You can at least admire the artwork.
• 1:09:44
  Speaker 2: Obviously, I recommend on like an iPad or a colored
• 1:09:48
  Speaker 2: e reader.
• 1:09:48
  Speaker 4: So that you get the full the full experience, but.
• 1:09:52
  Speaker 3: It isn't the same when you try it on a
• 1:09:53
  Speaker 3: small I did try opening it just because I was
• 1:10:00
  Speaker 3: is how it would open on my ink one and
• 1:10:02
  Speaker 3: I went, oh.
• 1:10:04
  Speaker 2: Yeah, yeah, if you have like an iPad or similar
• 1:10:09
  Speaker 2: tablet where you can download the Kindle app. It's I
• 1:10:12
  Speaker 2: really like that they're making. I think the first illustrated
• 1:10:17
  Speaker 2: book is also on Kindle on limited now too, and
• 1:10:20
  Speaker 2: I think that's really cool, like just making those editions
• 1:10:22
  Speaker 2: accessible for people to be able to see the graphic
• 1:10:26
  Speaker 2: work in the illustrations and yeah, awesome.
• 1:10:33
  Speaker 1: All right, so now we had into our poster phase here.
• 1:10:39
  Speaker 1: The undesirable number one posters are also a big design item.
• 1:10:47
  Speaker 1: I mean, probably everyone had a T shirt with this
• 1:10:49
  Speaker 1: on it at one point.
• 1:10:50
  Speaker 4: And I still haven't.
• 1:10:52
  Speaker 1: I did.
• 1:10:53
  Speaker 4: I think I have two of them, two different versions.
• 1:10:56
  Speaker 3: I don't know what happened to mine.
• 1:11:01
  Speaker 1: But yeah, I mean it's again it's very simple, but.
• 1:11:07
  Speaker 3: Not it evokes similar layout thought that the The Daily
• 1:11:18
  Speaker 3: Profit does, but clearly not a newspaper, you know, like
• 1:11:21
  Speaker 3: you see the differences.
• 1:11:23
  Speaker 1: It's just yeah, like it's less chaotic, but they carry
• 1:11:28
  Speaker 1: through with some similar motifs of like the hand with
• 1:11:32
  Speaker 1: the finger pointing at different things, like on the poster,
• 1:11:36
  Speaker 1: it's reward, on the daily profit, it's pointing to different headlines. Yeah,
• 1:11:43
  Speaker 1: they're like blocky kind of text choices as well.
• 1:11:52
  Speaker 3: Yeah, this is another one where they have to think
• 1:11:55
  Speaker 3: very intentionally about what they're printing it on or making it.
• 1:12:04
  Speaker 3: Old school layout would have been hand cut, placed and
• 1:12:09
  Speaker 3: then photocopiedm so pre Adobe, you would have literally handcut
• 1:12:20
  Speaker 3: everything out and placed it one piece at a time
• 1:12:23
  Speaker 3: and then run it through a scanner or a printer
• 1:12:29
  Speaker 3: like essentially photocopier like high quality would not be like
• 1:12:34
  Speaker 3: today's types of photocopiers or scanners, and then you'd have
• 1:12:38
  Speaker 3: redone it however many times, but it would literally be
• 1:12:43
  Speaker 3: a built of multiple pieces and then with usually with
• 1:12:48
  Speaker 3: openings for the text, depending on how they're printing the text.
• 1:12:54
  Speaker 3: In some cases you'd place the text too, but if
• 1:12:58
  Speaker 3: you're running it like like it's being printed through a press,
• 1:13:02
  Speaker 3: you probably would just leave the room because you'd know
• 1:13:03
  Speaker 3: where it's going to be and then run that through later.
• 1:13:07
  Speaker 3: And so my guess is they treated this like they
• 1:13:10
  Speaker 3: were doing that, whether or not they actually did I'm
• 1:13:13
  Speaker 3: curious if they say, have any notes on that, because
• 1:13:15
  Speaker 3: I didn't really look at the undesirable section. I didn't.
• 1:13:19
  Speaker 4: I didn't really.
• 1:13:20
  Speaker 2: I was it's kind of like in the it's in
• 1:13:22
  Speaker 2: like the mixed with like the daily Profit a little bit.
• 1:13:25
  Speaker 4: I was giving it a little bit and didn't see.
• 1:13:27
  Speaker 2: But it's actually interesting to kind of even compare kind
• 1:13:31
  Speaker 2: of like what you were just describing as well about
• 1:13:33
  Speaker 2: having this. You know, they have this like kind of
• 1:13:36
  Speaker 2: layout that they you know, designed here, and then you know,
• 1:13:42
  Speaker 2: if you look at it with the Quibbler and you
• 1:13:45
  Speaker 2: look at the same version of the undesirable poster but
• 1:13:48
  Speaker 2: with the Quibbler, and it obviously like looks very similar
• 1:13:53
  Speaker 2: but has just slight design differences obviously to reflect more
• 1:14:01
  Speaker 2: the Quibbler style versus this one, like you mentioned, like
• 1:14:04
  Speaker 2: looking very much like this goes with the daily Profit.
• 1:14:07
  Speaker 1: So yeah, well.
• 1:14:09
  Speaker 3: And the other thing you're gonna find with design, I
• 1:14:11
  Speaker 3: mean people, I'm sure anybody who sees my work often
• 1:14:14
  Speaker 3: enough is picks out the same kind of things. A
• 1:14:16
  Speaker 3: lot of times designers rely on the same tricks, so
• 1:14:19
  Speaker 3: whatever they may be that they use to make their
• 1:14:22
  Speaker 3: workflow faster. So a lot of times you'll see a
• 1:14:25
  Speaker 3: lot of the same design choices because it's the same
• 1:14:29
  Speaker 3: two people designing everything, so like, Whereas if this were
• 1:14:33
  Speaker 3: a real Wizarding World, these might have looked more different
• 1:14:37
  Speaker 3: potentially because you would have had the daily Profit has
• 1:14:41
  Speaker 3: their designer. You've got the quibbler is the love Xenophilius
• 1:14:47
  Speaker 3: love goood off on his own, so like technically, but
• 1:14:52
  Speaker 3: a lot of this reads the same because it's a
• 1:14:53
  Speaker 3: graphic design department for a movie set and they have
• 1:14:57
  Speaker 3: to make it different. But they also will like and
• 1:14:59
  Speaker 3: that might why when I look at this, I go, well,
• 1:15:02
  Speaker 3: I see it, I see the I see the references,
• 1:15:04
  Speaker 3: or I see the elements, because the I I'm looking
• 1:15:08
  Speaker 3: at it through is this person has a style. It's
• 1:15:11
  Speaker 3: the same two people that are working on it.
• 1:15:15
  Speaker 1: What's interesting, too, is because I pulled up the next
• 1:15:18
  Speaker 1: one that we were gonna talk about too, which is
• 1:15:22
  Speaker 1: the decrees like umbridges, proclamations, and those look very similar
• 1:15:29
  Speaker 1: to the undesirable number one posters, which makes sense because
• 1:15:33
  Speaker 1: they're both ministry produced posters, right, so they're going to
• 1:15:37
  Speaker 1: use the same layout. And again, the proclamations have that
• 1:15:41
  Speaker 1: hand with the finger that motif is in there. So
• 1:15:45
  Speaker 1: then it gets me thinking back to the Daily Profit.
• 1:15:50
  Speaker 3: Where you see similar there's more.
• 1:15:52
  Speaker 1: Fun it's kind of run by the Ministry at a
• 1:15:56
  Speaker 1: certain point in the series, right, So that could also
• 1:16:01
  Speaker 1: be like a little nod to like here's the ministry
• 1:16:05
  Speaker 1: is publications and the Daily Profit is one of them.
• 1:16:09
  Speaker 3: Trying to figure.
• 1:16:11
  Speaker 2: It's I don't know if it's the same, if it'll
• 1:16:14
  Speaker 2: be like the same page for you and the because
• 1:16:16
  Speaker 2: some of the pages are like not even labeled, but
• 1:16:17
  Speaker 2: it's like one sixty four.
• 1:16:20
  Speaker 3: That gives me a point.
• 1:16:22
  Speaker 2: But interestingly, the quibbler uses the hand as well. It's
• 1:16:27
  Speaker 2: slightly Actually one of the hands here is the exact
• 1:16:31
  Speaker 2: same this Muggle Murderers rise. It's the same hand that's
• 1:16:38
  Speaker 2: in this one down here, it's the same hand that's
• 1:16:41
  Speaker 2: in the proclamation.
• 1:16:43
  Speaker 4: But then there is another hand used. I don't feel
• 1:16:49
  Speaker 4: to see it.
• 1:16:50
  Speaker 2: Over here that's like slightly different, but it's still that
• 1:16:53
  Speaker 2: same hand design, which again it could just be exactly
• 1:16:58
  Speaker 2: like you know what you just said, Carol, is that
• 1:17:00
  Speaker 2: we have the same graphic designers doing everything here, and
• 1:17:03
  Speaker 2: you know if they design that hand and they're like, wow,
• 1:17:05
  Speaker 2: I really like how this looks.
• 1:17:07
  Speaker 4: Because I love how the hand looks. I would keep it.
• 1:17:09
  Speaker 3: I mean it's very cool. I would use it everywhere
• 1:17:11
  Speaker 3: I could, exactly. That's the thing. It's like you start
• 1:17:13
  Speaker 3: to find certain certain things you like, and you'll do
• 1:17:17
  Speaker 3: it more often. I mean, it's just and you get
• 1:17:20
  Speaker 3: faster at it over time, so then it becomes something
• 1:17:23
  Speaker 3: that you're gonna just keep incorporating because for convenience and
• 1:17:28
  Speaker 3: for the you know, simplicity of it. And it works.
• 1:17:34
  Speaker 3: I mean, it does work. I mean I'm not knocking
• 1:17:36
  Speaker 3: it at all. It all works really well together. It's
• 1:17:39
  Speaker 3: just one of those things where I think that's part
• 1:17:41
  Speaker 3: of why I sit there and look at one thing
• 1:17:43
  Speaker 3: and go I see it, or I see the same
• 1:17:47
  Speaker 3: hand in it.
• 1:17:49
  Speaker 2: I think it becomes recognizable, right, I think, like you're
• 1:17:51
  Speaker 2: even looking at they have this on page here where
• 1:17:55
  Speaker 2: they have kind of their logo a little bit kind
• 1:17:58
  Speaker 2: of for the House of Me and A and there's
• 1:18:01
  Speaker 2: one section in the bottom corner that has about six
• 1:18:05
  Speaker 2: or seven varieties of that hand. We see that hand
• 1:18:08
  Speaker 2: being used in Epic Universe as well to point to
• 1:18:14
  Speaker 2: the restrooms, and it's just it's, yeah, it's weird. How
• 1:18:18
  Speaker 2: it's just a little floating hand, but it's become such a.
• 1:18:22
  Speaker 1: It's part of a design language. Like, yeah, it's interesting.
• 1:18:33
  Speaker 1: So next on our list is textbooks, which there's a
• 1:18:38
  Speaker 1: lot of very recognizable books that they had to design
• 1:18:43
  Speaker 1: the covers for. Obviously, some of the more recognizable ones
• 1:18:47
  Speaker 1: are like Advanced Potion Making not a textbook, but a book,
• 1:18:53
  Speaker 1: Tales of Beautiful, Tales of Beetle the Bard, it's a
• 1:18:58
  Speaker 1: tongue twister. There's the Dark Arts Defense Basics for beginners,
• 1:19:04
  Speaker 1: that's a super recognizable one. Obviously, we have Lockhart's books
• 1:19:10
  Speaker 1: Rita Skeeter's Life and Lies of Albus Dumbledore, so many book.
