Andrew: Moving on to some announcements. As always, don't forget to vote for us on Podcast Alley. This is the first episode of February so we appreciate your vote over there. You guys are always very supportive. Right now we're number ten, but I'm sure after this episode we can bump up a few places to remind people we're still kicking!
Andrew: Also, don't forget, we're going to be at Azkatraz 2009. That's HP2009.org. We're going to be doing a podcast at 3AM with our friends at Leaky right after Half-Blood Prince makes its midnight premiere. We're all going to go see it and they told us - the other day, I heard that we're going to have seats in the theater right next to the door so as soon as the movie ends we can run out of there and get ready for the podcast before everyone else starts trying to get out.
Micah: Do we get a police escort?
Matt: Yes, please.
Andrew: We're actually getting a helicopter.
Andrew: We're going to be flown.
Matt: I would have just settled for a limo or something. That would've been fine.
Andrew: Mmm. Diva.
Andrew: Well, anyway - and also, we have a pretty cool announcement that we made earlier this week, right, Micah?
Micah: Yeah! We made it on MuggleNet about a little bit of a reality competition that's going to be going on leading up to Azkatraz this year.
Andrew: And what's that called?
[Andrew, Matt, and Micah laugh]
Matt: It's like, "What is it!?"
Micah: I was throwing it to Andrew, but he was all, I don't know.
Andrew: Oh okay. All right. You're - I'll do it. Let me find it.
Andrew: Oh, there it is! It's the...
[Andrew and Matt laugh]
Andrew: ...Next Biggest Podcast Idol Survivor. It's quite a mouthful, but it's really cool! It's a contest to make the next great Harry Potter podcast. That's what we're trying to do here. The competition will start on July 20th - or no - the competition will end on July 20th when the winners will get a chance to podcast live from Azkatraz during the Podcast Palooza! That's the thing we did at Portus last year. All the details are online. Go to MuggleCast.com and the details are there on the front page in the news. Basically, you're going to be auditioning. You're going to convince us why you're a great podcaster, and then we'll pick the best five people to make the new podcast. And then the winner, as I said, will be a part of the Podcast Palooza altogether. I think I'm going to help moderate the panel. And then also, you guys are going to win a free year of podcast hosting to help get your podcast off the ground. Because that's really the only thing you got to pay for. And MuggleCast is going to cover that for you with LibSyn podcast hosting. So that'll be - it's a cool contest, and people who have always wanted to do a podcast will have some help from us now, and you'll get to do your own live show! Not many podcasts have the chance to do their own live show.
A quick thing that HPEF did want me to address here. You have to be registered for Azkatraz, or at least Monday, which is the Podcast Palooza, to be eligible. So that way you can actually be at the live podcast if we choose you to be a part of the next podcast - a part of the podcast. So, for more information, go to MuggleCast.com and you will see a post there.
Andrew: And speaking of that, coming very soon, and we don't have it up yet because we're just making a couple little tweaks still, but after that we'll be done, there's a brand new website design coming for MuggleCast.com! And it's been a long time coming. I don't think we've had an update in - a site refresh - in close to a year and a half to two years now?
Laura: It'd have to be two years.
Matt: It's been about two years.
Andrew: Yeah. This new one's really nice, and we can't wait to share it with you guysut we're just making a couple of last minute tweaks and check for it in the next few days. It'll be out on the site sometime this week, Sunday night at the earliest, if not then, then Monday or Tuesday, definitely. Hoping all goes well. So check that out, MuggleCast.com.
Andrew: And speaking of the site too, Micah, you've got a transcript update?
Micah: Oh, yeah. These are always fun, but there are a lot of people that are working hard for us and we just hired - this is going to sound crazy, but - over thirty people to work...
Eric: Oh my god!
Micah: ...on the transcripts and they're pumping it out though. They're doing a good job and they're really eager...
Matt: Give the transcripts...
Laura: They're "pumping it out?"
Matt: ...the transcribers some love.
Micah: They are. They are pumping it out and we're up to about episode 150 now, hopefully by the time this show gets out.
Micah: Hey, don't laugh. These people work hard Laura.
Micah: You should not be mocking them.
