Exclusive Interview: Flick Miles from the Podcast “Behind the Wand”

Ever since Flick Miles released her first episode of Behind the Wand: Stories from the Harry Potter Films, we were dying to sit down and chat with her. We had so many questions about her inspiration for the podcast and her experience as Emma Watson’s double in the first three Harry Potter films.

With the 20th anniversary of the first Harry Potter film conveniently coming up, Flick Miles took on the project of speaking to her past coworkers from the Harry Potter films. After recording one episode of her podcast Behind the Wand, Flick Miles messaged MuggleNet via Instagram to see if we would post her episode and share it with our followers. After seeing the amazing work she had done, we collaborated with her and built a team to help make the planning and editing process much easier. She now has ten amazing episodes chock-full of detailed information about various roles.

First of all, I didn’t really even know if I would be able to get back in contact with people [or that] they would remember me or want to speak with me, and then I also felt like there was a lot of Harry Potter podcasts out there; would mine be good enough to be amongst them and be able to do something new? I’m not saying my podcast is really groundbreaking or anything like that, but [I wanted it to] do something a bit different.

 

 

As for getting the role as Emma’s double, Flick was simply in the right place at the right time. She attended an afterschool drama class, and the woman who ran it happened to have an agency. She asked for a few pictures of Flick, and then about a week later, she got a call about an auction for the role of a double. After lining up with Emma Watson, then Daniel and Rupert, Flick was given the part.

I always remember because when I went out, I got this bright-pink Gap fleece, and then when I turned up to the airport, Emma was wearing the exact same fleece. Everyone was like, ‘Did you plan this?’ We were like, ‘No!’ We had not even spoken. We literally met in that two seconds on set a couple [of] weeks ago.

 

 

Like many of the other children on set, Flick Miles had to be tutored in between scenes. While she admired the dedication of the many tutors and was very impressed with how well they managed all the subjects and different learning levels, she still missed regular school. Since all workers have a rolling contract and can decide at the end of each film if they wish to continue to the next one or not, Flick decided after the third film that she would rather go back to being a normal kid.

I did miss elements of it. You miss your friends, and you have friends filming, but [you miss] your friends in the social scene at school and the gossip and the drama. You do miss that.

 

 

However, Harry Potter and the Prisoner of Azkaban was not the end of her Harry Potter journey. She still kept in touch with her past coworkers and would occasionally come back on set to see what everyone was working on and sometimes even play as an extra in a scene.

I used to come back to do extra bits just to keep in contact with people and go and have a bit of a jolly seeing everybody. I came back for the Yule Ball, and I remember seeing the Great Hall all set up for the Yule Ball, and I just feel like it’s this hub that was always dressed differently and always looked just so spectacular.

 

 

It was absolutely lovely getting to talk with Flick Miles and hear her stories. If you haven’t already, go check out her podcast Behind the Wand: Stories from the Harry Potter Films.

Full Transcript with Flick Miles, Thursday, December 2, 2021

Morgan Warnock: Could you please start off with an introduction about yourself?

Flick Miles: Yes! I’m Flick Miles, and I host a podcast for MuggleNet called Behind the Wand, where I basically interview people who worked on the Harry Potter films. I was Hermione’s double in the first three films, which was an amazing experience. I haven’t done much of anything since then. Then last year, or was it this year? The beginning of this year? Oh my gosh, I’m so confused. [I] decided to just get back in touch with people I knew and see if they’d be happy to chat and reminisce about what it was like making the film. Especially since it was the 20th anniversary, it felt like a good time to be reminiscing about the first film and those really, really early days. It’s just grown from that.

Morgan: The 20-year mark is a significant time, but did you ever think about doing something at the 10-year, 15-year, or 30-year? Why is 20 so…?

Flick: [laughs] Well, I’d love to say I’ve been thinking about it for ages, and blah, blah, blah, but actually, the original idea for the podcast wasn’t really mine. It was a friend of mine, Chris Gotfried, who said to me, “Oh, I think you should do a podcast,” and I wasn’t sure because I didn’t really know… First of all, I didn’t really even know if I would be able to get back in contact with people [or that] they would remember me or want to speak with me, and then I also felt like there was a lot of Harry Potter podcasts out there; would mine be good enough to be amongst them and be able to do something new? I’m not saying my podcast is really groundbreaking or anything like that, but [I wanted it to] do something a bit different. Anyway, he was saying, “I just definitely think you should do it,” and, “Just go for it,” so I thought, “I’ll just try and see how it goes.” Then when I was with him, I realized, “Oh, it is the 20th anniversary!” It just felt like it would [be] a good time to just be getting back into contact with people and giving this series more of a peg I for speaking to people. So I can’t really take credit for the original idea of the podcast, but that was my friend Chris. [laughs]

Morgan: And how long did the planning part come out [to be]? Did you get together and start brainstorming ideas or just jump right into it?

Flick: No. Again, I wish I was that professional, but not at all. I sent an email to Nick Dudman on a whim, thinking, “I hope Nick remembers me.” We worked together quite closely because he did my makeup as a cat. So I was thinking, “I think Nick would remember me.” We got on well [and] I think he liked me when we worked together, so I’m thinking I could twist his arm. I literally sent him an email, and he got back saying, “Yeah, sure. When?” Then [I was] thinking, “Oh my gosh, now I have to actually do it.” It’s so funny. With that first episode with Nick - even though it’s not the first in the series, he was the first person I spoke to - I had about three pages of questions, all really well thought out and things I was going to ask and have this lovely narrative through the interview. I think I asked the first question on the page and then went completely off on this different tangent. [I] didn’t look at my questions, so when I got to the end of the interview, I thought, “I didn’t even know if I asked all the questions! I didn’t even know what I’ve asked him. I’ve just gone completely off.” But actually, when I listened back, I feel like it worked. I think it gives the podcast a bit more of a natural, chatty feel. It obviously is an interview - I just asked him interview questions - but I feel like it gave it a nicer flow [because] when speaking to them. The questions just come [naturally] because I’m interested in what they’re saying. Hopefully, I’m thinking the same things that the listeners are thinking, so I’m asking the right questions rather than just sticking to my notepad. [laughs] So I obviously do a bit of research, but normally I think the best interviews are when you just jump on and start chatting, and it just… happens like that. But maybe I don’t know. Maybe I should do more preparation. [laughs] Maybe sometimes you can tell.

Morgan: I really like your podcast because it just feels so natural, and I’m not used to doing interviews, so I have a list of questions.

[Both laugh and talk at the same time]

Flick: Yeah, but I think with something like this, you want to have questions and sort of that sort of thing. But with the interviews, they almost take the lead with it. They’ll guide the conversation with their amazing stories. So they take the pressure off me. whereas - sorry - I put all the pressure on you this time, so you have to have the questions to ask me. [laughs] But I normally just let whoever I’m interviewing talk and then just feed off them. So it works kind of; differently, I think. [laughs]

Morgan: Have you ever made a podcast before?