• 1:19:15
  Speaker 3: Covers they'll have a similar like red. I mean, I
• 1:19:25
  Speaker 3: like that they stayed kind of consistent to what do
• 1:19:29
  Speaker 3: we really think the style of this world is. It's
• 1:19:36
  Speaker 3: like you look at I'm looking at which one? Am
• 1:19:39
  Speaker 3: I looking at one of the thumbnails ones, the Rita
• 1:19:42
  Speaker 3: Skeeters Life and Lies of Alvis Dumbledore and the Gilderoy
• 1:19:46
  Speaker 3: Lockhart's Magical met very different covers on their surface, but
• 1:19:52
  Speaker 3: when you really kind of take a close look at them,
• 1:19:55
  Speaker 3: you see the kind of like this is all Penguin,
• 1:20:02
  Speaker 3: Random House for example, you know what I mean, Like
• 1:20:04
  Speaker 3: you could tell that like they would have thought about
• 1:20:06
  Speaker 3: is it were coming from a publisher, what would the
• 1:20:12
  Speaker 3: publisher have done? What is the look of this world
• 1:20:14
  Speaker 3: in that respect? And how do you make it stay consistent?
• 1:20:20
  Speaker 1: What I find funny is like books like Hogwarts of
• 1:20:26
  Speaker 1: History or Fantastic beat Somewhere to Find Them, Tales of
• 1:20:30
  Speaker 1: Beatle the Bar, they've got like the similar look of
• 1:20:34
  Speaker 1: like the foiling and stuff and like very classy, right,
• 1:20:37
  Speaker 1: and then you look at Life and Lives of Albus
• 1:20:40
  Speaker 1: Dumbledore and it just screams like this is the trashy
• 1:20:44
  Speaker 1: book for the wizarding world, right.
• 1:20:45
  Speaker 2: Well, they kind of even look more moderate a little
• 1:20:48
  Speaker 2: bit too, Like even if you think of like Gildoy
• 1:20:50
  Speaker 2: Lockhart's covers, right, like even though he's got the gold
• 1:20:53
  Speaker 2: foiling and stuff too, there's something different portrayed about kind
• 1:20:57
  Speaker 2: of like you mentioned, like the trashy kind of book.
• 1:21:00
  Speaker 1: This is the trashy paperback you're going to pick up.
• 1:21:03
  Speaker 2: Yes, or it's not as like distinguished as these textbooks
• 1:21:08
  Speaker 2: that obviously would have come out years and years and
• 1:21:11
  Speaker 2: years prior.
• 1:21:11
  Speaker 4: Right.
• 1:21:12
  Speaker 2: So it's like you mentioned, Carolyn, they have this very
• 1:21:14
  Speaker 2: similar like publishing house feel, but also at the same
• 1:21:18
  Speaker 2: time they managed to capture I think like the time
• 1:21:21
  Speaker 2: in which these books were would have been published in
• 1:21:26
  Speaker 2: terms of making them prestigious versus but more modern modern modern, moderate.
• 1:21:37
  Speaker 4: Modern.
• 1:21:41
  Speaker 3: Who wrote all those what was her name? She was
• 1:21:44
  Speaker 3: as to write all the kind of tell alls and
• 1:21:47
  Speaker 3: now I'm curious if they if her books had a
• 1:21:50
  Speaker 3: similar I'm probably dating myself as really old right now.
• 1:21:58
  Speaker 3: She wrote like one about Princess di and she wrote
• 1:22:00
  Speaker 3: one about like there's all these famous people that she
• 1:22:03
  Speaker 3: just basically like dug up all the Dirk very reatas
• 1:22:06
  Speaker 3: Skeeter esque life and lines of Alvis Dumbledore kind of thing.
• 1:22:09
  Speaker 3: I'm pretty sure that's what the reference was, but now
• 1:22:13
  Speaker 3: I'm trying to remember who it was. I'm gonna look
• 1:22:18
  Speaker 3: this up and see I'm.
• 1:22:19
  Speaker 2: Going to do It's like they almost get that serious feel,
• 1:22:22
  Speaker 2: right like if there's multiple books in that even if
• 1:22:25
  Speaker 2: they're not in a direct series, they're like part of
• 1:22:27
  Speaker 2: a collection or an anthology, so they all have a
• 1:22:30
  Speaker 2: similar feel. I think that's they did a really good
• 1:22:32
  Speaker 2: job capturing that with like Gilderoy Lockhart's books, which are
• 1:22:35
  Speaker 2: actually some of my favorite book designs because they're just
• 1:22:38
  Speaker 2: so funny too, like with his pit, you know, obviously
• 1:22:40
  Speaker 2: him meeting to have his picture on him and everything,
• 1:22:44
  Speaker 2: and yeah, they really did a good job. Like if
• 1:22:47
  Speaker 2: I was in a bookstore, right, I think I would
• 1:22:49
  Speaker 2: probably be drawn to picking up his book as well,
• 1:22:53
  Speaker 2: you know, reading a bunch of lies. But they sell
• 1:22:57
  Speaker 2: it well, they want you know, you want to buy them,
• 1:22:59
  Speaker 2: and you can see why everybody was so enamored with him,
• 1:23:01
  Speaker 2: and his charm is like reflected in the design of
• 1:23:06
  Speaker 2: the books. Yeah, where Hogwart's the History just looks like
• 1:23:15
  Speaker 2: a boring textbook about history.
• 1:23:18
  Speaker 4: Yep, they really captured that. I love the Fantastic Beast cover.
• 1:23:28
  Speaker 2: With the foiling and like almost like the tentacles and
• 1:23:30
  Speaker 2: the beasts coming out of the tentacles. And I know
• 1:23:33
  Speaker 2: we've had a couple of different editions. There was like
• 1:23:35
  Speaker 2: the second edition of Fantastic Piece, but I think, yeah,
• 1:23:38
  Speaker 2: that original one is reigned supreme. In my opinion from a.
• 1:23:41
  Speaker 3: Design sounds a lot cooler than the one that they
• 1:23:43
  Speaker 3: did for charity back in the day when they first
• 1:23:46
  Speaker 3: just printed. Right, really cool cover.
• 1:23:52
  Speaker 4: I know I want that cover.
• 1:23:54
  Speaker 2: I might have to eventually get the notebook that they
• 1:23:56
  Speaker 2: sell it if they still have it, you knows, that's
• 1:24:00
  Speaker 2: of that. I have the potion making one that's a
• 1:24:02
  Speaker 2: notebook the Advanced potion Making. But I do have a
• 1:24:05
  Speaker 2: copy of Tales of Beatle the Bar that is that
• 1:24:08
  Speaker 2: original design. I found it in the UK, that was
• 1:24:12
  Speaker 2: where I was able to grab it. But I think, yeah,
• 1:24:14
  Speaker 2: I think they should sell all of those as like
• 1:24:16
  Speaker 2: Fantastic be should be that cover.
• 1:24:18
  Speaker 4: It's yeah, it's much nice.
• 1:24:19
  Speaker 3: It did have a bunch of notebooks at the shop
• 1:24:21
  Speaker 3: in Chicago. I assume it would also be at the
• 1:24:24
  Speaker 3: New York store to a certain extent.
• 1:24:26
  Speaker 1: All at the New York store. Is the actual film
• 1:24:30
  Speaker 1: used prop of this book too?
• 1:24:32
  Speaker 3: Yes, awnest you.
• 1:24:35
  Speaker 1: I would like to look at it.
• 1:24:36
  Speaker 2: It is and it looks cool in person too, just
• 1:24:38
  Speaker 2: as cool as it looks in the you know. I
• 1:24:40
  Speaker 2: would love to eventually get, Like I have a couple
• 1:24:44
  Speaker 2: of Mena Alema prints, but they have one that you
• 1:24:47
  Speaker 2: can get that's like the premium that has the foiling
• 1:24:50
  Speaker 2: and stuff in it.
• 1:24:51
  Speaker 3: And my favorite that I have is it's from Fantastic
• 1:24:56
  Speaker 3: Beasts and I think it was done as a promotion
• 1:24:59
  Speaker 3: for something. You could get the print and it raised
• 1:25:02
  Speaker 3: money for charity and it's all the beasts. Oh nice
• 1:25:05
  Speaker 3: kind of like I'll take a picture of it and
• 1:25:07
  Speaker 3: send it into the chat later for you guys. By
• 1:25:11
  Speaker 3: far my favorite.
• 1:25:13
  Speaker 1: Yeah. They did a nice postcard series of the textbook
• 1:25:18
  Speaker 1: covers as well that do have the foiling, so like
• 1:25:21
  Speaker 1: I have the Fantastic Beast one that's like that and
• 1:25:24
  Speaker 1: it's got all the foiling. It's really pretty.
• 1:25:26
  Speaker 4: I think you can buy it as an individual card
• 1:25:28
  Speaker 4: too at the.
• 1:25:29
  Speaker 2: Store, maybe at Universal as well, and they have that one
• 1:25:32
  Speaker 2: as an individual card. M hm.
• 1:25:37
  Speaker 1: So that was my list, But I wanted to ask
• 1:25:40
  Speaker 1: you guys, are there any other designs that we haven't
• 1:25:45
  Speaker 1: talked about that you really love from the movies.
• 1:25:50
  Speaker 3: Mine is a design that's also a prep the Howler.
• 1:25:56
  Speaker 1: Yeah, yeah, that's a good one. Another like you know,
• 1:26:02
  Speaker 1: very paper architecture kind of thing.
• 1:26:06
  Speaker 4: Well, it it made me think they handcraft.
• 1:26:08
  Speaker 2: Yeah, they talk about in the book how they handcrafted it,
• 1:26:10
  Speaker 2: and I was thinking about that earlier when you mentioned that,
• 1:26:13
  Speaker 2: like top of the episode, about making these practical effects
• 1:26:16
  Speaker 2: and having the handcraft things, and I was thinking specifically
• 1:26:19
  Speaker 2: about how they did that with the Howler, and you know,
• 1:26:21
  Speaker 2: they talk about like literally cutting out the teeth and
• 1:26:24
  Speaker 2: inserting them in the mouth and using origami to like
• 1:26:28
  Speaker 2: make the mouth shape, and of course the howler had
• 1:26:31
  Speaker 2: to then also be made in a way that it
• 1:26:33
  Speaker 2: could then be animated, right right, So that's obviously so
• 1:26:38
  Speaker 2: you have to think about that with the design choice.
• 1:26:41
  Speaker 3: And that one's one that would have overlapped. It wouldn't
• 1:26:44
  Speaker 3: have just been the graphics department doing that, It would
• 1:26:46
  Speaker 3: have been props working with them too, and then it
• 1:26:50
  Speaker 3: would go over to the animators to do on the
• 1:26:53
  Speaker 3: computer in the end, but without the physical and the
• 1:26:56
  Speaker 3: amount of detail that goes into making the physical graphic
• 1:27:01
  Speaker 3: and art first, because like even in the film, I
• 1:27:04
  Speaker 3: feel like you see the letters.
• 1:27:07
  Speaker 4: And they like they talk about that.
