Harry Plotter and The Chamber of Serpents, A Potter Secret Parody

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Warner Bros. Plans Two-Part Film Adaptation of "Harry Potter and the Deathly Hallows" to Be Directed by David Yates". Business Wire. 13 March 2008. Archived from the original on 28 June 2017 . Retrieved 6 September 2012. expand the screen adaptation of Harry Potter and the Deathly Hallows and release the film in two parts. For Spielberg, making a Harry Potter movie would have been no challenge". Hollywood.com. 5 September 2001. Archived from the original on 29 June 2012 . Retrieved 26 May 2007. Harry Potter and the Philosopher's Stone – Foreign Box Office Data". The Numbers. Archived from the original on 21 May 2016 . Retrieved 17 April 2020.

Past Saturn Awards". Academy of Science Fiction, Fantasy & Horror Films. Archived from the original on 12 May 2011 . Retrieved 21 October 2010. Harry Potter, Dissected". The New York Times. 14 July 2007. Archived from the original on 4 May 2012 . Retrieved 17 September 2012. Steve Kloves wrote the screenplays for all but the fifth film, which was penned by Michael Goldenberg. Kloves had direct assistance from J.K. Rowling, though she allowed him what he described as "tremendous elbow room". Rowling asked Kloves to remain faithful to the spirit of the books; thus, the plot and tone of each film and its corresponding book are virtually the same, albeit with some changes and omissions for purposes of cinematic style, time, and budget constraints. Michael Goldenberg also received input from Rowling during his adaptation of the fifth novel; Goldenberg was originally considered to adapt the first novel before the studio chose Kloves. [43] In a 2010 interview, David Heyman briefly explained the book-to-film transition. He commented on Rowling's involvement in the series, stating that she understood that "books and films are different" and was "the best support" a producer could have. Rowling had overall approval on the scripts, which were viewed and discussed by the director and the producers. Heyman also said that Kloves was the "key voice" in the process of adapting the novels and that certain aspects from the books needed to have been excluded from the scripts due to the filmmakers' decision to keep the main focus on Harry's journey as a character, which would ultimately give the films a defined structure. Heyman mentioned that some fans "don't necessarily understand the adaptation process" and that the filmmakers would have loved to "have everything" from the books in the films but noted that it was not possible since they had "neither time nor cinematic structure" to do so. He finished by saying that adapting a novel to the screen is "a really considered process". [44]a b c Linder, Bran (28 March 2000). "Chris Columbus to Direct Harry Potter". IGN. Archived from the original on 13 January 2008 . Retrieved 8 July 2007. Harry Potter: Darker, Richer and All Grown Up". Time. 15 July 2009. Archived from the original on 10 October 2012 . Retrieved 9 September 2012.

Chris Columbus said his vision of the first two films was of a "golden storybook, an old-fashioned look", while Alfonso Cuarón changed the visual tone of the series, desaturated the colour palette, and expanded the landscape around Hogwarts. [32] [37] Mike Newell decided to direct the fourth film as a "paranoid thriller", while David Yates wanted to "bring a sense of jeopardy and character to the world". [38] [39] Cuarón, Newell, and Yates have said that their challenge was striking a balance between making the films according to their individual vision, while working within a cinematic world already established by Columbus. [37] [38] [39] Philosopher's Stone achieved seven BAFTA Award nominations, including Best British Film and Best Supporting Actor for Robbie Coltrane. [119] The film was also nominated for eight Saturn Awards and won for its costumes design. [120] It was also nominated at the Art Directors Guild Awards for its production design [121] and received the Broadcast Film Critics Award for Best Live Action Family Film along with gaining two other nominations. [122] Tech Support Interview: Stuart Craig and Stephenie McMillan on a decade of designing 'Harry Potter' ". HitFix. 10 September 2012. Archived from the original on 9 September 2012 . Retrieved 10 September 2012. Lensers aren't afraid of the dark". Variety. 12 December 2012. Archived from the original on 11 November 2012 . Retrieved 30 September 2012. What I loved about the last film is that David pushed me to go dark, which all cinematographers love to do. And usually you're fighting with the producers (about the look) but they all wanted it dark and atmospheric, too.Empire Awards 2011 Best Fantasy Film". Empire Awards. 28 March 2011 . Retrieved 29 March 2011. You must excuse the absence of David Yates; he'd love to be here but he's putting the finishing touches on our epic finale, which is why I'm here. Years Filming – 24Dec2010". Snitchseeker.com. 21 December 2010. Archived from the original on 27 February 2011 . Retrieved 2 March 2011. Love distinguishes Harry and Voldemort. Harry is a hero because he loves others, even willing to accept death to save them; Voldemort is a villain because he does not. [41] Harry carries the protection of his mother's sacrifice in his blood; Voldemort, who wants Harry's blood and the protection it carries, does not understand that love vanquishes death. [27]

Tim Burke, the visual effects supervisor of the series, said of the production on Harry Potter, "It was this huge family; I think there were over 700 people working at Leavesden, an industry in itself." David Heyman said, "When the first film opened, no way did I think we'd make eight films. That didn't seem feasible until after we'd done the fourth." Nisha Parti, the production consultant on the first film, said that Heyman "made the first film very much the way he felt the studio Warner Bros. wanted to make it". After the film's success, Heyman was given "more freedom". [31] On the method of creating the sets, Craig said he often started by sketching ideas onto a blank sheet of paper. [53] Stephenie McMillan also said that "each film always had plenty of new challenges", citing the changes in visual style between directors and cinematographers as an example, along with the developing story in the novels. Due to J.K. Rowling's descriptions of various settings in the novels, Craig noted his "responsibility was to place it together". [54] See also: Music of the Harry Potter films John Williams scored the first three films and received Academy Award nominations for the first and third films.

Michael Seresin commented on the change of visual style from the first two films to Prisoner of Azkaban: "The lighting is moodier, with more shadowing and cross-lighting." Seresin and Alfonso Cuarón moved away from the strongly coloured and brightly lit cinematography of the first two films, with dimmer lighting and a more muted colour palette being utilised for the succeeding five films. [58] After comparing a range of digital cameras with 35mm film, Bruno Delbonnel decided to shoot the sixth movie, Half-Blood Prince, on film rather than the increasingly popular digital format. This decision was kept for the two-part Deathly Hallows with Eduardo Serra, who said that he preferred to work with film because it was "more technically accurate and dependable". [59] a b "The Harry Potter economy". The Economist. 17 December 2009. Archived from the original on 14 July 2017 . Retrieved 19 July 2017. Deathly Hallows to Be Shot Using 'Loads of Hand-Held Cameras,' Tom Felton Talks Sectumsempra in Half-Blood Prince". The Leaky Cauldron. 31 March 2009. Archived from the original on 4 April 2009 . Retrieved 31 March 2009. Visitor Information: Harry Potter". Christ Church, Oxford. Archived from the original on 18 December 2014 . Retrieved 5 June 2010.