Laura: I'm not laughing at them. I'm laughing at your word choice. [laughs]
Micah: Oh. What? "Pumping it out?"
Laura: Anyway. Yes.
Eric: I guess that's what you do.
Andrew: "Pumping it out!"
Eric: I just can't believe thirty people are writing down what six or seven of us are saying. That's...
Laura: They must hate us.
Matt: They do.
Eric: They must hate us and... [laughs]
Matt: I did it for almost two years. Yeah, I hated you guys.
Laura: Aw, but you love us now.
Matt: No offense. I love you now. I don't have to transcribe what I'm saying right now so it's fine.
Eric: So you can be as verbose as you want.
Andrew: Thank you everyone for your help with that. We really do appreciate it. Let's move on to Muggle Mail now this week. Laura, do you want to take the first one?
Laura: Oh, sure. Why not?
Andrew: It's all about the movies this week. Everyone is talking about the movies.
Laura: All right, the first one comes from Rachel, 16, of Massachusetts. She writes:
"First, I love the show and I always enjoy listening to your thoughts and ideas. I'm writing because, on the past two shows, you've mentioned that movies from the 70's and 80's received questionable PG ratings like Jaws. Recently, I was watching the Indiana Jones documentary that came with the DVD trilogy set, which shed some light on the PG-13 rating. At the time there were only G, PG, and R ratings. When George Lucas and Steven Spielberg made Temple of Doom it almost received an R rating because of the scary scenes including cult practices. Steven Spielberg petitioned his friends at the MPAA to give it a PG rating and simultaneously suggested a PG-13 rating for future films, hence the beginning of the PG-13 rating."
Andrew: Yeah, so that's why Jaws wasn't rated PG-13 because there was no PG-13 rating when it came out.
Laura: That's interesting.
Andrew: Yeah. And speaking of that, a lot of not a lot a few MuggleCast listeners suggested that we watch This Film is Not Yet Rated. It's a documentary on the MPAA. Matt and I watched it a little over a week ago and it's amazing.
Matt: It's really good.
Andrew: Well, yeah. The documentary is okay, but it reveals a lot of information about the MPAA that is amazing. These guys - basically it's this group of parents that aren't revealed - the MPAA does not reveal their identities, they keep them really secret. This documentary tries to track them down. They're like spying out in from the MPAA, which is located in California. It's really good and they end up finding out that these people who are raters shouldn't even be raters because they don't fit the MPAA's guidelines anymore. They're too old. Their kids are too old. So it's kind of ridiculous.
Matt: It's pretty...
Andrew: The fact that they leave ratings up to six or seven raters - parents - is ridiculous.
Matt: Parents who are - of adults who are in their twenties and thirties even.
Andrew: Yeah, who have kids who are in their twenties and thirties.
Eric: Oh. I was going to say, if that's not parenting material I don't know what is.
Andrew: [laughs] Yeah. There was something else I was going to say. Oh, they did a lot of comparing films that should have gotten ratings, like say one film got a PG-13 but the other film that was just like it got an R because of certain stereotypes. You know, homosexuality and such. So it's very biased rating going on and it would be interesting to see why Harry Potter was rated PG. Hey, who knows. Maybe it really does deserve PG, but...
Andrew: ...MPAA is corrupted.
Eric: And they come up with what the rating is going to be and they tell the people who make the movie before. They have the chance to edit it.
Eric: For instance, what this voicemailer said was, or what this Muggle Mailer said regarding Steven Spielberg - he didn't want it to get an R rating and at that point obviously PG-13 wasn't an option, but he was able to say "Wait a minute. We'll either cut these certain scenes you find offensive or..." - he didn't say that, but they can do that now.
Eric: They can change it for a rating because - the theory being that PG-13 now is the most widely accepted adult, sort of teenage area, I guess. There's G and there's PG, but PG-13 is what a lot of people are aiming for.
Eric: I guess.
Matt: I'm waiting for R.
Andrew: Nick, you want to take the next email?