Flick: No, I haven’t. I love podcasts; I listen to loads of podcasts, but this is my first time making a podcast, so I don’t have any experience. I think it’s going okay so far. [laughs] But I think it helps [that] I listen to a lot of podcasts which I think helped me when making this podcast, just thinking of things that I like and things I don’t like. I think especially with audio and no visual, things can be quite jarring when you’re listening to them if a sound suddenly comes out of nowhere that you don’t expect, things like that. I think if you listen to podcasts, you pick up different techniques and ways of doing things. So hopefully, that comes through in my podcast, and nothing too random happens when you’re listening [that would take] you out of following a conversation. But no, this is my first podcast.

Morgan: Well, you’re doing a great job. [laughs]

Flick: Thank you. [laughs]

Morgan: How long have you been listening to podcasts, then?

Flick: How long have I… Oh, do you know what? I feel like the first time I listened to a podcast was [in] 2015. I remember because I was traveling, and everybody kept saying about this podcast called Serial. Did you ever listen to it?

Morgan: I haven’t! I actually haven’t been much of a podcast person until I jumped onto this project and thought, “Oh my gosh, this is amazing!”

Flick: [laughs] Ah, that’s brilliant. I think [it was in] 2015 that I started listening to podcasts when my friend Rosana said to me, “You have to listen to this podcast called Serial.” I kind of knew what podcasts were, but I [felt] like I didn’t really know how you download them or get them. It followed this case about this... This actually sounds really [unintelligible] a murder of a girl and the guy who was accused of murdering her. The woman interviews him and pieces together this mystery of how - because he says he’s innocent - he’s been wrongly accused and wrongly imprisoned. I absolutely loved it. I binge listened to it. As soon as I could, I would be listening to these episodes. And then from there, you start speaking [to people], people [start] recommending ones, and you’re saying, “Oh, yeah, I do like listening to podcasts.” I think true crime became a real hit within podcasts, and I did get a bit into that. So [I’ve] probably [been listening] since 2015.

Morgan: And do you pull ideas from your podcasts? You said, “things that you like when you are listening.” What is one that’s particularly inspiring [to you]?

Flick: Definitely. I think listening to other podcasts definitely helps me with my podcast, thinking more from a technical point of view of how it sounds. But definitely interview techniques. In lockdown, I listened to - I think he is [also] big in America - Louis Theroux, [who] did a podcast series. He’s a really brilliant interviewer, so I’d listen to his interviewing techniques. One thing he does is he isn’t afraid of there being a bit of silence when he’s asking a question. And what I do is I try to fill a silence. You think in an interview, “If somebody doesn’t answer straight away, then it’s just a bit awkward,” but actually, sometimes silence just gives them a chance to think and come back with a really good answer. So his interviewing technique [is something] I definitely listened to and thought, “That’s really good. Hopefully, I can try and do that,” but then again, like I said, [during] any silence, I’m thinking, “Oh my God, this interview is going really badly. I’ve got to talk through it.” So I probably don’t do that at all, but I like to think I try and channel my inner Louis Theroux.

Morgan: Do any challenges come up during your podcast? Like when you’re making it or planning it…?

Flick: Well, first it was [that] I was scared I wasn’t going to have people do it. But then, actually, I think as soon as you’ve got one person... I got Nick Dudman, and he told me of someone else I could interview, and then I interviewed John Seale, and he put me onto Duncan Henson, who put me on to Richard, so it spiraled like that. But I think it’s really hard to... At first, I was just working on my own without MuggleNet, and I think it’s really hard to edit your own work because you become so close to it, and I’ll be listening to this hour-long interview thinking, “Is this even good? I don’t know.” But what’s been great is now, with MuggleNet, I work as part of a team with Patrick, who edits it, Lucy, who produces it, and Kat, who oversees us. That has been brilliant because they really, really helped me make the podcast better than it was. [It’s] a lot nicer, and shinier, and probably [more] professional. [laughs] Now, my challenge is that I have a 4-week old son, so my time is a bit, as you’ve experienced, a bit all over the place. [laughs] It’s just finding a time when he’s asleep where I can record all intros and outros and schedule the interviews and stuff like that. So that’s been my latest challenge, but a, but a nice challenge. [laughs]

Morgan: And how did you get into contact with Mugglenet? Did we reach out to you?

Flick: No, I reached out to MuggleNet. I just sent them a message on Instagram saying, “Hey, I made this podcast. I don’t know if you….” [I was] just thinking maybe they’d put it on their story or something just to get it out to the Harry Potter [fans]. MuggleNet has such a huge, amazing Harry Potter following, so I was just thinking they could just put it out in front of people who might be interested in it. And then they replied saying, “Actually, you should get into contact with Kat Miller.” So [Kat and I] had a meeting, and she was really excited and full of all these ideas. I couldn’t believe it, and it was so nice because, [as] I said, it had just been me working on my own and sending episodes to my husband, my friend Chris, who I mentioned, and my friends Rosana and Joe. [Those were] the kind of people I’d send it to. [I would] ask them what they think, and it’s really hard for friends to say, “It’s rubbish,” you know? [laughs] But they were like, “No, it’s good,” and they gave me feedback on things that they thought worked and didn’t work. But when I sent it to Kat and Kat was excited about it, it was a really nice moment for me because then I felt like, “Oh, it is actually good.” [laughs] “This isn’t somebody who has to tell me they like it; this is somebody who didn’t have to pick up on this at all.” She became really excited, saying, “I think we could do this and add this...” Then MuggleNet came aboard, and we created a little team, and it’s just been really, really lovely since then.

Morgan: That’s awesome. Do you have a favorite episode so far? I know they’re all amazing, but there are eight of them now.

Flick: Yeah, I know. I’m really bad at saying every episode is my favorite episode, but I always feel like that. Every interview I think, “That was the best one,” and “That was my favorite,” or “That was lovely,” but I think my favorite episode has to be when I interview my mum, who was my chaperone who came with me almost every day, and Rupert Grint’s [Personal Assistant], Sarah. One, because, obviously, my mum is my mum, but Sarah was a really huge part of my Harry Potter experience and one of the people I was closest to and spent most of my time with. I just really, really adore her. But I think, also, when you listen to that episode, I think that gives you the best insight into what it was like being on the film set behind the scenes and the family atmosphere that we had and this amazing bubble we were in and just how lucky we were to be part of it. I think that was a real, true reflection of my time on the film. The other episodes I love, but they’re quite technical about people’s roles and what they specifically did on the film. Whereas I think with Sarah and my mum - which I think was episode five - you get a really, really good idea of what it was all about and how amazing it was. I love that episode, and listening back to it, it did make me laugh and think of all the lovely times we had. It puts a smile on my face when I listen to that one back.

Morgan: That one did definitely have more of a personal feel to it. It felt more like memories instead of just saying what people’s roles were.

Flick: Yeah, and I think when Lucy and Patrick listened to that episode - I think it’s episode five, I’m pretty sure - they said that they felt like maybe my personality came through a little more because, obviously, I was quite a bit more relaxed as I was just speaking with my mum and a friend, whereas maybe I try and be a bit more professional and put on more of like a telephone voice on the other episodes. [laughs] But [with] this one, I think I probably let loose a bit more, and perhaps that then led to giving a bit more of an insight into what my role was like on the film and like you just said, my memories and stuff like that.