• 1:27:09
  Speaker 2: They talk about that in the book about wanting to
• 1:27:11
  Speaker 2: make sure that you could see the writing come through,
• 1:27:14
  Speaker 2: and they talk a lot about how like their stylistic
• 1:27:17
  Speaker 2: choice of just the the fonts that they used, and
• 1:27:22
  Speaker 2: how you know, they had it start with a handwriting
• 1:27:25
  Speaker 2: that was like spiky and slanted and really to like
• 1:27:28
  Speaker 2: to evoke that Missus Weasley.
• 1:27:30
  Speaker 4: Was furious and yeah and angry with Ron.
• 1:27:33
  Speaker 2: But then at the end it transitions into what they
• 1:27:35
  Speaker 2: describe as like a more rounded, restrained style of writing
• 1:27:39
  Speaker 2: to reflect obviously when Missus Weasley just change of tone
• 1:27:42
  Speaker 2: when she's congratulating Jenny on her house sorting. But yeah,
• 1:27:46
  Speaker 2: they specifically mentioned wanting to see that writing come through
• 1:27:50
  Speaker 2: because it's still a letter, right, It's a type of letter,
• 1:27:55
  Speaker 2: which I think is right.
• 1:27:55
  Speaker 1: I love how they made the tongue of the Howler. Yeah,
• 1:28:03
  Speaker 1: is the ribbon on the envelope? Like, I love how
• 1:28:06
  Speaker 1: It's so cool how they worked in Like I don't
• 1:28:10
  Speaker 1: know if it was already on the envelope and then
• 1:28:12
  Speaker 1: they're like, oh, that'd be funny if that was the
• 1:28:14
  Speaker 1: tongue or if like they were like, oh, when it's animated,
• 1:28:16
  Speaker 1: it is going to have a tongue. How can we
• 1:28:20
  Speaker 1: make that practically in with like the envelope. So I
• 1:28:24
  Speaker 1: don't know how that came about, but I just I
• 1:28:25
  Speaker 1: love that detail.
• 1:28:26
  Speaker 2: So I think it was probably more of that because
• 1:28:28
  Speaker 2: they do talk about in the book like the process,
• 1:28:32
  Speaker 2: and like it seems like the tongue like kind of
• 1:28:34
  Speaker 2: came like last and they really thought about it, right,
• 1:28:37
  Speaker 2: because like they also talk about in the book, how
• 1:28:40
  Speaker 2: you know, obviously they deviate from the book in terms
• 1:28:42
  Speaker 2: of how the Howler like disintegrates or yeah, because they
• 1:28:48
  Speaker 2: felt that And I do think this is a good Yeah,
• 1:28:51
  Speaker 2: I think this was a good choice because they really,
• 1:28:55
  Speaker 2: you know, they made the design to have the Howler
• 1:28:57
  Speaker 2: kind of tear itself up and yeah, self destruct because
• 1:29:01
  Speaker 2: instead of bursting in the flames like it does in
• 1:29:02
  Speaker 2: the book, because they thought that it tearing itself up
• 1:29:06
  Speaker 2: was more in line with the design they came up
• 1:29:08
  Speaker 2: with for the Howler, And I think it is right
• 1:29:10
  Speaker 2: with all those spiky teeth, like, it just makes sense
• 1:29:12
  Speaker 2: that it would just chew itself up at the end
• 1:29:15
  Speaker 2: more than bursting in the flames.
• 1:29:17
  Speaker 3: So yeah, wasn't there another Howler in the books?
• 1:29:20
  Speaker 4: Though?
• 1:29:21
  Speaker 3: Like that's the one that everybody remembers. But isn't there
• 1:29:23
  Speaker 3: one that comes at Neville at one point from his
• 1:29:26
  Speaker 3: grand Maybe I'm misremembering who, but I feel like there
• 1:29:29
  Speaker 3: was Okay, magical letter blah blah blah blah blah, appearances
• 1:29:35
  Speaker 3: Harry Potter and the Chamber of Secrets, that one's ron
• 1:29:37
  Speaker 3: Apparently there's one in Prisoner of Azkaban, Goblet of Fire and.
• 1:29:42
  Speaker 1: Orders to Semiami get one? Am I making that up?
• 1:29:46
  Speaker 1: When she's getting.
• 1:29:47
  Speaker 6: What it is?
• 1:29:49
  Speaker 3: Does she get one?
• 1:29:50
  Speaker 4: No?
• 1:29:50
  Speaker 1: I thought she got one. That's hate.
• 1:29:52
  Speaker 2: Oh okay, right here, Okay, so this is the wiki again,
• 1:29:55
  Speaker 2: so let's take it with a grain of salt. But
• 1:29:57
  Speaker 2: it has so Nevill Longbottom mentioned and receiving at least
• 1:30:01
  Speaker 2: one howler from his grandmother before nineteen ninety two.
• 1:30:04
  Speaker 3: In nineteen ninety.
• 1:30:05
  Speaker 2: Two, Ron received a howler from his mother. In nineteen
• 1:30:08
  Speaker 2: ninety four, Neville received another howler from his grandmother after
• 1:30:13
  Speaker 2: he supposedly misplaced his password list enabling Serious Black to
• 1:30:17
  Speaker 2: enter Gryffindor Tower.
• 1:30:19
  Speaker 1: That's where Ron plased to run in the outside the
• 1:30:24
  Speaker 1: Great Hall.
• 1:30:24
  Speaker 2: Yeah, and then I was thinking of yeah, okay, But
• 1:30:28
  Speaker 2: then of course it turns out it was Crookshanks that
• 1:30:31
  Speaker 2: actually sold the list for Serious And then they say,
• 1:30:35
  Speaker 2: you say for nothing, right, poor noble. So then it
• 1:30:39
  Speaker 2: says a significant number of howlers were sent to the
• 1:30:42
  Speaker 2: Ministry of Magic in the summer of nineteen ninety four
• 1:30:44
  Speaker 2: after the disturbing events of the Quidditch World Cup, and
• 1:30:49
  Speaker 2: then also in that year, Hermione Granger received a few
• 1:30:53
  Speaker 2: howlers from readers of Which Weekly. When Rita Skeater wrote
• 1:30:56
  Speaker 2: a nasty article on her claiming she was in love
• 1:30:58
  Speaker 2: with in a love triangle with Harry and Victor Crumb,
• 1:31:02
  Speaker 2: and then Harry Potter's and Petunia received a howler on
• 1:31:07
  Speaker 2: the second of August nineteen ninety five from Elvis Dumbledore
• 1:31:10
  Speaker 2: after Vernon threatened to kick Harry out of their home.
• 1:31:13
  Speaker 2: After the two Dementors attacked Harry and Dudley.
• 1:31:16
  Speaker 3: Oh okay, I found what I was thinking of. And
• 1:31:18
  Speaker 3: it is book three, and it is Neville. They heard
• 1:31:21
  Speaker 3: the howler go off in the entrance hall. Have Neville's
• 1:31:24
  Speaker 3: grandmother's voice magically magnified. That's the scene I was thinking of.
• 1:31:28
  Speaker 3: I don't know about the rest of them.
• 1:31:29
  Speaker 1: That's the one. That's what I'm thinking of.
• 1:31:31
  Speaker 3: That it would have been really cool to see on
• 1:31:33
  Speaker 3: screen watching Neville run off, and because I feel like
• 1:31:36
  Speaker 3: that would have given you the Oh I waited too long.
• 1:31:39
  Speaker 3: This is what happened.
• 1:31:40
  Speaker 4: This is what happens.
• 1:31:41
  Speaker 3: Yeah, yeah, And that's what I was thinking of. That
• 1:31:44
  Speaker 3: was the point that I was trying to make all
• 1:31:46
  Speaker 3: of this.
• 1:31:46
  Speaker 1: I'm sorry we got there at the.
• 1:31:49
  Speaker 4: We did it. I'm sure we went on a little historical.
• 1:31:54
  Speaker 2: Historical outing of all the howlers that appeared in the
• 1:31:57
  Speaker 2: Harry Potter series, which that was a reminder or for me,
• 1:32:00
  Speaker 2: because I didn't remember all of those ones either.
• 1:32:02
  Speaker 3: So remember I didn't remember I kept. All I could
• 1:32:05
  Speaker 3: remember was that there was probably another one because it
• 1:32:07
  Speaker 3: was stuck in the.
• 1:32:08
  Speaker 1: Head, and then it was probably Neville.
• 1:32:10
  Speaker 4: He was always Nevill.
• 1:32:12
  Speaker 3: Apparently I had enough of the details in my head
• 1:32:15
  Speaker 3: to have remembered that. Yep, sorry everybody.
• 1:32:21
  Speaker 2: We we get on a lot of tangents on this podcast,
• 1:32:24
  Speaker 2: so well that I'm in the right place, you are
• 1:32:27
  Speaker 2: you are, but yeah, some of the other but the
• 1:32:31
  Speaker 2: ones that like I had kind of just put in
• 1:32:33
  Speaker 2: the dock too, is we kind of talked about some
• 1:32:36
  Speaker 2: of them earlier, like the shop signs, and also some
• 1:32:41
  Speaker 2: like props as well.
• 1:32:43
  Speaker 4: So the Time.
• 1:32:43
  Speaker 2: Turner, I know Tom if he was here would agree
• 1:32:46
  Speaker 2: with me. He's also a fan of the Time Turner design.
• 1:32:50
  Speaker 2: And then also there's a really I kind of forgot
• 1:32:53
  Speaker 2: about this actually until I was flipping through this book
• 1:32:55
  Speaker 2: and there's a section in the book where they talk
• 1:32:57
  Speaker 2: about designing the horror cruxes. And I am such a
• 1:33:00
  Speaker 2: fan of the Slytherin locket.
• 1:33:02
  Speaker 4: I always have been.
• 1:33:03
  Speaker 2: I have it and a necklace for myself and so
• 1:33:07
  Speaker 2: that's one of my favorite designs as well. And just
• 1:33:09
  Speaker 2: the little details that even went into you know, it's
• 1:33:13
  Speaker 2: not a small locket, but it's not a big a
• 1:33:15
  Speaker 2: big prop either well.
• 1:33:17
  Speaker 3: And it's another example of how departments overlap a lot too,
• 1:33:20
  Speaker 3: because they wouldn't have necessarily built that one. Props would
• 1:33:23
  Speaker 3: have done it, but the fact that they came up
• 1:33:26
  Speaker 3: with the look for it so that it felt real
• 1:33:29
  Speaker 3: just kind of shows that, like graphic designers aren't necessarily
• 1:33:34
  Speaker 3: just working on paper all the time to keep things
• 1:33:39
  Speaker 3: kind of uniform. They'll they'll dip their toe in into
• 1:33:42
  Speaker 3: other departments to help out with certain things.
• 1:33:45
  Speaker 2: So well, and do you think that like it's even
• 1:33:49
  Speaker 2: maybe that like me and a Lima did that even
• 1:33:53
  Speaker 2: more than other graphic designers have been able to do
• 1:33:57
  Speaker 2: on things. I mean, we talked a lot about we
• 1:33:59
  Speaker 2: hadbviously our episode about Stuart Craig and like production design
• 1:34:03
  Speaker 2: in the art department. Obviously he had a big role
• 1:34:05
  Speaker 2: too in you know, being in that kind of that
• 1:34:09
  Speaker 2: umbrella you know that was under it and creating the
• 1:34:13
  Speaker 2: look of the film. And I could see it being
• 1:34:16
  Speaker 2: like you know, we could have the props department just
• 1:34:19
  Speaker 2: come up with the time turner. But we've got these
• 1:34:22
  Speaker 2: amazing graphic designers that have really helped create the look
• 1:34:25
  Speaker 2: of this world, and so like we want them involved
• 1:34:28
  Speaker 2: too and how this looks even and they're not the
• 1:34:30
  Speaker 2: ones building it.