Nick: We have a message from Katie, 18, from London. She writes: "Hey MuggleCast. I'm Katie and I'm a film student from London, England. I was just commenting on the rating for the new Harry Potter flick. The American's (stiff cut?) is PG whilst the UK is 12A. I recently attended a BBFC lecture and workshop in which they told us how they decide ratings. Sometimes after controversy about the ratings they have to rate a new blockbuster higher than they should be to get the press off their backs. In the UK, we recently had some controversy about the rating of the Dark Knight. Some parents felt it should have been a 15 and not a 12A. After they took their young children to go see the film the kids had nightmares. So perhaps they are rating Harry Potter higher than they normally would to show they are very strict about ratings and not lax. I love the show. Katie."
Andrew: Now Nick it hasn't received that rating right? That was just the trailers?
Nick: Yeah, it was only the trailers that was 12A. They usually don't get rated until a couple of months before release in the UK.
Andrew: But it is definitely suggestive.
Nick: Yeah definitely, definitely.
Matt: Huh, that's interesting.
Nick: It's interesting what she says because the BBFC currently put a survey on their website so users can judge certain films that have recently been released and comment on whether the ratings were correct. So it seems that they're overhauling their system and criteria at the moment. So it should be interesting to see what it gets rated.
Andrew: Well, I was - also in that documentary apparently the MPAA is the only rating group in the world that keeps their raters confidential, which is also kind of strange. It looks like the BBFC knows what they are doing and they are working with the people rather than being all weird and secretive.
Eric: I have to see that documentary that just really bothers me now.
Andrew: Yeah. It's good, it's funny, and it's short. It's good stuff. It's funny watching them spy on these people driving out of the MPAA.It was pretty good.
Andrew: Matt, you want to take the last e-mail?
Matt: Sure. Our next email comes from Jared, 23, of Alabama and Jared writes:
"I do not wish to sound overly cynical however I feel that Warner Bros. should stop making these trailers for one reason. Trailers are supposed to inspire fans and even those who are not to view the film but I feel that the release of this Japanese trailer that WB is not inspiring people but rather disheartening them. I agree that the editing of this most recent trailer was indeed shabby and shows a blatant, lackadaisical attempt to prompt visual excitement of the film. I, for one, feel disheartened by this attempt and am left to wonder about WB's true feelings towards the movie series. WB continuously states that they basically believe in the series and wish to make them as close to the books as possible. Is this for our sakes or theirs? WB has witnessed the public outcry of a badly done film based on a popular series with 'Eragon' and I fear that this latest attempt shows that WB is just in it for the money and remain hypocrites for denying otherwise."
Eric: Ah, okay stop, right at the end.
Micah: You left it out. Go 'Cuse. And no, I didn't put that in there. Thanks Andrew.
Eric: Go 'Cuse. Whoopee. How much of this - I've got to ask you guys because I wasn't there with the Japanese trailer, even though I have seen it. How much of this is what you guys said about the editing being shabby and stuff? I want to know how much is his original idea and how much is you guys - what you said.
Andrew: Well as we discussed during the show, it wasn't really a trailer. It was a sneak peak. It was a bunch of clips. We kept calling it a trailer because its easier to say it's a trailer instead of a group of sneak peaks.
Eric: Right, well they go by pretty fast.
Andrew: A group of clips from Half Blood Prince. Its just easier to say trailer. And it sort of felt like a trailer there were some titles. There was narration. It sort of was, but...
Matt: I would say it is more like a TV spot than a trailer.
Micah: Yeah, we really hit the editing hard in the last show Eric.
Andrew: It did stink though.
Matt: Yeah, it was bad.
Laura: It was bad.
Matt: It wasn't an official WB release though. If it was, it would be released everywhere. It was only released in Japan. This was just something for extra - it's a novelty for the Japanese fans.
Nick: I don't think they expected it to go world wide, did they?
Matt: Not they didn't. And if they did we would have been able to download it in high quality.
Eric: Jared is talking here about how WB is giving us this crap and disheartening - and he says "we feel disheartened." I'm thinking, wait a minute this wasn't even your, it wasn't even for us.
Matt: It wasn't even our country.
Eric: We as the US fans grabbed it once we found out it was playing in Japan. But it's not for us and we shouldn't take such a burden to be so upset about it. It's not ours really.
Matt: With all due respect Jared, all of the trailers have been amazing for Harry Potter.
Matt: Not one single one...
Micah: Yeah. High standard right?