Morgan: How do you plan out your podcast? Do you brainstorm from a list of people you want to talk to, or do you focus on specific bits that a movie was made and focus on that? How did you do it? [laughs]

Flick: [With] this series, we had a specific focus on the first film, Sorcerer’s Stone. We do have a hit list of people we’d like to speak to; then we just reach out, and as I said, everyone is just so lovely and is always keen to be involved. It always, always just sounds like scheduling and trying to find the time to interview people that we can or do, and obviously, the people we are reaching out to are extremely busy. The interviews haven’t been aired in order of what we’ve done. We have tried to give it more of a... I don’t know the word, but we started with more of the preproduction and moved through to shooting, to post-production, and then through to more detailed bits. Now we’re through the art department, so the last episode [unintelligible] that went out would have been Pierre, which was props, [the] next episode is the art director, Gary, so it has gotten a bit of a narrative. But as we go online, when people come up, we’re not going to turn people down if they don’t fit in our narrative, if that makes sense? [laughs] But I hope that people listening have been able to follow a little bit of a journey of what it was like setting it up and those beginning stages through to filming through to a more post-production role.

Morgan: Do you think you’ll ever [get] around to bringing on some actors and talking about what it was like for an actor to be in the film?

Flick: Absolutely. Yeah, definitely, I would really, really love that. We definitely want to do that. We are speaking to people, and hopefully, that can, fingers crossed, come through. But at first, that actually wasn’t the idea, to speak to actors. It was more because of my role. I think what people always think [is], “I had no idea that they needed somebody to do that,” or that under-16s couldn’t work that long and there were only four hours [they were allowed to work], and that was the interest: things people didn’t know. So I think we just tried to seek out more roles that people have heard of but maybe didn’t know exactly what they did on the film. And find more hidden stories and anecdotes like that. As I said, I would love to have more of the actors on and hear their [stories] because I’m sure their memories will be amazing, and hopefully, that does happen. But I’m hoping with the interviews that have been out that people are learning stuff that they don’t know. I find that when I am interviewing, I always find out something new that I didn’t know about Harry Potter, [that] I had no idea about [or] even existed [like] a role, a job, a set, a something, and I didn’t have a clue about [it] even being there full time for four years and [I was] like, “Did that happen? I didn’t know that.” So I am hoping that’s what the audience is getting as well.

Morgan: I’m definitely learning something new every five minutes.

[Both laugh]

Morgan: I’m listening to your podcast, and it’s just full of amazing information. I love it.

Flick: Oh, that’s so nice, thank you so much. That honestly means so much to me. Sometimes I’ll get messages on Instagram, and people are saying, “I came across your podcast, and I really love it,” and it honestly just makes me so happy. It’s just the loveliest thing to hear and the biggest compliment, so thank you.

Morgan: Do you have a fan base growing by chance?

[Both laugh]

Flick: That sounds like I’m getting messages every day. Not at all. Maybe a bit on Instagram because I post some behind-the-scenes stuff and little snippets. I wouldn’t really call it a fan base, but a few people are interested, and as I said, [there are] a few really lovely people who message saying they enjoy it, which is so nice. It’s made me think more that when I listen to something, or you see something and enjoy it, you should try and find the person who has made it and tell them that because it is honestly so nice and it’s so lovely to hear. It makes you feel even more enthused and more passionate about your project when people say that.

Morgan: Moving on to you being a double, how were you introduced to the Harry Potter story?

Flick: So the books?

Morgan: Yes.

Flick: I first came across the books… My mum actually read the first book to my sister and me. I think I must have been year four or five at school, maybe younger than that. My mum read the first book aloud, and I obviously just totally fell in love; that’s totally my sort of thing. I loved fantasy and magic and all that sort of world. And I love stories in that. [I’ve] just been a fan since then, and when I had first started joining the film, the first three books were out, and I read those and loved those and continued to do so even when we were filming. [The] books were coming out all the time, and I continued to read them really quickly before any spoilers or anyone said anything about what was gonna happen in the films and anything like that. People would be looking to see what happened to their characters, and I [would] think, “Oh my gosh, don’t tell me because I haven’t read that! I haven’t gotten to that bit yet!” I was a fan since the first book whenever that came out [and] my mum read that to me.

Morgan: And how were you selected to be Emma’s double?

Flick: When I was ten, I went to an afterschool drama class which was very lowkey. It was in a church hall, nothing flashy or fancy, just an afterschool class. It was great, but it wasn’t a big drama school or anything like that. There were probably 10 or 15 of us in the class. We would just do improvisation and games and things like that. The woman who ran it also had an agency, and I think when my mum came to pick me up one day, she just said, “If you just give me some pictures of Felicity, I could put it forward for auditions if anything ever came up.” And I don’t really think my mum thought that much of it, but she took a picture of me in the garden, nothing like a professional headshot or anything like that, just a casual snap. And a couple [of] weeks later, this woman - her name was Ana, who runs the class... And the agency called saying, “There’s an audition for Hermione’s double.” I obviously knew Harry Potter and knew Hermione, but I had no idea what a double was or what they did or anything like that. I had to go to Leavesden Studios, and Chris Columbus was there, and David Heyman was there, and John Seale, who’s [on] one of the episodes who was a cinematographer, was there, and so was Dan, Rupert, and Emma. They first got me onto the set and stood me next to Emma, and looked through the camera lens at us. I think they were just looking at our coloring. [They] asked us to stand side and side and behind, and they were just looking at our frame [and] our coloring. I always say I know I don’t particularly look like her anymore, but I think at the time - and I have posted pictures before of me and her - we had quite a similar shaped face. So if you were going over the shoulder and onto the jawline, we had a similar sort of jawline when we were ten. [laughs] Then the hairdresser came and looked at our hair and was like, “Yeah, this is quite similar.” Then they moved Emma out and brought in Dan and Rupert and stood me next to them just to see how I looked in comparison with them. Say they were shooting over Hermione’s shoulder onto them, were we all lining up the same heights and all that stuff, so they seemed really happy, and they were like, “Yeah, that’s great.” Then I think it was Chris Carreras [who] spoke to my mum and said, “It might be 12 weeks’ work,” or something like that, and then I think a week later they said, “We’re all flying to Whidbey tomorrow to start shooting!” We were like, “What?” My mum and I had to rush to the shops and buy me some warm clothes because up in Whidbey and New Castle, it was heading into winter and it could get pretty cold. I always remember because when I went out, I got this bright-pink Gap fleece, and then when I turned up to the airport, Emma was wearing the exact same fleece. Everyone was like, “Did you plan this?” We were like, “No!” We had not even spoken. We literally met in that two seconds on set a couple [of] weeks ago. And then they hired a plane to fly us all up, and we were all there. So that’s how it all came about, and then obviously the 12 weeks turned into being almost four years, I think, so it was crazy.

Morgan: And did they give you any information about it prior, or did they just say, “Hey, come into the studio. We want to put you up against these people and see how...”

