Fantastic Beasts’ New York City | 360 Video | Wizarding World

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We visited New York and did a scout
there and there is remarkably little of New York 1926, in New York today. There are bits of New York where 1926 still is in evidence but as a totality it isn’t. And we realised pretty quickly that it would be much more useful to build New
York, rather than go to New York and film bits of it and then try and change it. So it was easier and more controllable, more manageable for us to build it here on the backlot at Leavesden. And we can create it as we wanted. We had 15 weeks to build it from start
to finish. We got up to a hundred and four carpenters, 90 or so plasterers, 40 painters, 30 riggers, scenic artists, sculptors. It was a big, big crew. We had a lot of street lighting to do. We had a lot of signage to do, an enormous amount of signage that we had to make. A lot of dressing elements for windows, manhole covers and on, and on. An enormous part of what we’ve done has been for that set. We’ve very deliberately designed to give us a sense of whole neighborhoods. But also what was possible always to drop in a green screen and extend that environment. If you were in the tenement world, you were able to extend the tenement
world, before transitioning to the other look. And so it makes the canvas huge. It’s pretty mind-blowing to me. I was having a moment earlier with Dan, standing up the top of the steps of the bank and looking down and the scale of
extras, the scale of set… the detail of the set it felt like… with all the
kind of manholes fuming, it felt like an old-aged Hollywood here in
Watford. It’s incredible. There’s all these
amazing period details and all the beautiful signage that used to be all
over New York it’s really wonderful to experience the time warp of it. I still get just gobsmacked by the level of detail and how the past is literally
dragged into the present, you know physically by the rendering of these
incredible, incredible, sets. The background is part of the story and the palette that sort of sets the tone for the principles in the world. You see it even if it’s
subliminal. It’s also a really fun part of the design process because sometimes
you can do stuff on crowd that you cannot do on the principles. David Yates wanted an authenticity of the
period. He wanted a real feeling of the frenetic energy of New York and a real
feeling of the texture of people from all over the world coming together in
making the city. You’ve probably heard before how the sets and the costume do a lot of the work for you but they really really do. I have a personal reaction
based on how the clothes fit, the cut of the clothes, the look of a sets, and it begins
to right you or wrong you. It informs where you move. We were on one of the little golf
buggies that you travel around Leavesden on and we were going out to see that New York set and I’m chatting to the person I’m with and we turned around a corner and I
saw New York. And I had this complete all-over cold feeling of “my god”. You think that was an idea. I remembered where I was sitting by the window at home when I had that idea. And now look. It’s unbelievable. Thank you for all of the support you’ve
given our film. It’s a privilege to be a part of this new era of magic. We all hope that you have a brilliant time celebrating and reliving the magic of
Harry Potter and the Fantastic Beasts. It sort of makes me wanna be a wizard.

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