Matt: ...did not inspire me to go see the movie that's the one thing I get upset with the Harry Potter franchise is that the trailers are so effing amazing.
Laura: And then you see the movie.
Matt: And then you see the movie and you're like μWhat?ξ
Matt: I want to go see the trailer again.
Andrew: If anything, the trailer's are too good.
Micah: How about this though? I would think that we have a listener or two in Japan, why don't we have somebody send us in a little note what they felt about it. If they saw it on TV or after the fact.
Andrew: Yeah. That's a good idea.
Micah: So, all our Japanese fans, go crazy.
Andrew: And go 'Cuse.
Matt: Of course.[laughs]
Andrew: Well that does it for our MuggleMail this week and now we have a great interview, as I said at the beginning of the show, with Goblet of Fire film composer Patrick Doyle. Let's take it away.
Micah: Okay, so Matt and I are joined by one of England's most distinguished film composers, Patrick Doyle, who most of you know as the composer of Harry Potter and the Goblet of Fire. Mr. Doyle, thank you very much for joining us today.
Patrick Doyle: It's my pleasure.
Micah: Right off the bat I wanted to ask you, you know, what brought you to Syracuse University in the middle of February? Wasn't there could there have been another place that you could go that was a little bit warmer?
Patrick: Well, I have a long association with Syracuse through some very good friends I met my family met - in London. Jim O'Conner and Julia O'Conner, and they have kids and our kids have all grown up, obviously at different ends of the Atlantic together, but we visit each other, and we've seen Niagara Falls with them, and lots surrounding areas. Went to Harriet Tubman's house. I'm very, very interested in history, especially American history. So I love the city, and it reminds me very much it's a port and industrial town. It reminds me very much of Glasgow. I sort of get the vibe of the place. It's not glamorous, but I love...
[Matt and Micah laugh]
Patrick: ...the realness here. I think it's terrific. And Jim O'Conner has recently not recently but for a few years now has a major fundraiser one of the major fundraisers for the university, so and we talked to David Rizac here and we all got together and decided it would be nice if a two-fold thing, if I could come and maybe talk about the work I do to students here at the university, and also there would be an opportunity again to interact with my friends and come to a place I've come to really, really love.
Micah: Yeah, I happen to agree with you. I went to Syracuse for five years and glamorous is probably not the word I would use to describe the weather around there, that's for sure.
Patrick: No, but, you know, it's really a place about the people, always. You could sit in the middle of some people could sit in the middle of Malibu beach and be utterly miserable, whereas...
Patrick: ...a bunch of friends standing around, that's on the edge of I don't know a defused factory overlooking a lake, and then having a few beers with a friend...
Patrick: ...that's the most important thing. So it doesn't matter where you are, you know, it's the people, and what the people are doing, and what they're committed to, and what the ethos is, you know, in the culture and the surrounding in the surroundings. And the university itself is very impressive, especially the music building. It's also - it's one of these wonderful things we don't have back at home. A sort of self-contained, you know, mini-town sort of university. And, you know, it's a great honor to be asked to it's a great privilege and honor and responsibility to talk to students because, you know, I'm by no means the oracle. I can only...
Patrick: ...pass on my experiences at life and hopefully they can gain some experience and some preparation for their own path in life.
Micah: Yeah, absolutely, and you just mentioned Crouse College. It shows up a lot of times on television when different events are going on, but it's probably one of the most magnificent buildings I've ever seen.
Patrick: [laughs] Well, it reminds me, I was just saying that the building that reminds me the stonework reminds me of the stonework in Glasgow. It looks like a red sandstone, I haven't asked any, you know, geologist in the area, but the I mentioned Glasgow again because the building the music building itself isn't unlike the high gothic Victorian structures we have. It sort of reminds me of - in a way, it just reminds of the art gallery in Glasgow. It's got the same huge, enormous, confident, you know, architectural aspirations that, you know, a lot of those Victorian buildings did, you know, before the world crashed, you know, eggs of us were warm, you know, pre-Titanic and everything else. So it's got that wonderful, you know - incredibly, kind of, grand statute about it. You know, and the old vibe of the place is great to walk on in the quarters and hear a soprano and a string quartet, and a wind group, and an orchestra, and a horn player just did all that. It really brings it all back to days when I was at the - the Royal Scottish Academy of Music in - in my time.