Flick: They didn’t give me much information beforehand. And remember, we are going back like 20, 21 years, but no, I don’t think I remember knowing much about it when I turned up. I think as we started, it just became apparent what we were doing. [laughs] But no one really knew what they were doing. A lot of the children had never worked on a film before; a few had done a few things. So I feel like we were all just learning every day what it was about. [laughs] I think it must have been so frustrating, I’m in the studio with John Seale, [and] he’s somebody who’s been in the industry for years and was one of the best cinematographers in the business, and he was having to like work with children who had no idea what they were doing, and we didn’t know how to stand on our mark. [laughs] I think we were probably a nightmare because we were just so over-excited about everything. I feel for all these people that had been in the industry and [were] used to working with these big names and professionals who probably come in and [nailed] it in one take, and then they were working with 20 hysterical children half the time. But I think they liked it, and I think we probably brought an energy to set that they liked. I think maybe when you do something for a long time you don’t, not become excited about it, but it just becomes a bit like second nature to you, and then when you see loads of people doing something for the first time, and they’re so excited, I think sometimes that excitement like rubs off on you. So I’d like to think that the crew who had been in the film industry for ages fed off the excitement of the children and how we were just hyped about everything. I’m hoping. But probably not; they probably thought we were just a nightmare and wondered why they signed up to do a film with so many children in it. [laughs] So many children and animals.

Morgan: Well, it must have been a lot more comforting for you since this was your first job for the film.

Flick: Yeah, absolutely.

Morgan: So you’re not the only one who doesn’t know what they’re doing.

Flick: No, that was great. I think there was a real sense from the top down. Chris Columbus and David Heyman... Duncan Henderson, who’s the executive producer I interviewed, said that the people had to remember they were working with ten-year-olds who hadn’t done a lot before and just to bear that in mind. Everyone was so lovely; as I said with John Seale, he probably had to tell us a million times what to do, but I don’t remember there ever being a crossword or a raised voice or anything like that. I feel like everyone was so lovely and so understanding of everyone being like, “We don’t know what we’re doing!” And I think by the end, obviously, everyone was well-rehearsed. I’m talking mainly, at least, the first film. I think when they came back in the second film, it was a completely different feel. Everyone just slotted straight back into it and knew what they were doing, and it almost became, as I said, second nature to us. But at the beginning, I think they probably said, “You have to remember that these are; they haven’t done this before.” I only ever remember being treated with real kindness and it just being a really lovely place and always feeling really confident on set, which is important because for a lot of us, being ten years old and having to stand in front of 100 adults who are doing their job, who you know have been doing these jobs for years, it obviously can be quite scary. And I do think a few times I probably did feel quite nervous, but as I said, I think [we were] only ever given encouragement and praise, and it was just really lovely. The people at the top really made sure it was like that for us. It was great.

Morgan: That sounds amazing. Oh my gosh.

Flick: Yeah. [laughs] It was really nice. It was a really lively, lovely thing to be a part of, and I know I’m so lucky to be a part of it for sure.

Morgan: Were you ever starstruck? Not only meeting famous actors but just having those moments like, “I’m on the set of Harry Potter.”

Flick: Yeah, definitely. Well, I’m more starstruck now, if that sounds really weird, but only because when you’re ten years old, you are so unaware of actors. It was more my mum who was starstruck by actors.

Morgan: Oh! [laughs]

Flick: She would be like, “[gasp] It’s that person! It’s that person!” Because she would know all these famous actors who’d been in loads of films and some of the biggest names in the world. Whereas when you’re ten, you have just no idea about that sort of thing. But definitely now when I watch the films, I think, “Oh my gosh. That person was in this, and I worked them, and I knew them and would speak to them!” Stuff like that. So I definitely feel like that now. But also, I think I was more starstruck or more overwhelmed when we would be on the sets [and] we would go in them. Because I think when you’ve read the books, you obviously have such a vision of what Hogwarts was like and also what it would be like if you were there. I also talked about this in an episode with Pierre, but I feel like everyone imagines what it would be like if they were at Hogwarts and what House they would be in and that sort of stuff, so I feel like that was the main thing where I would be like, “Wow, I’m here in the Great Hall and I’m wearing my Gryffindor tie and I’ve got the badge and I-” It felt like I was so lucky that I almost feel like I did go to Hogwarts. I know I didn’t, but out of everyone in the whole world, I was probably one of the people who’s closest to going there, if that makes sense? [laughs] So I think that was amazing, that I would feel like, “I’m here in this classroom, and I’m in a Transfiguration class with Professor McGonagall!” And it would obviously feel a bit like that, and that’s amazing.

Morgan: Hogwarts is a magical place, but it’s also a school. Was your tutoring experience also magical, or was it more on the boring school side?

Flick: School is school, so I feel like we’d always [be] like, “How long have we got left? How much longer are we gonna do...” But it was brilliant; we had several tutors. I had a proper timetable [where] I’d have maths in the morning with Ken, who was our tutor, and then English or art with Jane, and science with Peter. We’d have a timetable and go around, and they were great. Bearing in mind that the tutoring department who was led by Janet and Janet, would get in contact with my school to see what I was doing, and then these tutors would put on the lessons, and they just did an amazing job. Bearing in mind that everyone is also [of] different ages. So we weren’t all in year seven or whatever, you’d have someone in year seven, someone in year 9, and they just did an amazing job at making sure they were teaching everyone at all different levels and keeping us up to date with our school work and what our classes were doing back at school. But saying that, it was still school.

[Both laugh]

[Both speak at once]

Morgan: Do you prefer normal school over your tutoring experience?

Flick: [There are] definite elements of a normal school that you miss, and that’s ultimately why I didn’t carry on with the films. It got to an age where I’d have to do more exams. In the UK, you get to year ten, and you get to start picking your GCSEs and stuff like that. [As] I said with Harry Potter, it would be impossible for them to facilitate all 11 GCSEs that you’d want to do, so they’d pick a smaller amount and that sort of thing. And because I wasn’t 100% sure... Obviously, I knew I wasn’t going to be Emma’s double forever, but I wasn’t 100% sure that I wanted to be in the film industry and continue down this road. So that just sort of felt logical, going back to school, and I did miss elements of it. You miss your friends, and you have friends filming, but [you miss] your friends in the social scene at school and the gossip and the drama. You do miss that. Also, while you’re tutoring [on] Harry Potter in the studios, there are only three of you in the class. You can’t skive off as much because you’ve got real dedicated attention on you, whereas when you’re in a class of thirty, you can slide under the radar a little bit more. [laughs] So yeah, [there are] definitely pros and cons to both.

Morgan: [Was] going back to school the main reason why you didn’t go back after the third film, or were there other reasons for that?

Flick: That was the main reason. I think it just got to a point where… That’s a really difficult question to answer because I don’t want to sound ungrateful for [anything]. I love Harry Potter, but I think you just miss the normality. Because it’s your whole life and it’s your whole family’s life, you’re literally there every day working. It’s a job as well, so as much as I [can] say that everyone was so lovely and was aware that we were children and really patient with us, I would be there every day from nine until seven doing a job, and I think you just get to a point where [you say], “I want to be a child.” I was becoming a bit more of a moody teenager and being a bit more difficult, maybe. [laughs] I wanted to just be with normal children and just do normal things. Not that I couldn’t do normal things, but obviously, when you’re working a full-time job on the weekends, you’re tired. I think I wanted to be able to go to things like school discos and parties and things like that. Just [to] end on a high, obviously, I loved Harry Potter, I loved my whole experience on it, and I left feeling like I absolutely adored it, and then I still got to go back to a normal life and be a normal child and do normal things. I feel like I answered that really badly. I just don’t want to come across ungrateful like I was bored of Harry Potter and didn’t want to be in it anymore because that’s not the case at all.