• 1:34:31
  Speaker 3: You know, it's a uniform art department, is what it
• 1:34:35
  Speaker 3: really boils down to. So they're going to pull from
• 1:34:37
  Speaker 3: wherever they can pull from. It could have even been
• 1:34:39
  Speaker 3: I mean, without knowing for sure and never having spoken
• 1:34:42
  Speaker 3: to Stuart Craig, could just as easily be that he
• 1:34:45
  Speaker 3: just had one meeting where he was like, look, this
• 1:34:47
  Speaker 3: is a prop we need. We don't care where the
• 1:34:49
  Speaker 3: look comes from. Have at it, yeah, and wherever it
• 1:34:58
  Speaker 3: ties in best.
• 1:35:01
  Speaker 2: Yeah. I mean I always wondered if like they were
• 1:35:03
  Speaker 2: given more like liberty as graphic designers than some others
• 1:35:08
  Speaker 2: have been on film projects or franchises, because you know,
• 1:35:11
  Speaker 2: obviously they're very well known in a way that a
• 1:35:15
  Speaker 2: lot unfortunately, I think unfortunately that a lot of like
• 1:35:19
  Speaker 2: graphic designers aren't, because I think we talked a lot
• 1:35:21
  Speaker 2: about it in the Stuart Craig episode, where a lot
• 1:35:24
  Speaker 2: of those people that.
• 1:35:25
  Speaker 4: Yeah, well I'm glad.
• 1:35:27
  Speaker 2: I know you, but like those when you like think
• 1:35:31
  Speaker 2: of films and franchises, right, Like those are a lot
• 1:35:34
  Speaker 2: of the people who they're just names on the credits
• 1:35:36
  Speaker 2: at the end, right, they don't get this. But but
• 1:35:39
  Speaker 2: me and Alima has been able to break out that way.
• 1:35:42
  Speaker 2: And I think a lot of it, like is because
• 1:35:44
  Speaker 2: of their work on Harry Potter and how recognizable it became.
• 1:35:47
  Speaker 2: And I feel like they had just so much creative
• 1:35:50
  Speaker 2: freedom and liberty and were involved so much in that
• 1:35:53
  Speaker 2: project that I really hope that that changed the mold
• 1:35:57
  Speaker 2: for graphic designers in future or projects.
• 1:36:01
  Speaker 1: Sorry, you know well, And I know the forward of
• 1:36:10
  Speaker 1: the book that we've been quoting.
• 1:36:12
  Speaker 2: Throughout the.
• 1:36:15
  Speaker 3: Yeah books Solidarity.
• 1:36:20
  Speaker 4: We know the reference the forward.
• 1:36:23
  Speaker 1: The forward talks a little bit about graphic design and
• 1:36:27
  Speaker 1: kind of the landscape within the film industry back when
• 1:36:33
  Speaker 1: the nineties. Right. So there's like a section or maybe
• 1:36:40
  Speaker 1: not the foreward, but whatever is right after the forward,
• 1:36:42
  Speaker 1: there's like a section from Mira and a section from
• 1:36:45
  Speaker 1: Eduardo and Mirra kind of talks about how kind of
• 1:36:50
  Speaker 1: prior to the late nineties early two thousands, graphic designers
• 1:36:56
  Speaker 1: were employed on film sets, but they weren't necessarily called
• 1:37:02
  Speaker 1: graphic designers, and there was no actual label for that.
• 1:37:06
  Speaker 1: It was within the art department, and like you just
• 1:37:09
  Speaker 1: have someone who had knowledge of graphic design. But then,
• 1:37:12
  Speaker 1: like as the years went on, it kind of became
• 1:37:17
  Speaker 1: obvious the need for specific graphic designers for films, especially
• 1:37:22
  Speaker 1: a series, enfranchises where you needed it to be consistent
• 1:37:26
  Speaker 1: and you needed that level of detail in all of
• 1:37:30
  Speaker 1: these things that you were in filming.
• 1:37:32
  Speaker 2: Sorry kind of yeah, yeah, I mean, and she does
• 1:37:35
  Speaker 2: talk about Yeah, she says, you know, in two thousand
• 1:37:38
  Speaker 2: and one, graphic design wasn't the high tech field it
• 1:37:40
  Speaker 2: is today. And she also mentions too in that in
• 1:37:44
  Speaker 2: like her part where she says, you know, Eduardo and
• 1:37:45
  Speaker 2: I were widely acknowledged for our role in creating the
• 1:37:48
  Speaker 2: look in the field the Wizarding World, but in those
• 1:37:50
  Speaker 2: early days, when we first started working together, we had
• 1:37:52
  Speaker 2: little idea of the scale of the task ahead. And
• 1:37:57
  Speaker 2: so yeah, I think that, yeah, like you, like you mentioned,
• 1:38:01
  Speaker 2: it's I think that their role in like this film
• 1:38:03
  Speaker 2: and everything did seem to really redefine that.
• 1:38:09
  Speaker 4: In the film, and with.
• 1:38:13
  Speaker 1: How obviously hugely successful Harry Potter became, it opened up
• 1:38:19
  Speaker 1: the avenue of They even mentioned in that book, you know,
• 1:38:22
  Speaker 1: going to like their first Harry Potter convention and being
• 1:38:28
  Speaker 1: astounded that all these people were like excited to sit
• 1:38:31
  Speaker 1: there and listen to them talk about graphic design.
• 1:38:36
  Speaker 4: Them and got their autograph.
• 1:38:38
  Speaker 1: Yeah, like, I love their panels. I've been to a few,
• 1:38:42
  Speaker 1: but like them, just being surprised by that interest because
• 1:38:47
  Speaker 1: it's such a niche thing. But people were excited about
• 1:38:50
  Speaker 1: it because it was Harry Potter and because they love
• 1:38:53
  Speaker 1: the details of this world. So I think it's kind
• 1:38:57
  Speaker 1: of cool that that opened up the opportunity to shed
• 1:39:00
  Speaker 1: more light on graphic design is an art form and
• 1:39:04
  Speaker 1: what designers actually do for films and the importance of
• 1:39:08
  Speaker 1: that role.
• 1:39:10
  Speaker 3: Yeah. Well, in a lot of times, graphic designers all
• 1:39:16
  Speaker 3: throughout history, I think it's a lot of it gets
• 1:39:18
  Speaker 3: lumped into the art department, where it does for a
• 1:39:20
  Speaker 3: long time. Yeah, And that's less so now than I
• 1:39:25
  Speaker 3: would think historically. So even what they talk about in
• 1:39:31
  Speaker 3: the nineties, I mean, you would have been working for
• 1:39:35
  Speaker 3: the marketing department, or you would have been under the
• 1:39:37
  Speaker 3: art department, or you would have been under for the
• 1:39:41
  Speaker 3: places you worked, and it wouldn't you would have had
• 1:39:44
  Speaker 3: the title graphic designer. That title goes back pretty far,
• 1:39:47
  Speaker 3: but like you're not necessarily your own separate department.
• 1:39:53
  Speaker 2: One of the many names in the in the credit
• 1:39:57
  Speaker 2: right under under art department, under departing.
• 1:40:00
  Speaker 1: Yeah exactly. Yeah, so.
• 1:40:05
  Speaker 3: It makes sense.
• 1:40:09
  Speaker 1: Yeah, so that wraps up our main discussion. You know,
• 1:40:12
  Speaker 1: we're going to take any opportunity we can to talk
• 1:40:15
  Speaker 1: about behind the scenes stuff in filmmaking.
• 1:40:17
  Speaker 2: And bring out our reference books. I mean literally the
• 1:40:20
  Speaker 2: last I wish you guys could see. Well, you'll see
• 1:40:23
  Speaker 2: some clips on social media. I'm sure Amy will grab
• 1:40:25
  Speaker 2: one that has us holding the book. But you know,
• 1:40:27
  Speaker 2: our last episode with Curse Child, I was here flipping
• 1:40:30
  Speaker 2: through the the Curse Child book too.
• 1:40:33
  Speaker 4: It's the Raven clawd me comes out a little bit
• 1:40:35
  Speaker 4: with that.
• 1:40:35
  Speaker 1: But yeah, I love a good companion book.
• 1:40:39
  Speaker 2: Here at Rebellio, we definitely do we have, especially speaking yes,
• 1:40:44
  Speaker 2: I mean speaking of that. Actually for Christmas, just got
• 1:40:47
  Speaker 2: a I haven't really flipped through it much, through it
• 1:40:49
  Speaker 2: through it much. I don't know if it's from Inside
• 1:40:52
  Speaker 2: Editions or who it's from, but it's a Characters.
• 1:40:55
  Speaker 4: Of the Wizarding World. Nice coffee table book. I saw
• 1:40:57
  Speaker 4: it randomly at Costco.
• 1:40:59
  Speaker 2: One day when we were there and my boyfriend or
• 1:41:02
  Speaker 2: his daughter remembered and they got it for me for Christmas.
• 1:41:04
  Speaker 4: And yeah, it's really it's really cool and it's got
• 1:41:07
  Speaker 4: art in it too.
• 1:41:08
  Speaker 2: It's got you know, it goes through all the characters,
• 1:41:09
  Speaker 2: but it's got that you know, art design between the
• 1:41:12
  Speaker 2: characters and everything.
• 1:41:13
  Speaker 4: So love that.
• 1:41:15
  Speaker 2: Yeah, we love a good Harry Potter coffee table reference
• 1:41:18
  Speaker 2: book here son. On our last episode, we had asked,
• 1:41:30
  Speaker 2: you know, what are your overall thoughts about Harry Potter
• 1:41:32
  Speaker 2: and the Curse Child, and people have thoughts.
• 1:41:37
  Speaker 1: We knew we were opening that can of.
• 1:41:39
  Speaker 2: Worms, you know, yeah we knew, and yeah we knew
• 1:41:43
  Speaker 2: when we came out as Cursed Child stands that we would.
• 1:41:46
  Speaker 4: Get some people with the opposite you.
• 1:41:48
  Speaker 2: Know view, And so thank you to everybody engage. Yes, yes, yes,
• 1:41:53
  Speaker 2: we really want to hear and thus thank you. But yeah, yeah,
• 1:42:01
  Speaker 2: if you haven't listened to that episode yet, we know
• 1:42:03
  Speaker 2: it's a long one, We're sorry, it's like three hours, but.
• 1:42:06
  Speaker 4: It was like our last episode of the season.
• 1:42:09
  Speaker 2: Please yeah, we had a lot to say, so please, yeah,
• 1:42:12
  Speaker 2: definitely listen to it. We hope that maybe we make
• 1:42:14
  Speaker 2: you think of Curse Child in a different way.
• 1:42:16
  Speaker 4: That was our only hope.
• 1:42:17
  Speaker 1: You know, maybe it explained ourselves in our love for it.
• 1:42:21
  Speaker 2: Yes, yes, but here's what you guys had to say
• 1:42:25
  Speaker 2: about your overall thoughts of Harry Potter and the Curse Child.
• 1:42:28
  Speaker 2: So Jerry broke it down into a couple different points,
• 1:42:35
  Speaker 2: and so Jerry's first impression slash Cedrick's death Eater alternate universe.