Matt: Well, Patrick, we're just going to delve into a bit about your profession. You've...
Matt: ...composed films such as Gosford Park, Bridget Jones's Diary...
Matt: ...Sense and Sensibility. I mean, you've composed a lot of great films, and...
Patrick: Well, I've - oh, carry on. Carry on, sorry.
Matt: Oh, sure! No, feel free.
Patrick: Well, I've been very, very lucky and I've - very lucky that I'd been asked to do some - some very high-profile and - and really, really artistically successful and commercially successful films.
Patrick: And I'm very, very fortunate that - and you'll - many of them are a regular, you know, annual events so whatever, and on TV all the time and Carlito's Way, for example is - each generation comes along, especially amongst the guys.
Patrick: It's - it's a classic. It's become a cult classic. You know, and that's - I mean, on all the works of Kenneth Branagh, and the works of Regis Wagnier - a very close friend of mine. Another close friend of mine, you know, I'll be doing a piece for Regis later in the year. He starts working very soon on that - it's a comedy. And...
Patrick: ...and, you know, so I'm very, very fortunate that these are really classy, top-rate filmmakers who all embark on a project, you know, with the best possible stories and I already have got a great commitment. They're immensely committed, as I am, and I'm very fortunate that - not only having produced quality films, that I've been part of it, you know, Alfonso Cuaron is another one, The Little Princess, Great Expectations.
Patrick: Actually, to my delight, that Kanye West has just taken one of my tracks from Great Expectations, and it's now part of his new album 808s & Heartbreak, so I've now got major cult features in my own house. [ laughs]
Patrick: I'm "Mr Cool." My son couldn't believe it. See, I cannot believe. Both my sons couldn't believe it, because one of my sons is into techno - he's a DJ. Did a lot of DJing - he's really, really good. He's a huge fan of Dead Mouse, so he's really, really - he left out of bed, couldn't believe it. "You're joking! Kanye West? Oh my god, dad!"
[Matt and Micah laugh]
Patrick: So that's the wonderful thing about music, you know? You get your chance to shine over and over again so, listen, guys, I have no complaints. I'm very fortunate.
Matt: Well, that's great.
Patrick: If it all stops tomorrow, I've done plenty.
[Micah and Patrick laugh]
Matt: When you're approached to do, like, a score, how - what is your process? How long does it take you to do this - this whole scoring thing?
Patrick: Well, Robert Orben approached me five weeks before he needed the score, and mulled over it. But in real terms, I wrote the picture for Gosford Park in two and half weeks.
Matt: Oh my God.
Patrick: And it was - in fact, it was less than that, it was three days on a piano piece - I spent - no, three days on the piano piece, then nine days. Nine working days on the score.
Patrick: So it's twelve working days, spread over.
Matt: Did it take you about nine working days for Goblet of Fire? Maybe? Give or take a day?
Patrick: That took us a year's worth. That was a year's work on and off. Although the actual bulk of the score probably took about two months. But I've spent a year on it, come up with themes and working with the director, so each project's different. With Ken Brannaugh, I used to come in to the script stage of it early to disscuss ideas. So it varies from film to film.
Patrick: And I usually visit the set, if I can visit the set during filming. So, some things, I've got to take a look at is the script and I - in fact, this is something I'm going to talk to David about - I want to do an experiment - but I'm actually going to write a cue in front of the students, if I can.
Matt: Oh, cool!
Patrick: And come up with a couple of scenarios. 'Cause you really don't have to - one shouldn't need a picture...
Patrick: ...a physical picture to look at. As long as you get the story, you can use your own imagination, which is far more powerful than any movie can project to you. So that's something that I'm hoping to try and do here, and so anyway, each film varies. Sometimes it's before the script is sent to me, so it changes.
Matt: Mhm. Now...
Matt: Oh, sorry. Go ahead, Micah.
Micah: I was just going to ask with Goblet of Fire in particular, did you read the book to get some ideas or was it all going to visit the set during filming?
Patrick: Oh no, I read the book. I read the book and I also obviously read the script, and had long discussions with the director. I saw all the designs of all the costumes, all of the sets - had visited the sets, and all the models, so I was very, very involved with that film all the way through.