Morgan: It sounds like it was a great opportunity, but you just weren’t interested in the whole career of acting or being a double.

Flick: Yeah, I think that’s what it boils down to. But the most amazing thing was once I said I’m not - because, basically, they just had a rolling contract [where] we’d be contracted film-by-film - we just [got] to the end, and they’d be like, “Are you going to do the next one?” And you’re like, “Yeah,” then the third one I was like, “No.” They’d be like, "Okay, we need to find a new Hermione double.” So they then used me to audition the new Hermione double, and it was somebody I knew who got the role, which was so nice. It was this girl called Ellen who also went to the drama class I went to. So that was just really lovely. It made it really nice that like she was then getting to do it, and I was like excited for her that she was about to experience all the things I experienced. That was really nice but also a really strange coincidence, like, “Oh, Ellen's here. I know her.” I actually really want to get Ellen [on] the podcast because I feel like it would be really interesting to see how it changed and what was different when she took the role and what she made of it and see how similar our experiences are or how different they might be. I don’t know. Do you think that would be an interesting episode?

Morgan: I actually do, because I know the movies seem to have changed a lot throughout the series because it’s all nice and sweet and happy, and then it just gets darker and darker. And it seems like it’s more intense, so it would be interesting to see if the role, or daily schedule, or something like that changed.

Flick: Yeah, exactly. As they got older, I wonder how it changed. And I also feel like there would be more juicy gossip like behind the scenes. Because I feel like [at] first it was just kids being kids, but then it became more like, I don’t know... I just reckon it would be juicier, and [I could] get more good gossip out of her if she would remember like what it was like. I think with everyone turning 14, 15, 16; it probably got juicier behind the scenes. Maybe it didn’t; maybe I’m just thinking that. I don’t know. Maybe I’ll speak with her and see if I can convince her to come on the podcast. [laughs]

Morgan: Also, it’s iconic [that] you’re Hermione’s double, and then you’re getting on another Hermione double.

[Both speak at once]

Morgan: And it’s just Hermione doubles talking to each other.

Flick: Yeah, you can’t ever have too much Hermione, can you? [laughs]

Morgan: She’s amazing. What did your daily schedule look like when you were a double? What did your average day look like?

Flick: Every day was different, but it followed the pattern of... Well, I’d say this is the most typical day: We would get in at nine o’clock, and actually, it was such a nice day. We would get in at nine o’clock, go to the canteen and have some breakfast, then go to hair and makeup [and] get our hair and makeup done, [and] get into costume. Then there’d be a runner who was based up where the dressing rooms were and where schooling was and that hub was and an assistant director up there. Then they would liaise with us and let us know whether we were going straight into school or if we were needed down on set or we would be going to school for an hour and then "we’d take you down to do a lineup” or to film something, and that would just be how the day would be going. [We’d be] in and out of school, between school and set, and filming things. But then school would wrap up at five o’clock, and then in the evenings, we would just [go] to and from set, and then we would relax more in our dressing rooms. School wouldn’t be on, so we could play games. We’d play board games, or watch films, and stuff like that. So it’s hard to give exact details, but you’d be up in the dressing rooms, and then you’d have someone liaise to you and hurry you back and forwards. So some days you could be going to set 5 times, sometimes not at all, sometimes once, sometimes you’d be there for hours, sometimes you just go down for 15 minutes. I would go down, and they would be filming something over the shoulder, and then they’d think about it and decide, “Actually, no, we want a side-on.” So then I would go out, and Emma would come in. It worked like that.

Morgan: Knowing that everything is different, do you have maybe a favorite part in general, like when you were called in to go to set or [put] the makeup on, or just a favorite part?

Flick: I loved hair and makeup because I feel like you just get to sit in a chair and chat. I loved all the hair and makeup artists; they were just all so, so lovely. Definitely, going down to set was the best. It was the real hype, especially if you were going to a new set or something you hadn’t filmed on before, that would be really exciting. It would be like, “We’re going to Diagon Alley!” And you turn up, and you are like, “Wow, this looks amazing!” Or you would go to Honeydukes, and you’d [be like], “Oh my gosh!” So all that sort of thing would always be really, really... Do you know what? I remember being really excited about filming at the Shrieking Shack because the whole set actually moved. It actually had subtle movement side-to-side. I remember that being really exciting; that was definitely the best bit, going set and definitely visiting new sets and seeing what they’ve done.

Morgan: Do you have a favorite set? If you had to pick one. [laughs]

Flick: If I had to pick... Oh, it’s so obvious, but I think- Oh, I don’t know. It’s so difficult! I’m going to say the really obvious, but I’m going to say the Great Hall because even though the Great Hall is the same, it would always be decorated differently if you think [of] when it was a Halloween scene, or when it was a Christmas scene. I was actually an extra once I left. I used to come back to do extra bits just to keep in contact with people and go and have a bit of a jolly seeing everybody. I came back for the Yule Ball, and I remember seeing the Great Hall all set up for the Yule Ball, and I just feel like it’s this hub that was always dressed differently and always looked just so spectacular. And I feel like, also, what was so good about the Great Hall is that normally when you are filming, there is the day when everyone is in filming, and that always gave it more of an electric environment at the studios. I think there was just an extra level of energy that was really exciting and great that we’d all be in together and filming these huge [scenes], and there were all the extras - there would be hundreds of extras - and I think it would just be really vibey and busy and lovely to be on set on those days. Those days I’d really look forward to.

Morgan: What films were you an extra in? Was it just the fourth one, or were you in other ones?

Flick: Yeah, the fourth one I came back as an extra. I can’t remember if I did for the fifth. I think I carried on coming to set just to visit, but I remember I was definitely in the Yule Ball even though you don’t see me in it, which was really sad. I watched the film and [was] like, “You might see me!” But no, I was tucked way back in the back. I was probably chatting to somebody, that’s why. Sarah Mekenna, who I was talking about earlier, I’d always speak to her, and she would bring me in, and I would just be there chilling. [laughs] It also made leaving easier because it was so nice to be able to see [everyone]. It wasn’t like, “Close the door, bye!” and, “You are never going to be part of Harry Potter again.” I still felt like [I] was a little bit involved, and I used to be able to go to the premiers still and stuff like that. I think the fourth and fifth film I still went to the premiers. That was really cool as well. I remember on the fourth film I had my picture with Robert Pattinson, which was really exciting because when Twilight came out, I was like, “Oh my God, Edward Cullen!” I was obsessed.

Morgan: I’m determined to try and find you in the fourth film now.

[Both laugh]

Flick: Freeze-framing it, right? No, I don’t know. I don’t think I’m in it.

Morgan: [That’s] just a little side job that I’m now determined [to do]. What color dress were you wearing?

Flick: It was a purple, a deep plum, deep purple straight down—a column dress.

