Harry Potter and the Goblet of Fire - CIA.rtf

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					                   Harry Potter and the Goblet of Fire

      Difficult times lie ahead for Harry Potter.
      Beset by nightmares that leave his scar hurting more than usual, Harry (DANIEL
RADCLIFFE) is all too happy to escape his disturbing dreams by attending the
Quidditch World Cup with his friends Ron (RUPERT GRINT) and Hermione (EMMA
WATSON).
       But something sinister ignites the skies at the Quidditch campsite - the Dark
Mark, the sign of the evil Lord Voldemort. It's conjured by his followers, the Death
Eaters, who haven't dared to appear in public since Voldemort (RALPH FIENNES) was
last seen thirteen years ago - the night he murdered Harry's parents.
       Harry longs to get back inside the safe walls of Hogwarts School of Witchcraft
and Wizardry, where Professor Dumbledore (MICHAEL GAMBON) can protect him. But
things are going to be a little different this year.
       Dumbledore announces that Hogwarts will host the Triwizard Tournament, one of
the most exciting and dangerous of the wizarding community's magical competitions.
One champion will be selected from each of the three largest and most prestigious
wizarding schools to compete in a series of life-threatening tasks in pursuit of winning
the coveted Triwizard Cup.
       The Hogwarts students watch in awe as the elegant girls of the Beauxbatons
Academy and the dark and brooding boys of Durmstrang Institute fill the Great Hall,
breathlessly awaiting the selection of their champions.
        Ministry of Magic official Barty Crouch (ROGER LLOYD PACK) and Professor
Dumbledore preside over a candlelit ceremony fraught with anticipation as the
enchanted Goblet of Fire selects one student from each school to compete. Amidst a
hail of sparks and flames, the cup names Durmstrang's Quidditch superstar Victor Krum
(STANISLAV IANEVSKI), followed by Beauxbatons' exquisite Fleur Delacour
(CLÉMENCE POÉSY) and finally, Hogwarts' popular all-around golden boy Cedric
Diggory (ROBERT PATTINSON). But then, inexplicably, the Goblet spits out one final
name: Harry Potter.
      At just 14 years old, Harry is three years too young to enter the gruelling
competition. He insists that he didn't put his name in the Goblet and that he really
doesn't want to compete. But the Goblet's decision is binding, and compete he must.
      Suspicion and jealousy abound as muckraking journalist Rita Skeeter (MIRANDA
RICHARDSON) fans the flames of the Harry Potter backlash with her outrageous
gossip columns. Even Ron begins to believe his "fame seeking" friend somehow tricked
the cup into selecting him.
      Suspecting that whoever did enter Harry's name in the Tournament deliberately
wants to put him in grave danger, Dumbledore asks Alastor "Mad-Eye" Moody
(BRENDAN GLEESON), the eccentric new Defence Against the Dark Arts professor, to
keep his highly perceptive and magical eye trained on the teenage wizard.
       Harry prepares for the challenging Triwizard tasks - evading a fire-breathing
dragon, diving into the depths of a great lake and navigating a maze with a life of its
own. But nothing is more daunting than the most terrifying challenge of them all - finding
a date for the Yule Ball.
      For Harry, dealing with dragons, merpeople and grindylows is a walk in the park
compared to asking the lovely Cho Chang (KATIE LEUNG) to the Yule Ball. And if Ron
weren't so distracted, perhaps he would acknowledge a change in his feelings for
Hermione.
      Events take an ominous turn when someone is murdered on Hogwarts grounds.
Scared and still haunted by dreams of Voldemort, Harry turns to Dumbledore. But even
the venerable Headmaster admits that there are no longer any easy answers.
        As Harry and the other champions battle through their last task and the
advancing tendrils of the ominous maze, someone or something is keeping a watchful
eye. Victory is in sight, but as they edge closer to the Triwizard Cup, all is not as it
seems - and Harry soon finds himself hurtling head-first toward an inevitable encounter
with true evil...


