#Harry potter and the goblet of fire series

This made Newel’s job largely about the pacing, emotion and energy of dialogue exchanges tone setting, personality crafting, subgenre establishing.Ĭolumbus’s Wizarding World films are fantasy pictures and children’s movies. With this new wisdom, Mike Newel boards a ship run by a studio (Warner Bros.) and a producer ( David Heyman) with the mission of helming an altogether different kind of blockbuster, where it’s understood that production, design, and second unit are doing as much steering as the director. Including: do they cut the narrative into two films, as they probably should’ve done for Harry Potter and the Goblet of Fire, or do they take out their scalpels and start slicing off crucial bits?

#Harry potter and the goblet of fire series

By the time the producers got to Harry Potter and the Order of the Phoenix, a 766-page statement of purpose for what the third act of the book series would be unleashing on its audience, they had to ask themselves some hard questions.

That’s fine when you’re filming the first couple of Potter books, which are linear broom rides of relatively short duration. David Heyman and the shepherds of the Wizard World chose to instead be hyper-vigilant about what they even allowed in their scripts. Peter Jackson filmed a lot of material he knew would never make a theatrical cut, and bless him for doing so. The Harry Potter and Lord of the Rings film franchises both debuted in the same year (2001), and had slightly different techniques for making approachable movies out of dense books. If you’re a TV producer who needs to fill a season of television, you’re incentivized to include as much of that detail as possible. Adaptations are not easy, especially when the source material is attempting to create an entire fantasy world from scratch.