Morgan: I’ll see if I can find it. [laughs]

Flick: Thank you. [laughs] That would be so exciting if you can. It would be like a split second past me. I should have known better, [I should have known] to stand behind Dan, Rupert, or Emma. Then you know you’re going to make it into the film.

Morgan: Get more screen time.

Flick: I don’t know, I was too busy chatting. I’m such an idiot.

Morgan: It also gives it more of a natural feel because if I’m going to be in a ball at Hogwarts, I’m going to be all excited and chatting with my friends.

[Flick laughs]

Morgan: I’m not going to be standing behind the main character.

Flick: Right, that’s true! I’m not saying that this is on Harry Potter, but when you see an extra out of character in a film, and they are staring at the camera, it can be off-putting. [laughs]

Morgan: Did you ever come down and just watch scenes when you were a double and you weren’t called down to act in them?

Flick: If there was ever a cool stunt or a really big scene going on, or there was a particularly impressive prop or creature or something like that, I would definitely. Especially in the evenings when we were not at school. We’d be freer [to] come down and watch things being filmed. If it was something like that [it] would be great. We’d try and do that, not every day, but definitely when there was big stuff going on. We’d probably beg the runner who was at the top and be like, “Please, please, will you take us down to watch?” They’d probably be thinking, “Ugh, I don’t want to do this, but I can’t say no to these kids, so I’ll take them down.”

Morgan: [When] watching people act out the roles, would you prefer watching it happen or sitting and watching the actual movie?

Flick: Oh, do you know what’s really weird? When I watch the actual movies - I love them; whenever I see them on tv, I definitely tune in and watch them - I feel like it’s the same because I envision what it was like on the other side of the camera. So when I watch a scene, I’m like, “Oh, I can remember being there,” and, “That side was [had] the sound people, and there’d be the hair and makeup people standing behind a monitor, and the chairs, and John, the cinematographer, or the director of photography, moving the camera around.” That’s what I picture when I’m watching the films sometimes. It’s very similar to when you are watching it unfold on set. It’s obviously a bit more “stop-start” when you are on set, so you are just getting into it, and they’re like, “Cut!” And you’re like, “No!” So at least in the film, you can just watch it in its entirety and just appreciate it and not have the choppiness of it. When I watch the films, I always think about what was on the other side of the camera, what we’re seeing, what was on the other side of that sort of thing. It was quite nice. It brings back some good memories.

Morgan: So would your favorite movie [to watch] be the same as your favorite movie that you got to act in?

Flick: My favorite movie out of all of them is the third one, and that’s even of the ones that I’m not in. I love Prisoner of Azkaban. I love the fact that Harry finds out that he has Sirius and blah, blah, blah. I love all that, but I feel like Hermione has such a great role in the third film. Having the Time-Turner, and going back in time and what they do with that, and freeing Buckbeak. I think that Hermione has a really great role in the third film, definitely [more than] the second. The first film is the first film, but [in] the second one, she obviously gets petrified by the basilisk, so she’s out of it for a while, and it’s a lot of Ron and Harry doing stuff. Obviously, she doesn’t come in the flying car to Hogwarts. [From] a filming perspective, her role is a little bit less in the second one, whereas in the third one, I feel like she really comes into her own, and we got to do some really cool stuff. I really enjoyed [it]. I really enjoyed the role of Hermione in the third one, for sure.

Morgan: Do you get to punch Draco Malfoy?

Flick: Do you know what? Yes. I did! But they definitely didn’t use mine, and I think it’s just because I’m just a weakling. But yeah, when we were up in Scotland, and we filmed, they obviously filmed Emma doing it, but then they did do a shot where it was over her shoulder doing the punch. But I don’t think they used it because you see she goes to turn away, and then she punches him, but I feel like my punch was so pathetic that they would have never used it. [laughs] I think there was no weight behind it. It was like, “Eh!” They probably thought, “No, this girl can’t act; get her out of here.” [laughs] I definitely don’t think it made the final cut, but I remember I did get to do that scene.

Morgan: So did they end up bringing a stunt double in for that instead? Because I remember in the movies during the Time-Turner part, you see the “real” Hermione and then the other Hermione punching.

Flick: Yeah. When they do that Time-Turner turning back in time, they did use us to mirror, having some of it being Harry and Hermione looking on to them doing something. They did use us. Does it show them over the shoulder? Is [that] what you’re saying? Did my punch make it? [laughs] Do they show it?

[Both speak at once]

Morgan: I’ll have to watch it again, but I think we see two Hermiones on the screen during that part. I’ll have to double-check and get back to you on that. But I think it’s in there.

Flick: Oh my gosh! Well, I’d be really surprised. They probably brought in somebody else and I wasn’t aware, but wow, okay. We’ll have to watch back. I’ll watch back as well. The run-up to Christmas is where I actually love watching the Harry Potter films, and I think it’s because most of them were released in November time? Except maybe the third one was randomly released in February or something? I’ll look. I’ll watch them, and I’ll let you know. Maybe my punch did make it.

Morgan: That would be really exciting.

Flick: That would be so exciting. I’ve been putting myself down for years, thinking, “I’m so rubbish at punching.” [laughs]

Morgan: Aside from the punching part, did you ever get to do any cool action stunts?

Flick: No. They have a specific stunt double who was obviously an extremely athletic, talented, trained gymnast who would do the more adventurous Hermione stuff. But I do remember that in the third film, there’s the bit with the Whomping Willow, and there’s the bit where a branch comes past to almost swipe out Hermione’s legs, and she jumps over it. [laughs] And they brought me down to do this scene, so they were like, “You just need to jump over the branch.” Obviously, when it comes - as I said, I’m not strong; I’m not an athletic person - I’ve done like the most pathetic jump over this branch. And they were like, “We need to make it just a bit more... exciting,” and they were like, “Really bring your knees up, and then when you come down, come down and touch the floor.” And again, I think I was just an absolute disaster that they didn’t use that either, I don’t think. [laughs] I don’t think these things ever made the final cut, but that’s the only “stunt.” [It’s] the only time I really remember the stunt guys having to talk to me and be like, “Can you just try and make it a bit more actiony?” [laughs] And I’m skipping rope over it [doing] like how you go for skipping rope. I’m galloping over this branch [that] is going to come swinging through from this Whomping Willow. We did a bit of running, but I don’t know exactly [what]. [Probably] the things you wouldn’t want Emma to fall over and hurt herself [doing]. So they’d use us for running. But it wouldn’t really be a dangerous stunt because, as I said, the stunt team were extremely talented, well-trained, athletic people. I’m not any of the above. [laughs]

Morgan: Aside from the stunt roles that may or may not have been cut out, were there other scenes that you got to be involved in that ended up not making it into the film?

Flick: Loads. They film so much, but obviously - I’ve said this before - all the Harry Potter films could probably be an hour longer than they were. I’m trying to think of something specific that we would have filmed that we didn’t... I don’t think there’s so much. There definitely was, but I can’t remember off the top of my head being on a set or something that then completely got trashed. But [there were] definitely little scenes and little parts that didn’t make it. I really can’t remember anything that really sticks out as being something that we filmed. I’ll think while we’re talking, but nothing comes to mind. I’ll ask my mum. My mum has got such a good memory of it because I think that when you’re ten, you’re a bit like, “Meh.”