• 1:42:42
  Speaker 2: Jerry says, I admit that I have not yet had
• 1:42:45
  Speaker 2: the chance to see Harry Potter and the Curse Child.
• 1:42:48
  Speaker 2: I live in a very rural area, a long way
• 1:42:50
  Speaker 2: away from places like London and New York. Well, I
• 1:42:52
  Speaker 2: hope Jerry, that now with the touring coming back, maybe
• 1:42:56
  Speaker 2: you'll be able to see it.
• 1:42:57
  Speaker 4: It'll come to a city near you.
• 1:42:58
  Speaker 1: Jerry did email us to say she's going to see
• 1:43:01
  Speaker 1: it in Orlando in February. We convinced someone to go
• 1:43:06
  Speaker 1: see it. She said it specifically because of our episode,
• 1:43:09
  Speaker 1: And now I'm really concerned and I really hope she
• 1:43:12
  Speaker 1: enjoys it.
• 1:43:13
  Speaker 2: Oh, Jerry, Oh jeez.
• 1:43:18
  Speaker 3: As someone who hated the script book, Jerry, I don't
• 1:43:22
  Speaker 3: think you'll be disappointed watching the stage show, because if
• 1:43:27
  Speaker 3: we get we'll get to mine.
• 1:43:32
  Speaker 2: Well, I'm excited that you're getting to see it when
• 1:43:35
  Speaker 2: it's touring, Jerry, and we're very, very excited to hear
• 1:43:38
  Speaker 2: your thoughts. So Jerry says, when the script book was released,
• 1:43:42
  Speaker 2: I borrowed it from the library and read it. That
• 1:43:44
  Speaker 2: was now many years ago, and my memories are a
• 1:43:46
  Speaker 2: bit dim. The major impression that I retained with Cedric
• 1:43:50
  Speaker 2: Diggery becoming a death eater in one of the modified timelines.
• 1:43:53
  Speaker 2: This really disturbed me. It is quite disturbing, and Jerry
• 1:43:58
  Speaker 2: says as an explanation, when I first read the books,
• 1:44:00
  Speaker 2: the death of Cedric and Goblet really hit me hard.
• 1:44:03
  Speaker 2: In fact, until the massive number of deaths in the
• 1:44:05
  Speaker 2: final book, Cedric's death was the most traumatic bit of
• 1:44:08
  Speaker 2: the entire book series to me. So I hated the
• 1:44:11
  Speaker 2: evil Cedric plotline. It blinded me to the potential interesting
• 1:44:14
  Speaker 2: and thought provoking bits. Completely understand that disagree with you,
• 1:44:20
  Speaker 2: Jerry at all.
• 1:44:22
  Speaker 1: Yes, I also don't think that being humiliated could have
• 1:44:28
  Speaker 1: suddenly made Cedric a death eater. I think he would
• 1:44:31
  Speaker 1: have been able to brush that off just yet.
• 1:44:33
  Speaker 4: But you know, I think so too.
• 1:44:34
  Speaker 1: I think I think he was more well adjusted than
• 1:44:37
  Speaker 1: the Yes.
• 1:44:38
  Speaker 2: Yes, he's much more emotionally stable than having a little
• 1:44:42
  Speaker 2: bit of humiliation make him go full down there.
• 1:44:49
  Speaker 3: Yes.
• 1:44:51
  Speaker 2: So then the next thing that Jerry mentioned was about
• 1:44:54
  Speaker 2: like Time Turner inconsistencies. So Jerry writes that the different
• 1:44:58
  Speaker 2: way in which Time Turner's work and Cursed Child bothers her.
• 1:45:03
  Speaker 1: So actually the inconsistency is addressed in Curse Child. The
• 1:45:10
  Speaker 1: ones used in Curse Child are not the Ministry approved
• 1:45:14
  Speaker 1: ones that we see in the original series. So in
• 1:45:17
  Speaker 1: Curse Child, like part of the whole story there is
• 1:45:22
  Speaker 1: the Time Turners that they found and are using our
• 1:45:25
  Speaker 1: experimental prototypes made by Build Theodora, not yes, And those
• 1:45:32
  Speaker 1: prototypes had the specific goal of going back and altering history.
• 1:45:37
  Speaker 1: So that's why they do behave differently because they were
• 1:45:40
  Speaker 1: built to literally try and alter history. But again, you know,
• 1:45:45
  Speaker 1: if you read the script once, you maybe don't remember that.
• 1:45:52
  Speaker 1: And if you're struggling with you know, grappling with somehow
• 1:45:57
  Speaker 1: Cedric having a bubble head charm backfire turns them into
• 1:46:02
  Speaker 1: a death eater, you know, you might get a little distracted.
• 1:46:06
  Speaker 2: It's a little detail easily missed, I understand. Yeah, yeah,
• 1:46:13
  Speaker 2: but yes, yeah, Like Amy said, they do kind of
• 1:46:15
  Speaker 2: address that in the in the play, which I'm glad
• 1:46:17
  Speaker 2: that they address that, because right we kind of leave
• 1:46:19
  Speaker 2: Harry Potter thinking they're all destroyed. So why are they
• 1:46:23
  Speaker 2: all of a sudden back, Which again we've talked about
• 1:46:25
  Speaker 2: this a million times. The time turners just keep coming
• 1:46:28
  Speaker 2: back because they're in the battle of the Ministry as
• 1:46:31
  Speaker 2: well at the universe. So there's lots of different explanations
• 1:46:36
  Speaker 2: out there for why they're still kicking around.
• 1:46:38
  Speaker 1: For some reason, people just want to keep reusing the
• 1:46:42
  Speaker 1: time travel.
• 1:46:43
  Speaker 4: Time travel is such a great literary.
• 1:46:47
  Speaker 3: Plot, wibbly wobbly timey whimy exactly. At least one of
• 1:46:52
  Speaker 3: your listeners will know that reference.
• 1:46:54
  Speaker 4: I do, doctor who Yeah, there we go.
• 1:46:57
  Speaker 1: It's dare we say timeless?
• 1:47:02
  Speaker 2: So anyways, back to Jerry. So, Jerry's last point is
• 1:47:06
  Speaker 2: that she doesn't like that Kurschild is not as accessible
• 1:47:09
  Speaker 2: as other installments in the Wizarding World. Jerry says the
• 1:47:13
  Speaker 2: books and movies are inexpensive and can also be borrowed
• 1:47:16
  Speaker 2: from public libraries, making them available to just about anyone
• 1:47:19
  Speaker 2: who is interested. Kursechild has been available in only a
• 1:47:22
  Speaker 2: few markets, and even for those who live close to
• 1:47:24
  Speaker 2: a performance venue, Tickets for just one show costs more
• 1:47:27
  Speaker 2: than the entire book series, and there is no other
• 1:47:30
  Speaker 2: way to quote see the story, as everyone clearly states,
• 1:47:33
  Speaker 2: and I believe that reading the script doesn't really provide
• 1:47:36
  Speaker 2: the same experience, and I agree with this, and I
• 1:47:40
  Speaker 2: think that Sorry, I'm going to bring in another fandom here,
• 1:47:43
  Speaker 2: but I'm also currently struggling with this with like Stranger
• 1:47:46
  Speaker 2: Things as we just you know, obviously had our series finale,
• 1:47:51
  Speaker 2: because there is also a play on Broadway for Stranger Things,
• 1:47:56
  Speaker 2: and this one is actually can it and has canon
• 1:48:01
  Speaker 2: information that directly relates to the series we just watched,
• 1:48:06
  Speaker 2: and there is zero way to really get that.
• 1:48:09
  Speaker 4: Information unless you go see the play.
• 1:48:11
  Speaker 2: You watch the YouTube videos of people explaining it, and
• 1:48:15
  Speaker 2: it's just it's really hard, right. I think if if
• 1:48:19
  Speaker 2: like franchises right want to do this exploring the play,
• 1:48:23
  Speaker 2: I think, like, let's film it and let's put it
• 1:48:25
  Speaker 2: out and make it accessible.
• 1:48:27
  Speaker 4: Now, do I think.
• 1:48:28
  Speaker 2: A filmed version of Kursechild will really equate to what
• 1:48:31
  Speaker 2: it is seeing it in person in the theater, not.
• 1:48:34
  Speaker 1: At all, but is better than the script book, way
• 1:48:37
  Speaker 1: better than the script book. Yeah, and that's the problem.
• 1:48:40
  Speaker 1: It's like Broadway is Broadway, and like the stage and
• 1:48:44
  Speaker 1: all that is like such an amazing media, like it's
• 1:48:49
  Speaker 1: so cool, but it's just gotten so out of hand,
• 1:48:55
  Speaker 1: like price wise, which is a whole other issue. Like
• 1:48:58
  Speaker 1: it's absurd to me that it's hundred of dollars to
• 1:49:00
  Speaker 1: go see a Broadway play. That's insane and that should
• 1:49:04
  Speaker 1: not be a thing. But that's where we're at.
• 1:49:08
  Speaker 3: As the mother of a theater kid, thank god Hamilton
• 1:49:13
  Speaker 3: came out in theaters, even just as a recording of
• 1:49:16
  Speaker 3: the stage play. Yeah, like I can't imagine buying tickets
• 1:49:22
  Speaker 3: to go see that live.
• 1:49:24
  Speaker 1: And thank god for things like rush tickets.
• 1:49:28
  Speaker 2: And yeah, and just even touring, because that's how I
• 1:49:31
  Speaker 2: got to see Hamilton, right was it coming to my
• 1:49:34
  Speaker 2: little town in upstate New York, which is not the
• 1:49:36
  Speaker 2: same as seeing it on Broadway, but at least it's
• 1:49:38
  Speaker 2: something you know, and and so like, you know, I
• 1:49:42
  Speaker 2: think I'm glad you know again, Jerry, that you're able
• 1:49:44
  Speaker 2: to see at least the touring version. And I think
• 1:49:47
  Speaker 2: that yeah, like you said, a me, like good thing
• 1:49:49
  Speaker 2: for rush tickets and all that kind of stuff, But yeah,
• 1:49:52
  Speaker 2: I completely agree that it's unfortunately not as much of
• 1:49:55
  Speaker 2: an accessible medium as other things are.
• 1:50:00
  Speaker 3: And if they're so worried about raising money, they talk
• 1:50:03
  Speaker 3: about it being inflated, like even if you treat it
• 1:50:07
  Speaker 3: like a movie release where it's only in theaters for
• 1:50:11
  Speaker 3: so long, so it's only on Broadway for this time
• 1:50:13
  Speaker 3: to this time, people will watch it. That will get
• 1:50:16
  Speaker 3: more revenue for your theater if you record it and
• 1:50:20
  Speaker 3: stick it in theaters for people, Because yes, like I said,
• 1:50:23
  Speaker 3: is the mother of a theater kid. My daughter will buy.
• 1:50:26
  Speaker 6: Tickets to see Hamilton in the movie theater a million
• 1:50:29
  Speaker 6: times over and then go home and watch it again
• 1:50:31
  Speaker 6: on Disney Plus, right right, and then possibly still want
• 1:50:36
  Speaker 6: to go see it on the stage show if the
• 1:50:37
  Speaker 6: opportunity presents itself like it doesn't.
• 1:50:40
  Speaker 2: I think, I mean, I saw Hamilton first, and I
• 1:50:43
  Speaker 2: think it can't. I think that's the order. I don't
• 1:50:45
  Speaker 2: even know now, but I think it came.