Matt: Mhm. Did - were there any scores that were particularly difficult to come up with, any themes or anything?
Patrick: Well, each score - well, it's all difficult. Each score is very difficult, but I've learned to just lounge a bit and just soak up as much as possible rather than jump in too early. Just soak up the script, soak all the conversations that come with the director, and all the heads of departments if I've had the opportunity to talk to them. Not every time. But just let it soak in and just not to panic, just relax, because, you know, the earlier it is you panic you learn through experience that something comes up, something twigs, and, you know, I always sit down - I go into work every day right at the same time. By 8:30 I'm going to work, and I don't stop until 6 at night, so I go in and make sure I'm inspired before I come home. [laughs]
[Matt and Micah laugh]
Patrick: That's the job.
Matt: Are there any, like, scores you have to leave out when you're scoring a film, that you feel bad...
Patrick: Any scores - sorry?
Matt: Any scores that are left out in the process that never make it into the film?
Patrick: That's only ever happened to me once. But I think every composer, it happens once in their life. I don't think anyone has ever escaped it. But out of 45 pictures it's only happened to me once.
Matt: Oh okay.
Patrick: So it's - I mean that's - I think that's pretty remarkable considering that's, you know, that's - you're working and playing with people you've never worked with before, it's a pressurized situation, there's time factors, the film gets changed a lot, and you're dealing with lots of people's opinions. It's a very much collaborative process so I'm proud I've managed to hang on in there.
Micah: What feelings go through you when you hear your score with the finished film and you actually go to the theater and sit down and watch?
Patrick: You know, by the time I get to the theater, I've had all my thrills. I've had my thrills when I've first heard my music being played, and getting it right to the picture, the director's reaction to it, and the jamming process, so by the time the movie comes along, I've really moved on. It's just - I enjoy it, but that wonderful thrill kick has happened earlier. Yes, it's been enjoyable to sit with an audience and see their reaction to it, but by then I'm slightly removed from it because I've had all the thrill, the fun, and everything else writing it, and, you know, experiencing it with these people earlier, so I mean, I still enjoy, obviously, going to the - I'll tell you what's interesting. I get a thrill many years later if I happen to walk past a television and up comes a channel, and there's my movie. I get an extra surge then because I've forgotten. I think, "Oh my God, yes, that's not bad!"
[Matt and Micah laugh]
Matt: "Oh my God, that's mine."
Patrick: "That wasn't bad!" So that can hit me but, I mean, I never - I probably listen to my music maybe to learn some things for a week or so after I've written it, but then I never listen to my music again, so I'm always shocked when I hear it years later.
Matt: Mhm. Yeah, that does seem to be a trend with a lot of artists. Once they compose or do a film or something, they move on afterwards.
Patrick: They move on. Yeah, they move on. You have to move on. You listen to it and afterwards you think, I'll do that again, I would do that differently if I was doing it again or whatever. You learn from each one.
Matt: Mhm. Patrick, recently a lot of your films have been in the fantasy genre, like with Eragon. Is that, like, your preference genre? Or do you have a certain preference to score?
Patrick: I don't mind what I score as long as it's something I particularly enjoy. With regards to fantasy movies, it just so happens that I've done fantasy, I've done science fiction scores. I suppose Harry Potter, you know, people can see what you can do. I mean, you get a big sort of action-fantasy movie, but I mean, Into the West was a small Indie picture.
Patrick: It was full of magic and fantasy. A little princess was a fantastic - and her friend...
Matt: Oh yes.
Patrick: And the two saved the world - tale. So, but, no. It just - I think it's coincidence. I mean, I certainly...
Matt: Is it?
Patrick: I love to read science fiction. I love fantasy stories...
Patrick: ...'cause I love opera. Opera is real fantastic story writing. So, I mean, I adore that. So, it's something I - it crosses over very easily into film.
Matt: Mhm. So you do read a lot of science fiction/fantasy. Have you read all of the Harry Potter novels or just the one, Goblet of Fire?
Patrick: No, I've read two or three of them. I haven't read them all.
Matt: Oh, okay.
Patrick: But the kids have read them all. The kids have - but, you know, I read - I remember - I used to read Azimov when I was younger, and C.S. Lewis, and new Mervyn Peake trilogy...