[Morgan laughs]

Flick: So sometimes I’ll say something to my mum, and she’ll say, “What?” Or she’ll remember a lot better than me, and she’ll say, “Do you not remember this?” And I’ll think, “No? I do not remember that at all.” So maybe I’ll have to ask her, and I’ll let you know if there’s anything.

Morgan: When you were playing the part as Hermione, they wouldn’t use your face for shots; they’d use the rest of you. Was it up to you to avoid having your face in the shot, or was that more the camera operator who just subtly avoids [it]?

Flick: A bit of both. We definitely rehearsed things, especially if it was something coming over the shoulder or something that was quite close on the profile. We definitely rehearsed it, and they would definitely let me know how far to move my head. If they were really, really close, they would just probably use Emma because there’s no point shooting a whole scene and then in the edit thinking, “This is just so obviously a different person.” So I think it was stuff that was relatively safe. But they would let me know how far to move and where to go before it. I’m basically staring down the camera lens and having [unintelligible] what I’m doing. [laughs]

Morgan: [It] seems like there’s a lot of restrictions on how far you can move.

Flick: Yeah, but that’s the same for everyone, though. Every scene is really well-rehearsed and marked out because the camera needs to know exactly where you’re going. Most of the time, especially if there’s movement, there’s always what you can’t see. On the floor, there are a hundred different marks where you’ve got to stand almost exactly so that you’re in focus so the cameraman can know when to focus and you’re in the shot. Otherwise, you end up miles away, and they’re not able to get you at all. [laughs] I think that was also one of the challenges when we first got there. We had no idea of how to stand on a mark and had no idea of how [to not look] down to see where the marks were. [laughs]

Morgan: And were you ever given a copy of the script to help people read their lines or to do ques?

Flick: Yes. Every day they would put sides - which is just a script of the scene we were doing - in our dressing room. So I definitely used to feed lines to the actors. Because even if it’s over the shoulder and it’s somebody having a conversation with Hermione, I can’t just be standing there not saying anything. [laughs] Mainly to have their cue. I remember this one time I was so nervous [during] the troll in the bathroom scene.

Morgan: Oh!

Flick: The bit where all the sinks are smashed up, and she walks, and the camera tracks where she walks, and there’s all this water squirting over her. Dumbledore, Professor McGonagall, and Snape all turn up, and I had to feed these lines like being like, “It was my fault. I went to the bathroom to take on the troll.” [I was just] so nervous at these three grown actors - incredible actors, as well - Alan Rickman, Dame Maggie Smith, and Richard Harris, and me just having to feed these lines to them being like, “Oh, I’m so nervous!” And practicing with my mum, and my mum being like, “You’ve got to put more energy into it!” [unintelligible] [laughs] That was probably what I’d be most nervous about if I was going down [and] I knew I had to do that. I’d be pretty nervous.

Morgan: Was it scary working with the adults? Because Alan Rickman as Snape? He’s scary [laughs].

Flick: Absolutely. He’s absolutely terrifying when he’s in costume. When Alan Rickman was dressed up as Snape, you would be really scared, but he was actually just so lovely. They were all so lovely, so patient, and as I said, again, just really patient with us. Even with that scene, there were times when I would definitely get it wrong and cut in at the wrong time, and obviously, they’re talking and you’ve got to know when your lines are coming next. That wasn’t what I would do every day, so I was probably a bit rusty and not very good at it. I don’t remember anyone being really annoyed at us having to go again or take it again. When he was in costume, it would be like, “Ah! He’s so scary,” and then he’d be a really nice person. Same with David Bradley, who plays Filch, who is one of the nicest people in the whole world. When he’s Filch, he’s grumpy, and it seemed like he would probably be really grumpy in real life. Also, again, [it’s] being young and thinking everyone is what they are when you see them on television or in films. [laughs] But actually, he’s just one of the nicest people.

Morgan: It’s weird picturing Filch as nice. [laughs]

Flick: I know! You can’t! But he honestly is one of the nicest, lovely people.

Morgan: So did you have a favorite on-screen moment? Because I remember in your third episode of Behind the Wand, you mentioned you were turned into a cat.

Flick: That’s my claim to fame because that’s the bit where I’m like, “That’s definitely me; I did that scene.” So that’s like, “Yay!” Turning into a cat was a real highlight. I think it’s amazing. Who doesn’t want to be dressed up like a cat with this fantastic mask and everything when you’re 12, 13 years old? So I absolutely loved that. [In the] first film, I absolutely loved the chess scene. I actually got to film quite a lot of that because of all the bits exploding and moving, and that was all there in this incredible set. That’s when I felt like, “I’m actually in a film. This is actually happening. Everything’s exploding, and they’re throwing debris everywhere and [setting off] bangs and stuff.” Then I think the third film, the bit where Buckbeak’s freed, I absolutely loved. I think that’s because we were filming up in Scotland and we were up there for quite a long time. It was just so beautiful up there, and it was really fun. All the scenes there were just lovely, being outdoors and filming in a new location, and I think Hagrid’s hut was an incredible set. And Buckbeak. I love Buckbeak.

Morgan: But you didn’t get to work with an actual Hippogriff?

Flick: No. [laughs] That would be too good.

Morgan: So how much of these sets are real, and how much is green screen or CGI? Because the chess scene was intense.

Flick: So much of it. So many sets and scenes were there. It was actually as you see it. I think Quidditch was the main thing that was, obviously, a green screen, but then the stands were real. They’d have the stands, so you would be standing up there with the flags and stuff like that. Loads and loads of it. The bit where, obviously, they come across the boats to Hogwarts, that was just a big tank on green screen. So there’s obvious stuff that is green screen: all the classrooms and as I said, Diagon Alley and the shops. Even the beginning bit where they go to the zoo, we filmed [that] at London Zoo. So much of it was really, really real. And that’s part of the bit that was so amazing, getting to see all that and actually be there and standing on those sets. It was pretty cool.

Morgan: Did you ever get to take things from shops? Because [in] Honeydukes, I’m sure it wasn’t all real candy, but some of it might have been. Did you get to snack on candy?

Flick: Oh my gosh, a lot of it’s real! Definitely, we were taking stuff. [laughs] I was actually really careful because one minute there’s a sweet there and the next there’s not, and they’d be like, “Ugh.” Maybe little things like that. I’ll take like my quill; maybe, if Hermione is doing some writing, then I’ll keep that. But actually, they were pretty hard on you not taking stuff from sets and props. [laughs] There was a stand-by props guy who would know what you’d have, what they’ve given you to start a scene, and… always the Time-Turner; I was like, “Damn it.” [The] Time-Turner and Hermione’s wand I wish I’d got to keep, but they’d be like, “Give it back.” [laughs]

Morgan: I know that some people got to design their own wands, and I think some people got to keep their wands? Did you ever have someone sit down with you, and you get to make up your own wand or anything like that?