• 1:50:47
  Speaker 4: Out where I saw it.
• 1:50:48
  Speaker 1: I saw it.
• 1:50:48
  Speaker 2: I think I saw it on Disney Plus first and
• 1:50:50
  Speaker 2: then saw it when it toured here. But that didn't
• 1:50:53
  Speaker 2: Seeing it on Disney Plus didn't make me say, oh,
• 1:50:56
  Speaker 2: I saw it, So I don't want to go see
• 1:50:58
  Speaker 2: it in the theater.
• 1:50:58
  Speaker 1: Okay, And I do think, thankfully, I do think like
• 1:51:04
  Speaker 1: the tide is turning. And I think maybe it is
• 1:51:10
  Speaker 1: because prices are so high to actually go see it,
• 1:51:13
  Speaker 1: that Broadway is not quite seeing the attendance that they
• 1:51:17
  Speaker 1: used to, right because people just can't pay that. So
• 1:51:20
  Speaker 1: I do think that there is that tide turning and
• 1:51:22
  Speaker 1: that they are realizing that if they film things and
• 1:51:24
  Speaker 1: put in theaters, people will watch it and it gives
• 1:51:27
  Speaker 1: them money. I mean Waitress did this right, Yeah, recently,
• 1:51:32
  Speaker 1: Merrily We Roll Along was just out in theaters to.
• 1:51:35
  Speaker 3: Say that was just in theaters too.
• 1:51:37
  Speaker 1: Yeah, it is starting to happen, Like I just I
• 1:51:42
  Speaker 1: hope that it happens more because there are so many
• 1:51:46
  Speaker 1: kids who are super interested in theater. But how do
• 1:51:50
  Speaker 1: you like, you can't take a family to go see
• 1:51:53
  Speaker 1: a Broadway show if you're like a normal average.
• 1:51:55
  Speaker 2: Family, you know, and there are some yeah, and there's
• 1:51:59
  Speaker 2: people for like whatever reason sometimes just cannot physically make
• 1:52:03
  Speaker 2: it to the theater, you know, right.
• 1:52:06
  Speaker 1: Like Jerry said, you know, living in the Midwest, but
• 1:52:09
  Speaker 1: you can't.
• 1:52:11
  Speaker 2: Unless you're gonna unless you're gonna fork out a ton
• 1:52:13
  Speaker 2: of money to travel somewhere, and then you're paying all
• 1:52:15
  Speaker 2: this money to see the show and all this money
• 1:52:17
  Speaker 2: to travel, you know. I mean, Luckily for Amy and
• 1:52:20
  Speaker 2: I we can just drive down in New York City
• 1:52:22
  Speaker 2: and it's still not a cheap trip per se, but
• 1:52:25
  Speaker 2: it can save money in that way. But yeah, you know,
• 1:52:28
  Speaker 2: America is a very vast country and a lot of
• 1:52:30
  Speaker 2: people living in the middle of nowhere that it's hard
• 1:52:33
  Speaker 2: to just have access to all these things. And so
• 1:52:37
  Speaker 2: there was rulely at one point of them filming, and
• 1:52:40
  Speaker 2: I feel like what didn't Like Chris Columbus had mentioned
• 1:52:44
  Speaker 2: at some one point that he like was interested in it,
• 1:52:48
  Speaker 2: but I think that was more talking about turning it
• 1:52:50
  Speaker 2: in to a film, which I don't want them to do.
• 1:52:53
  Speaker 2: I want them to go and just film the stage
• 1:52:56
  Speaker 2: show and put it on Netflix, HBO, Max, wherever the
• 1:52:59
  Speaker 2: heck Harry Potter is going to live.
• 1:53:01
  Speaker 4: Now, just put it on there, you know.
• 1:53:06
  Speaker 2: But yeah, especially if you're gonna call something, I mean,
• 1:53:09
  Speaker 2: we talked a lot about like what is canon about
• 1:53:11
  Speaker 2: hers Child, what's not? But if you're gonna call something
• 1:53:14
  Speaker 2: the Eighth Story, right, or if you're going to do
• 1:53:16
  Speaker 2: something like Stranger Things play and literally put information that
• 1:53:20
  Speaker 2: people can only get by seeing the play that directly
• 1:53:23
  Speaker 2: relates to the season you're putting out. We've got to
• 1:53:27
  Speaker 2: figure out a way to make it accessible to the masses.
• 1:53:31
  Speaker 1: Yes, at least with Curse Child, it is like an
• 1:53:35
  Speaker 1: extra thing, yes, right, it doesn't that need it. It
• 1:53:38
  Speaker 1: doesn't affect the Seven books, it doesn't affect the movies.
• 1:53:42
  Speaker 1: That like literally is just like its own thing floating
• 1:53:45
  Speaker 1: over here. So like if you can't ever see it,
• 1:53:49
  Speaker 1: you're not missing out on the effect, your enjoyment of
• 1:53:53
  Speaker 1: the story as a whole. So there's at least that.
• 1:53:56
  Speaker 1: But yeah, yeah, hopefully with the touring, you know, hopefully
• 1:54:02
  Speaker 1: that helps people who think usually who haven't had the opportunity.
• 1:54:06
  Speaker 2: And touring is usually a bit more affordable. Yeah, because
• 1:54:10
  Speaker 2: I say usually comes to Chicago. Broadway has got that
• 1:54:14
  Speaker 2: unfortunate just that price jump because it's Broadway, you know.
• 1:54:20
  Speaker 2: And then unfortunately right now with Tom being there, I
• 1:54:25
  Speaker 2: mean Amy, Amy and I paid way more for our
• 1:54:27
  Speaker 2: tickets to see Tom than even other times we've seen it,
• 1:54:30
  Speaker 2: and Broadway so like they can get away with charging
• 1:54:32
  Speaker 2: more now because of him. But now they are doing
• 1:54:34
  Speaker 2: rush tickets and stuff too, So again it's good things
• 1:54:37
  Speaker 2: with that, but even with rush tickets, like you've got
• 1:54:39
  Speaker 2: to be in the area to give those tickets, and
• 1:54:42
  Speaker 2: so there's.
• 1:54:42
  Speaker 4: A lot of limitations.
• 1:54:43
  Speaker 2: But anyways, back to your guys' thoughts on Cursechild.
• 1:54:49
  Speaker 4: So next we had from Lucy.
• 1:54:52
  Speaker 2: Lucy said, love the stage, magic actors, and the music,
• 1:54:56
  Speaker 2: but the storyline was awful, a very bad fan fiction,
• 1:55:00
  Speaker 2: which was made worse when they.
• 1:55:01
  Speaker 4: Condensed the play. I agree with that.
• 1:55:04
  Speaker 2: But I still but I would still see it again
• 1:55:07
  Speaker 2: for the magic and the joy it brings.
• 1:55:10
  Speaker 3: Mm hmm, yeah, yeah, the effect don't bring with the statement.
• 1:55:17
  Speaker 2: Yeah, well, we'll get to yours in a minute. We're
• 1:55:19
  Speaker 2: gonna get to yours last because we can hear it
• 1:55:21
  Speaker 2: straight from you this time.
• 1:55:23
  Speaker 1: So yes, it's like a real life Howler.
• 1:55:29
  Speaker 3: Yes, oh my god, Yes, oh I love that, except
• 1:55:33
  Speaker 3: that I'm not really gonna yell at you guys more
• 1:55:35
  Speaker 3: than to explain about first trial.
• 1:55:38
  Speaker 2: Okay, Well, before Carolyn tells us her thoughts, we got
• 1:55:43
  Speaker 2: one more from missus Remus lupin good husband Choice on Instagram,
• 1:55:50
  Speaker 2: where they said I can live with the Time Turners,
• 1:55:54
  Speaker 2: but I can't live with Balatrix having a kid out
• 1:55:57
  Speaker 2: of nowhere, with Harry being a bad father and with
• 1:56:01
  Speaker 2: the total erasure of Teddy Loopin.
• 1:56:04
  Speaker 4: I love the love for the loop ends you.
• 1:56:08
  Speaker 1: That it's funny because I never even thought about Teddy loop
• 1:56:11
  Speaker 1: Whereas after I saw this comment, I was like, wait
• 1:56:14
  Speaker 1: a second, yeah.
• 1:56:15
  Speaker 4: Where.
• 1:56:17
  Speaker 2: I feel like they yeah, I mean Teddy didn't even.
• 1:56:22
  Speaker 1: Need the ministry. Everyone else writes, they're all there.
• 1:56:26
  Speaker 3: It's the timeline though he doesn't exist, but.
• 1:56:29
  Speaker 4: They write it in the end, they rewrite it in
• 1:56:31
  Speaker 4: the end.
• 1:56:32
  Speaker 2: In the end, everything's back to write, so he's back.
• 1:56:36
  Speaker 1: It could just have Teddy Loopin walk on stage for
• 1:56:39
  Speaker 1: the bows.
• 1:56:42
  Speaker 3: This is like, wait a minute, Wait a minute, Wait
• 1:56:45
  Speaker 3: a minute, wait a minute, wait a minute, we're going
• 1:56:47
  Speaker 3: down this.
• 1:56:47
  Speaker 1: Ty, here's your moment, Carolyn, wait a minute.
• 1:56:51
  Speaker 3: Have either of you ever watched Big Bang Theory A
• 1:56:56
  Speaker 3: couple of Okay, that's okay, Sorry, you don't really need
• 1:57:00
  Speaker 3: to understand where I'm going with this. Okay, that part's
• 1:57:03
  Speaker 3: not really that relevant. But there is an episode where
• 1:57:06
  Speaker 3: one of the characters looks at the other one and goes,
• 1:57:10
  Speaker 3: I don't understand. They were watching Indiana Jones and The
• 1:57:13
  Speaker 3: Raiders of Lost arc and they go I don't understand.
• 1:57:17
  Speaker 3: He's completely unnecessary to the store. Indiana Jones is completely
• 1:57:20
  Speaker 3: unnecessary to the story. No matter what happens, the Nazis
• 1:57:24
  Speaker 3: get the Ten Commandments, open it up and all die. Yeah, everything,
• 1:57:32
  Speaker 3: it is a completely and if the curse child is
• 1:57:38
  Speaker 3: we open the book and everything happens. But there's trauma
• 1:57:42
  Speaker 3: all of a sudden, which, don't get me wrong, I'm sure, Harry.
• 1:57:46
  Speaker 3: I mean, we've all read the Seven books. The man
• 1:57:49
  Speaker 3: has had years of trauma.
• 1:57:51
  Speaker 4: Trauma is his middle name, Yeah, traumas.
• 1:57:53
  Speaker 3: His middle name. All right, it isn't James, It's trauma, Okay.
• 1:57:58
  Speaker 3: But if the whole point is we have this scene
• 1:58:01
  Speaker 3: where and this is where I can't reconcile anything that
• 1:58:04
  Speaker 3: happens in Kurschild. You have the scene from the epilogue,
• 1:58:07
  Speaker 3: which they still put in the book, put in the play.
• 1:58:11
  Speaker 3: It doesn't matter what house your name for two headmasters
• 1:58:14
  Speaker 3: of Hogwarts who were both brave in their own way.
• 1:58:17
  Speaker 3: One was a Gryffindor, one was this lither.
• 1:58:18
  Speaker 4: And blah blah blah blah. I don't remember all the
• 1:58:20
  Speaker 4: lines exactly.