Patrick: And funny enough, Lord of the Rings. I only ever - I read The Hobbit, and I read the first Lord of the Rings, and I thought The Lord of the Rings was a big Hobbit...
Patrick: ...after I read The Hobbit, you know.
Matt: That's what happened to me. I've actually read The Hobbit the first time, and then it just seemed like it was just one big novel.
Patrick: Yeah. I just thought The Hobbit summed it up for me. But listen, chaps, I have to go now because I want to make schedule. Is there anything you would really particularly like to ask me before I go?
Micah: Yeah, just really quickly, how you got involved with Goblet of Fire. We know that you have a close relationship with Mike Newell.
Micah: Is that how it all came about?
Patrick: I think so, and John Williams is - I believe wasn't available. He was working on something else. So - and, you know, Mike was - when he asked me he said, "I'm not sure," he said, "about working with another composer's theme." I said, "Well, let's have a look at it," because I saw there was a huge opportunity for a composer to make his or her mark because of the introduction of new characters or the emphasis on established characters. And in the end, I think I only used about twenty seconds worth of John's music and for the very right reasons. It opened and closed the picture, and that's because, you know, the kind of thing that, you know, I wanted to cut. It was a great honor to follow his footsteps. Apart from everything else, there's a great tradition in music, especially one in the classical music, of actually using other people's themes. It's a very honorable and long tradition.
Patrick: So, I think to be precious about it is to be silly, and there was no way I could turn it down because my kids would kill me.
Matt: Right. Okay, Patrick, if we could just...
Matt: If we could just ask you one more quick question about The Goblet of Fire before we let you go.
Matt: About the Yule Ball, which is everybody on the show - their favorite theme is the Yule Ball in The Goblet of Fire film.
Matt: Was that your favorite film to compose or...
Patrick: You mean the waltz?
Matt: How do you go about like that?
Patrick: The "Harry Potter Waltz" you mean?
Matt: Yeah, "The Potter Waltz," "Neville's Waltz," the entire Yule Ball - the entire ball scene in the film.
Patrick: Well, the Harry Potter theme I wrote during a meeting with the director, believe it or not - "Harry Potter's Waltz."
Patrick: The other one I improvised with the ballet - with Wayne McGregor - I improvised the whole tune, believe it or not, and I said, "I'll write you something else." He goes, "No, that's fine."
Patrick: I improvised with the dancers. He goes - I said, "Do you like this?" He goes, "Yeah, we love it.""Okay, well, keep it."
[Matt and Micah laugh]
Patrick: So that's a true story. That's a true story.
Matt: All right. Well, thank you so much, Patrick Doyle.
Patrick: No, it's my pleasure.
Matt: It was real great talking to you.
Patrick: It's my real pleasure, okay?
Matt: Okay, well...
Micah: Yeah. Thank you.
Matt: ...you have fun hosting a film screening. There are going to be so many people there wanting to ask you so many questions.
Patrick: I'm looking forward to it very much.
Micah: All right. Thank you.
Patrick: Okay. Cheers, guys. Bye!
Patrick: Bye bye!
Andrew: All right, there you have it. Matt and Micah, great job! As - as - as you guys know it was a very last minute interview. It sort of came out of nowhere but you guys pulled it off.
Andrew: Did great!
Laura: Yeah, great job guys!
Matt: It was very last minute.
Andrew: Yeah, I - I was nervous. Because...
Micah: Why were you nervous?
Andrew: Because Matt had to record and I was afraid he may screw something up.
Micah: Oh, he did a great job.
Micah: He took care of it.
Matt: I - I am very proud of myself. And honestly...
Matt: ...I was scared for myself too. I really thought I was going to mess it up.
Micah: Well, thanks again to Syracuse University and David Ressack who is the Head of their Music program up there who was kind enough to orchestrate, no pun intended...
Micah: ...the interview process.
Matt: You went there!
Andrew: You should have done that with...
Laura: You are a funny guy.
Andrew: You should have done that with Patrick.
Micah: I did go there.
Andrew: I don't know how, but anyway...
Matt: Yeah, well, we were laughing enough during the interview. It was good. It's all good.
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