Flick: No, I didn’t. No, Hermione’s wand was Hermione’s wand. I don’t know that if Emma had any input like that, but I definitely didn’t. Actually, the last episode that went out was with Pierre, and he was the props master, and I know he made wands for everyone when they finished. And also, everyone at the Warner Brothers tour has a wand box. So I do have one of those, I’ve got a wand box, but there’s no wand in it. I did a quiz the other day on what my wand would be, and it was like... Oh, I can’t remember. [laughs] I wrote it down. I think it was Cypress wood with a dragon string core and... Let me read it out, one second. Okay, so my wand would be Cypress wood with a Dragon Heartstring core, 11 ¾ inches, and [have a] quite bendy flexibility. I just need to make that up, and I’ll keep that one. [laughs] I’ll make it myself.

Morgan: For my 18th birthday, I had a friend who was taking woodshop class, and she ended up making a wand from my Pottermore description. So you might be able to get in touch with someone who can make it for you.

Flick: Yeah! Oh my gosh, what a great friend who made you that. What a great present.

Morgan: I have it on my wall. It’s beautiful.

Flick: Wow, that is great. I need to find someone who’s good at that. Actually, my husband is quite handy; I might ask him to make me my wand. [laughs]

Morgan: Have you ever been to the theme parks or the stores?

Flick: Yeah. I don’t know if this counts as one of the theme parks, but I’ve been to the Studio Tour a couple of times which was, obviously, incredible. [laughs] And then, on my honeymoon, I made my husband go to Florida just so I could go to Orlando and go to the theme park.

Morgan: Ah, honeymoon goals! [laughs]

Flick: I know! It was absolutely fantastic. I had the best time. He loves the theme parks [but] he doesn’t like queuing, so he wasn’t massively keen on it. We just [had] to get the queue-jump ticket so you could go to the front of all the queues. I had to do that, but I absolutely loved it. I loved it so much. So I did the tour and the theme park in Orlando. It’s so brilliant, have you been?

Morgan: I haven’t! I really want to, though. Did you buy everything that you could see at the theme parks? Because if I was there, I’d spend all my savings on stuff like that. [laughs]

Flick: I didn’t. I didn’t buy anything. But I’ve got so much stuff that we were legally given. We would be given loads of t-shirts and little mementos for the end of filming, and I’ve got all my call sheets and all the scripts. I’ve got all the posters, and the posters are all really lovely. I’ve got one up on my wall here, and then that one’s signed by Chris Colombus, and he’s written [a] personal message. I’ve got so much lovely stuff that I think if I tried to bring more Harry Potter stuff home, my husband would leave me. [laughs] I love it. I’ve got the posters up in my house, and I absolutely adore those. They’re dotted around the place, and they’re really fantastic. And as I’ve said, I’ve got loads and loads of other stuff and pictures and bits and bobs that I have up around the place.

Morgan: Do you have a favorite prop? Did you really enjoy the Marauders Map or a broomstick or...?

Flick: I feel like you just can’t get better than the wand. I think there’s something about holding a wand and having a wand [that] you’re just like, “I feel like I could do magic.” You just think that it feels more believable when you’ve got it. Inside the robes, they had a very thin pocket that you could put your wand in. I feel like having the wand in there and just being able to pull it out is the most fun. That’s never not fun, even if you’ve had the wand a hundred times. If it’s in the pocket, you’re still going to be like, “Bah” to people, and I think I did that a lot. I’ll tell you what- as I said, the Time-Turner, as well, was pretty fun to have and wear around the neck.

Morgan: Speaking of photos that you said you had, I noticed on your Instagram account you started posting a few photos of when you were on set. Do you have a stack of those that you’re slowly releasing?

Flick: Oh, yeah, I’ve got loads of them. I’ve got loads of pictures, but the thing is, there’s hardly any from on set. Because they obviously wouldn’t want to take pictures that would then be leaked, and everything was really quite secretive the whole time we were filming. But [they’re of] us messing around and in our dressing rooms, or when we’d go out and do stuff. I’ve got loads of pictures of stuff like that, which is cool. I’ve only recently gotten all the Harry Potter stuff out again since I’ve been doing the podcast, looking at stuff. It’s just really fun looking through them, and I’m just like, “Oh my gosh,” and it’s really jogged some memories as well, which is really nice.

Morgan: So did you have a close connection with some of the actors on set?

Flick: Yeah. I feel like, obviously, Harry, Ron, and Hermione spent a lot of time together, so I’d spend a lot of time with the other doubles. I was super close with them. But then generally just the six of us would be quite friendly because we spent a lot of time together. Especially with Emma, I think, because, as I said, we’d be the six of us: Harry, Ron, Hermione and then the doubles, and then we were the only two girls. So we’d do girly things- not girly things [unintelligible]. We did dance classes together and just [did] things like that, that would be quite nice.

Morgan: Are you still in touch with them today?

Flick: No. They’re, obviously, super busy, and after the films had finished completely, [I] then never carried on with anything in the film industry to be in touch with them. But I’d like to think they still remember who I am.

Morgan: It was recently announced that there is a 20-year reunion of the cast. Are you excited about that?

Flick: Definitely! I think the reunion will be really, really fun and I’m just so interested to see them all together now. I think it’s just been so long since we’ve seen them together, and - exactly like my podcast - just to hear their experiences and their memories from the time, I think would be like really, really cool.

Morgan: When you were done working as a double, or maybe when you went home after a set, did people treat you differently? Like, “You were on the Harry Potter set; you’re super cool.”

Flick: Not really. At school, people used to just say to me, “It’s not Wingardium Leviosa, it’s Wing-” They’d just say that to me, and I’d be like, “Yeahokayay.” But no, not really. I think people, obviously, knew at school, and they would say, “I heard that you were in Harry Potter,” and I’d be like, “Oh, yeah,” and talk a little bit, but then I think it just became old news quite quickly and nobody really cared. [laughs]

Morgan: And which was your favorite book?

Flick: Oh, books really hard! I feel like I loved the third book, but I also loved the fourth one. I loved the Triwizard competition. I loved the different schools coming into it, and that expansion of the Harry Potter world, and then learning more about [it] not just being Hogwarts, I think, was great. I think the fourth and the third I really loved. Those are truly my favorite books, [to read], those two. It was brilliant.

Morgan: You’re a journalist now, right?

Flick: Yeah.

Morgan: Has this always been your dream job? And how did you become a journalist?

Flick: I kind of fell into it, really. Once I finished university, my friend got me a job, um, working for a celebrity PR agency, and I just fell into working with people in [the television indusrry] through that. Then I got offered a job writing television stuff for an entertainment website. And then, I wasn’t trained, I just did this not trained, and then I decided I really loved writing about the [the television industry] and stuff like that. So I went back to university and did my Master’s in [unintelligible] journalism and then became a news producer, and now that’s what I do. So that’s my full-time job. Well, it was before I was on maternity leave now that I’m a mum. But I would produce a news bulletin about defense news and military news. Completely different from Harry Potter. [laughs] So that’s why Harry Potter has been so nice because it’s just been so different from my day job and the news packages and stuff I produce. It’s completely different. Lovely. It’s a lot nicer and fluffier.

Morgan: That is all my questions.

Flick: Great!

Morgan: Thank you!

Flick: No, thank you!

 

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