• 1:58:21
  Speaker 3: Please don't at me. How do you square that circle with?
• 1:58:28
  Speaker 3: I don't understand this boy, I'm traumatized, which he rightly was.
• 1:58:34
  Speaker 3: But and then we're going to change history just to
• 1:58:38
  Speaker 3: change it back to nothing. So everything that happens is
• 1:58:41
  Speaker 3: completely meaningless. I mean, because at the end you end
• 1:58:45
  Speaker 3: up the same.
• 1:58:46
  Speaker 2: No, there's a lot of lessons that were learned throughout
• 1:58:50
  Speaker 2: the time.
• 1:58:50
  Speaker 3: A lot of lessons that didn't really need to happen,
• 1:58:53
  Speaker 3: because if you take it what happens in the epilogue
• 1:58:55
  Speaker 3: when that boys go in to school, it shouldn't have happened.
• 1:59:00
  Speaker 4: But he went to school, and.
• 1:59:01
  Speaker 2: He yes, and he went to school, and he lived
• 1:59:05
  Speaker 2: in the shadow of his father, and that is really
• 1:59:09
  Speaker 2: where the crux of this is. And yeah, I know.
• 1:59:12
  Speaker 1: Never really thought the issue was him being in Slytherin.
• 1:59:16
  Speaker 1: I always thought the issue was him sort of resenting
• 1:59:20
  Speaker 1: the celebrity that his dad is. And then like Harry
• 1:59:25
  Speaker 1: not understanding his experience. Have problem, like Harry doesn't understand
• 1:59:32
  Speaker 1: this experience because he's so online, Harry, but like it's
• 1:59:35
  Speaker 1: not necessarily the house, I think, like right, I think
• 1:59:40
  Speaker 1: the house, like I think the house ends up becoming.
• 1:59:43
  Speaker 2: When people were getting on Albus's case about being like
• 1:59:50
  Speaker 2: Harry's son, one of the things that were kind of
• 1:59:53
  Speaker 2: thrown at him was like, how could you be the
• 1:59:56
  Speaker 2: first Potter in Slytherin because you have to remember, right,
• 1:59:59
  Speaker 2: like James, like is in Gryffindor too, he's carrying on
• 2:00:02
  Speaker 2: that same name. He's he's not departing, but like, oh
• 2:00:06
  Speaker 2: my god, we have a Potter and Slytherin. And I
• 2:00:09
  Speaker 2: think that's just used as a crux, but that's really
• 2:00:12
  Speaker 2: not the rift between Harry and Elvis.
• 2:00:15
  Speaker 4: It's much deeper than that.
• 2:00:17
  Speaker 1: Elvis has more of a complex about being in Slytherin
• 2:00:20
  Speaker 1: than Harry has about him being in Slytherin, correct, And
• 2:00:22
  Speaker 1: then that creates the communication issues.
• 2:00:26
  Speaker 3: Okay, where the circle of everything ends up where you started,
• 2:00:31
  Speaker 3: but it.
• 2:00:31
  Speaker 4: Doesn't with so much. So I think from okay, from okay.
• 2:00:37
  Speaker 1: We're gonna have another three hour episode we start.
• 2:00:42
  Speaker 2: Because Amy and I are like on this mission, like
• 2:00:45
  Speaker 2: to like I feel like we're on I hope Tom
• 2:00:48
  Speaker 2: is listening to this eppisode.
• 2:00:49
  Speaker 1: We have to write history here.
• 2:00:52
  Speaker 3: I think Tom is gonna laugh, probably Tom.
• 2:00:55
  Speaker 4: I hope Tom laughs at this.
• 2:00:57
  Speaker 2: So I think that you're right from a plot standpoint, right,
• 2:01:02
  Speaker 2: So from a plot standpoint, all these things happen, and
• 2:01:06
  Speaker 2: then the Wizarding World goes to and then I won't
• 2:01:10
  Speaker 2: swear because then Amy, you'll have to find it again
• 2:01:12
  Speaker 2: and bleep it out. But anyways, anyways, so all the
• 2:01:16
  Speaker 2: things that happen from a plot perspective, one hundred percent
• 2:01:20
  Speaker 2: they undo it in the end because the world goes
• 2:01:22
  Speaker 2: to crap, like they have to undo it.
• 2:01:24
  Speaker 4: Everybody's a death theater. Everyone's dead.
• 2:01:27
  Speaker 2: However, there is a lot of character development that happened
• 2:01:33
  Speaker 2: throughout the play, because no, there is, because everything that happens.
• 2:01:40
  Speaker 2: And when you go back and you listen to our
• 2:01:42
  Speaker 2: episode Carolyn about Cursed Child, yes, I'm sorry.
• 2:01:47
  Speaker 4: Yeah, no, you're fine.
• 2:01:48
  Speaker 3: It's a long time. I haven't listened to it yet.
• 2:01:50
  Speaker 2: You're gonna be so excited to listen to it now.
• 2:01:53
  Speaker 2: But we talk about how in the Curse Child book.
• 2:01:56
  Speaker 1: You're gonna love it.
• 2:01:58
  Speaker 3: Okay, I didn't say that listening to your episodes while
• 2:02:01
  Speaker 3: I'm working, so.
• 2:02:04
  Speaker 2: I think I think it'll be very enlightening. But anyways,
• 2:02:07
  Speaker 2: you'll hear in our episode where we read from the
• 2:02:10
  Speaker 2: Curse Child book where they talk about how the whole
• 2:02:13
  Speaker 2: point of the play is like a character exploration and
• 2:02:17
  Speaker 2: a psychological dive into these characters. That's really what this
• 2:02:21
  Speaker 2: play is about. It's not about Valdemore and Balatrex having
• 2:02:25
  Speaker 2: a kid, and it's not about Cedric becoming a death theater,
• 2:02:29
  Speaker 2: and it's not about all the things that they do
• 2:02:31
  Speaker 2: that become undone.
• 2:02:32
  Speaker 4: It's about all those little moments, not about character development.
• 2:02:36
  Speaker 3: It's not it's about these the friends we made along
• 2:02:40
  Speaker 3: the way.
• 2:02:42
  Speaker 1: Exactly in the family, it's about fathers and sons.
• 2:02:47
  Speaker 3: Yeah, I have brothers. They one of them has a
• 2:02:52
  Speaker 3: complicated relationship with my father. I get it, but you lose.
• 2:02:58
  Speaker 2: You're looking looking too much into everybody's looking too much
• 2:03:03
  Speaker 2: into the plot details, which I don't blame anybody for that,
• 2:03:06
  Speaker 2: because they're the plot. I think that that's where they fail, right,
• 2:03:10
  Speaker 2: is that they have these great moments of this play
• 2:03:13
  Speaker 2: of character development that is sometimes overshadowed by some of
• 2:03:17
  Speaker 2: the ridiculousness of the plot.
• 2:03:20
  Speaker 3: But are you going to honestly tell me that, Harry,
• 2:03:26
  Speaker 3: And even if you sit there and go, oh yeah,
• 2:03:28
  Speaker 3: because I wouldn't, I'm not going to disagree with you.
• 2:03:31
  Speaker 3: We saw what kind of I mean, we all were kids,
• 2:03:34
  Speaker 3: we had our own complicated But you're going to tell
• 2:03:38
  Speaker 3: me that. At no point Harry doesn't make some kind
• 2:03:41
  Speaker 3: of statement of like my kids, where he is leave
• 2:03:44
  Speaker 3: them the bleep alone because you're see you're looking too
• 2:03:50
  Speaker 3: much again, Jay, how isn't going to be there for
• 2:03:52
  Speaker 3: his brother?
• 2:03:53
  Speaker 2: You're looking too much into the house thing. No, but
• 2:03:57
  Speaker 2: it's not about the house thing.
• 2:04:00
  Speaker 4: It really is.
• 2:04:02
  Speaker 3: But but what I'm saying is this, I get that.
• 2:04:06
  Speaker 3: But what I'm saying is is a lot of this
• 2:04:09
  Speaker 3: is compounded by a lot of that according to this book,
• 2:04:15
  Speaker 3: and I don't I where you lose me with some
• 2:04:19
  Speaker 3: of this is James is all of a sudden not
• 2:04:21
  Speaker 3: going to help his brother because he's not in the
• 2:04:23
  Speaker 3: right house, or Rose, who grew up with the with them.
• 2:04:27
  Speaker 4: There's nothing to help him.
• 2:04:30
  Speaker 2: I think that let's revisit this conversation after you've seen
• 2:04:34
  Speaker 2: the show, because I think.
• 2:04:35
  Speaker 4: That might I've seen the play, but like, okay.
• 2:04:40
  Speaker 3: But like I don't, I mean, I'm seeing the shortened
• 2:04:43
  Speaker 3: version unfortunately.
• 2:04:45
  Speaker 2: Right right, Yeah, I mean we can continue this conversation
• 2:04:51
  Speaker 2: off the episode, so we don't give everybody another.
• 2:04:54
  Speaker 4: I don't know, but I agree, No, I think that
• 2:04:56
  Speaker 4: I don't.
• 2:04:58
  Speaker 1: Yeah, I don't think that everyone will be convinced to
• 2:05:02
  Speaker 1: like this play. No, the short version. I think that
• 2:05:06
  Speaker 1: there's things that, like, if you're willing to overlook some
• 2:05:09
  Speaker 1: of the silly, Yes, there's things that are like really
• 2:05:13
  Speaker 1: like good, like hard hitting moments.
• 2:05:15
  Speaker 3: Yeah.
• 2:05:16
  Speaker 1: And then there's things.
• 2:05:17
  Speaker 4: That like.
• 2:05:20
  Speaker 1: You could very easily get hung up on, like Cedric
• 2:05:24
  Speaker 1: as a death eater.
• 2:05:25
  Speaker 3: Or which annoyed me for different reasons. So I just
• 2:05:29
  Speaker 3: take that as that's a load of hooey, and I'm
• 2:05:31
  Speaker 3: gonna leave it aside because that I'm not even talking
• 2:05:34
  Speaker 3: about that. I'm talking about the father son relationship, which
• 2:05:37
  Speaker 3: arguably can be complicated.
• 2:05:39
  Speaker 4: Yeah, but it still.
• 2:05:41
  Speaker 3: Doesn't I can't square that circle because home's a safe
• 2:05:46
  Speaker 3: space and Harry, who grew up with the Dursleys, doesn't
• 2:05:51
  Speaker 3: strike me as one to have that kind of complicated
• 2:05:55
  Speaker 3: relationship with his son. I don't care what house he's in.
• 2:05:59
  Speaker 3: I think that that they make it seem like that
• 2:06:02
  Speaker 3: compounds it. But you're gonna tell me that a kid
• 2:06:05
  Speaker 3: that grew up being forced to live under the stairs
• 2:06:08
  Speaker 3: under his aunt and uncle, who were arguably the most
• 2:06:11
  Speaker 3: horrible parental figures you could grow up with, is all
• 2:06:14
  Speaker 3: of a sudden gonna have all these issues with his son,
• 2:06:16
  Speaker 3: He's not gonna make that extra effort. The whole scene
• 2:06:19
  Speaker 3: with him talking to Ginny where he's talking about how
• 2:06:22
  Speaker 3: he wishes he could talk to him better, I'm going
• 2:06:24
  Speaker 3: I don't. I'm sorry, that does not that conversation. There's
• 2:06:27
  Speaker 3: no world where Harry trauma or not that happens in
• 2:06:31
  Speaker 3: my mind, because he grew up with a horrible situation,
• 2:06:36
  Speaker 3: and usually you're gonna get kids with that kind of
• 2:06:39
  Speaker 3: horrible situation that really try extra hard to not be
• 2:06:43
  Speaker 3: in that situation with their own children.
• 2:06:46
  Speaker 2: Could you say, because he didn't have a great father
• 2:06:50
  Speaker 2: figure in his life, he didn't know how to properly
• 2:06:54
  Speaker 2: approach the challenges that he was having with Albs.
• 2:06:59
  Speaker 3: You could if he didn't have the visual reference of
• 2:07:02
  Speaker 3: the Weaseleys. He also grew up spending a lot of
• 2:07:07
  Speaker 3: time at the Weaseleys, and he's married to Ginny. So again,
• 2:07:12
  Speaker 3: I don't. I don't see this not getting nipped in
• 2:07:14
  Speaker 3: the butt when that kid's a lot younger, if he's
• 2:07:17
  Speaker 3: having any issues communicating with him, not in the same world.
• 2:07:22
  Speaker 1: I think the whole problem with Kur's child, to boil
• 2:07:30
  Speaker 1: down the issue is that you're taking a series in
• 2:07:35
  Speaker 1: characters that people have spent so many years with and
• 2:07:40
  Speaker 1: have their own ideas of what will and won't happen
• 2:07:44
  Speaker 1: in their future.
• 2:07:45
  Speaker 3: Lives, and the impression evolve.
• 2:07:50
  Speaker 1: Yeah, and when that conflicts with what you've already developed
• 2:07:53
  Speaker 1: after decades with this character, it's really hard to get
• 2:08:00
  Speaker 1: pass if it doesn't align with what you've envisioned. And
• 2:08:06
  Speaker 1: I think that's why people have such strong responses like
• 2:08:09
  Speaker 1: Carolyn so wonderfully demonstrated. Right, I love this.
• 2:08:14
  Speaker 4: I love hearing the opposite side, Yeah.
• 2:08:17
  Speaker 1: Because like I think that is it, right. I think
• 2:08:20
  Speaker 1: it's because this series has been something that's so close
• 2:08:27
  Speaker 1: and so like personal, but it's like love it.
• 2:08:31
  Speaker 3: Yeah, they're coated things in the fandom, right.
• 2:08:35
  Speaker 1: It's people get upset about like the TV series because
• 2:08:39
  Speaker 1: they grew up with the movie actors. Right.
• 2:08:41
  Speaker 2: You don't want to see something in a different way
• 2:08:44
  Speaker 2: or in a different lights, And these characters are shown
• 2:08:47
  Speaker 2: in a very different light in this in this play
• 2:08:50
  Speaker 2: for good and for bad. Right, I think we've got
• 2:08:52
  Speaker 2: Harry being shown in a very different light than I
• 2:08:56
  Speaker 2: think a lot of us ever expected, you know, seeing.
• 2:08:58
  Speaker 2: And I think we have Drake go you know, on
• 2:09:00
  Speaker 2: the opposite end in a more positive way.
• 2:09:02
  Speaker 4: I mean, I spoke a lot.
• 2:09:03
  Speaker 2: About how I think this is such a redemption kind
• 2:09:06
  Speaker 2: of story for Draco, and we see him portrayed in
• 2:09:09
  Speaker 2: a way that maybe is also surprising, but in the
• 2:09:11
  Speaker 2: opposite way.
• 2:09:12
  Speaker 4: And so I think you are one of the.
• 2:09:15
  Speaker 3: Things I don't have a problem with, because I do
• 2:09:17
  Speaker 3: think Draco would have grown up. I mean, I think
• 2:09:19
  Speaker 3: you start to see that at the end of the book,
• 2:09:23
  Speaker 3: but it'd be the only part that I do the
• 2:09:26
  Speaker 3: right direction on a character.
• 2:09:29
  Speaker 1: Yeah, yeah, I mean that really is what it boils
• 2:09:32
  Speaker 1: down to, for sure, because that seems to be like
• 2:09:36
  Speaker 1: people who really don't like it, that is their main
• 2:09:39
  Speaker 1: issue is Harry's character.
• 2:09:42
  Speaker 3: And I will and I will say this, I've seen
• 2:09:44
  Speaker 3: the play. The stage magic is phenomenal, absolutely phenomenal, and
• 2:09:49
  Speaker 3: the things that you see when you're watching this play.
• 2:09:51
  Speaker 3: I would never tell someone not to go see this play,
• 2:09:54
  Speaker 3: despite how I feel about this. It's amazing because it's
• 2:09:57
  Speaker 3: amazing to sit and watch. And I saw one of
• 2:09:59
  Speaker 3: the shortened versions where they cut out stuff, and I'm going,
• 2:10:02
  Speaker 3: oh my god, I don't I think this makes less sense.
• 2:10:04
  Speaker 4: Now having read the script.
• 2:10:07
  Speaker 2: No, I still did not someone who one, someone who
• 2:10:13
  Speaker 2: got to see the longest version.
• 2:10:14
  Speaker 4: The crux of the story is still there.
• 2:10:16
  Speaker 2: A lot of what got cut is like little extra
• 2:10:19
  Speaker 2: dialogue and stuff like that that I think was really
• 2:10:22
  Speaker 2: good for the fans, But the crux of the story
• 2:10:24
  Speaker 2: is still the same.
• 2:10:26
  Speaker 3: That's what I've heard from other people who I've spoken
• 2:10:29
  Speaker 3: to about which version I saw to so I don't
• 2:10:31
  Speaker 3: doubt that. But yeah, but no.
• 2:10:34
  Speaker 4: Yeah, I mean yeah, I think to.
• 2:10:39
  Speaker 3: Maybe one would still tell someone to go, Yeah, it's.
• 2:10:42
  Speaker 2: Just from a production story after all of that.
• 2:10:45
  Speaker 4: Oh my god, Yeah, Jerry, please don't go see this.
• 2:10:48
  Speaker 4: Please don't sell your tickets. Please don't go see it.
• 2:10:51
  Speaker 3: I think, like someone who can't stand it, I'm telling you,
• 2:10:54
  Speaker 3: go see it.
• 2:10:55
  Speaker 1: Please go see Manic really sold that, Carolyn. Yeah, yeah,
• 2:11:00
  Speaker 1: I should hurry for marketing.
• 2:11:03
  Speaker 3: Probably they don't need They put it right.
• 2:11:08
  Speaker 4: That's how they got everybody, and look at them. They
• 2:11:11
  Speaker 4: broke all those records that we talked about at the
• 2:11:13
  Speaker 4: start of the episode. But no, yeah, I don't.
• 2:11:16
  Speaker 2: I completely agree with everybody who loves this show. I
• 2:11:18
  Speaker 2: completely agree with everybody who doesn't like the show, and
• 2:11:21
  Speaker 2: I think that's a great thing.
• 2:11:22
  Speaker 4: About art? What what did.
• 2:11:25
  Speaker 2: Sorry, I'm gonna bring Taylor Swift off again. You know,
• 2:11:27
  Speaker 2: she talked about this when there was all the different
• 2:11:30
  Speaker 2: opinions about Showgirl, that she's not the art police, right,
• 2:11:34
  Speaker 2: and everybody, that's the beauty of art is at every.
• 2:11:37
  Speaker 1: At least you're talking about it.
• 2:11:38
  Speaker 2: Yeah, at least you're talking about it, and it's the
• 2:11:41
  Speaker 2: beauty of art is. Everybody can interpret it in a
• 2:11:43
  Speaker 2: different way and see it a different way.
• 2:11:45
  Speaker 4: And you know, yeah, I think yea.
• 2:11:49
  Speaker 1: With all my love, with all my love for it
• 2:11:52
  Speaker 1: and genuinely enjoying it. I completely understand the people who
• 2:11:57
  Speaker 1: are like.
• 2:11:57
  Speaker 4: Yeah, no, especially if I'm a plot pera.
• 2:12:00
  Speaker 1: Like I understand all the reasons, but then I still
• 2:12:04
  Speaker 1: somehow sit there and I'm like, oh, I love this show.
• 2:12:07
  Speaker 4: Anyways, we clearly got lots of thoughts about Curse Child,
• 2:12:10
  Speaker 4: and lots and lots.
• 2:12:14
  Speaker 2: Yeah, well, thank you to everybody who shared their thoughts.
• 2:12:21
  Speaker 2: And look at that, Carolyn. You got to expand on
• 2:12:23
  Speaker 2: what you wrote. Yes, yeah, in person, we got the
• 2:12:27
  Speaker 2: full version, the full version with the tone, you got,
• 2:12:30
  Speaker 2: the passion and the you.
• 2:12:32
  Speaker 3: You got to see what what I didn't write down
• 2:12:34
  Speaker 3: in that little.
• 2:12:36
  Speaker 1: I think we need to have an entire episode and
• 2:12:39
  Speaker 1: it needs to be a video episode of Carolyn and Nicole,
• 2:12:43
  Speaker 1: just like.
• 2:12:44
  Speaker 7: Haveld that got intense and I'm watching my little zoom
• 2:12:52
  Speaker 7: screen because I'm the box that's like in the middle
• 2:12:55
  Speaker 7: of you guys.
• 2:12:56
  Speaker 1: Yeah, Like, I'm literally in the middle. What do we
• 2:13:01
  Speaker 1: do conflict? So for this episode's discussion question, we would
• 2:13:10
  Speaker 1: like to know what is your favorite piece of mina
• 2:13:13
  Speaker 1: lima design work from the Harry Potter films. We would
• 2:13:17
  Speaker 1: love to hear from you. Drop us an email at
• 2:13:20
  Speaker 1: Revellio Podcast staff at gmail dot com, or reach us
• 2:13:24
  Speaker 1: on social media. You can find us on Facebook at
• 2:13:27
  Speaker 1: Facebook dot com, slash reveliocast, on Instagram and TikTok at
• 2:13:31
  Speaker 1: Revellio podcast, and on Twitter and YouTube at Revellio Underscore Podcast.
• 2:13:37
  Speaker 1: You can also support the show on Patreon at Patreon
• 2:13:40
  Speaker 1: dot com slash Revellio Podcast, where you get all sorts
• 2:13:43
  Speaker 1: of cool extras Carolyn designs awesome coloring pages and stickers
• 2:13:49
  Speaker 1: for Patreon subscribers.
• 2:13:52
  Speaker 3: Are I'm planning on being on top of that a
• 2:13:54
  Speaker 3: little more this year. I have apisodes.
• 2:14:00
  Speaker 1: Harry loves the coloring pages.
• 2:14:02
  Speaker 4: I was gonna say Darry you heard it right here
• 2:14:04
  Speaker 4: first that Carolyn submitted to more of that.
• 2:14:07
  Speaker 3: I'm twenty twenty six, I am, I really am. Moving
• 2:14:11
  Speaker 3: last year did not do me any favors. That's all
• 2:14:13
  Speaker 3: I'm gonna say now. In terms of getting things done.
• 2:14:20
  Speaker 1: No, no, that doesn't usually work well. But yeah, so
• 2:14:27
  Speaker 1: Carolyn again, thanks so much for joining us. This was
• 2:14:30
  Speaker 1: a great episode, lots of good discussion. All right, Well,
• 2:14:35
  Speaker 1: until next time, I'm Amy, I'm Nicole, and I'm Carolyn.
• 2:14:41
  Speaker 4: Mischief managed