      Warner Bros Pictures presents a Heyday Films production of a Mike Newell film,
Harry Potter and the Goblet of Fire, starring DANIEL RADCLIFFE, RUPERT GRINT,
EMMA WATSON, ROBBIE COLTRANE, RALPH FIENNES, MICHAEL GAMBON,
BRENDAN GLEESON, JASON ISAACS, GARY OLDMAN, ALAN RICKMAN, MAGGIE
SMITH and TIMOTHY SPALL.
       Directed by MIKE NEWELL, the film is produced by DAVID HEYMAN from a
screenplay by STEVE KLOVES, based on the novel by JK ROWLING. The executive
producers are DAVID BARRON and TANYA SEGHATCHIAN. The director of
photography is ROGER PRATT, BSC; the production designer is STUART CRAIG; the
editor is MICK AUDSLEY; the co-producer is PETER MacDONALD; the costume
designer is JANY TEMIME; and the music is by PATRICK DOYLE.
       This film has been rated "PG-13" by the MPAA for "sequences of fantasy
violence and frightening images."
     Harry Potter and the Goblet of Fire will be released on 18 November 2005 by
Warner Bros Pictures, a Warner Bros Entertainment Company.
      www.harrypotter.com
                     YEAR FOUR: CHAMPIONS & CHALLENGES
       The most exhilarating and difficult times of his life await Harry Potter as he
returns to Hogwarts School of Witchcraft and Wizardry for his fourth year of study in
Harry Potter and the Goblet of Fire, the fourth film adaptation of JK Rowling's
immensely popular Harry Potter novel series.
      Not only must Harry compete in a dangerous international tournament that pits
him against his older and more experienced peers, but he will also be forced to confront
his nemesis, the evil Lord Voldemort, who is determined to return to power - and finish
Harry off once and for all. This harrowing news pales only in comparison to Harry's
genuine anxiety over having to find a date for Hogwarts' Yule Ball.
     The school year will also bring significant changes for Harry's best friends Ron
and Hermione, who may finally acknowledge a change in their feelings for each other.
Meanwhile, as the teens deal with the onset of hormonal angst, romance blossoms
among the adults too - when sparks fly between Harry's trusted advisor Hagrid and
Madame Maxime, the statuesque headmistress of the Beauxbatons Academy.
        "This is one of the most challenging of all the films," notes David Heyman,
producer of the Harry Potter film series. "We needed someone who could direct a dark
and suspenseful thriller, drive exhilarating action sequences and yet at the same time,
be intuitive and sensitive to the comic angst of being a teenager. You've only got to look
at films as diverse as Dance with a Stranger, Donnie Brasco and Four Weddings and a
Funeral to appreciate that there are very few directors as skilled and multi-talented as
Mike Newell."
       "For me, the essence of this story is a thriller," Newell says. "There are wonderful
set pieces, from the excitement of the Triwizard Tournament to the humor and
heartbreak of the Yule Ball, but driving the story is this marvelous thriller in which
something truly evil is out to get Harry - and only he has the power to do something
about it."
       Portending the danger to come, as the story begins, Harry is beset by an eerie
nightmare that leaves his notorious lightning bolt scar searing with pain. His pain turns
to bone-chilling dread at the Quidditch World Cup, where Lord Voldemort's fearsome
followers, the Death Eaters, scorch the night sky with the wicked wizard's Dark Mark,
publicly heralding their leader for the first time since his disappearance thirteen years
ago.
       Not even Hogwarts' venerable Headmaster Dumbledore is certain what to make
of these mysterious events. In an effort to establish ties between the three largest
European schools of wizardry, Dumbledore announces that Hogwarts will host the
Triwizard Tournament, a thrilling competition that welcomes students and teachers from
two other European wizarding schools to live and study at Hogwarts for the school year.
       "Dumbledore is trying to prepare the wizarding world for the dark times ahead,"
Heyman observes. "His gesture also underscores a theme of the film, which is learning
to get along with people who are different from you. If they're good, it doesn't matter
where they're from."
       Due to the life-threatening risks inherent in the Triwizard competition, Barty
Crouch, the head of the Department of International Magical Cooperation, decrees that
no student under the age of 17 may enter - precluding 14 year old Harry and his friends
from participating. But when the magical Goblet of Fire selects one champion from each
of the three wizarding schools to compete in the Tournament, it stuns everyone by
naming a fourth: Harry Potter.
       Despite Harry's protests, the Goblet's decision is binding, and he has no choice
but to compete in the grueling Tournament against older students with far superior
wizarding skills.
        "What I really like about Harry is that he's not a hero in the classic sense, a brave
all-conquering Superman," says Daniel Radcliffe, who watched thrillers like North by
Northwest at Newell's suggestion in preparation for filming. "Harry's vulnerable. He's
scared. Even though he's helped so many people, I think he's always yearned to leave
his past behind him and let the ‘hero' thing end. But when his name comes out of the
Goblet, he's instantly back in the limelight again. Not only does he have to cope with
criticism from everyone, he also knows he didn't put his name in the Goblet - so
someone else must have."
         When Harry turns to his trusted mentor for guidance and protection, he is
surprised to discover that Dumbledore himself is struggling to uncover the meaning of
these mysterious events. "Harry's world is completely shaken," says Radcliffe. "For the
first time, Harry sees Dumbledore as an old man who is no longer at the height of his
abilities, and it's very unsettling. Something or someone has infiltrated Hogwarts and is
trying to get to him, but Dumbledore doesn't know what it is, where it's coming from or
how to stop it."
       "Dumbledore is no longer in control and he's frightened," says Michael Gambon,
who reprises his role as the highly respected Headmaster in Harry Potter and the
Prisoner of Azkaban. "He carries tremendous weight on his shoulders, ensuring the
safety and well-being of the students, and when evil penetrates Hogwarts, he doesn't
know how to deal with it."
       Suspecting that whoever put Harry's name in the Goblet didn't intend for him to
win the Tournament, Dumbledore asks Alastor "Mad-Eye" Moody, Hogwarts' eccentric
new Defence Against the Dark Arts teacher, to keep his highly perceptive eye trained on
the teenage wizard until they discover the true meaning of these ominous events.
       Moody is a legendary Auror, or dark wizard catcher, credited with filling half the
cells at Azkaban prison with Voldemort's followers. But years of fighting evil on the front
lines have taken their toll. Battle scarred and verging on paranoid, Moody relies on his
magical, all-seeing blue eye to help him thwart the evil he sees lurking in every shadow.
       "Moody is a gunslinger with a wand," says Brendan Gleeson, the versatile actor
known for his powerful performances in films such as Braveheart, Cold Mountain, Troy
and The Gangs of New York. "He's someone who has chased the demons away from
goodness to the extent that he's gotten quite warped by it. One of the things Mike
Newell suggested when we first discussed the character was that Moody's great
wounds have damaged him greatly. It's a very interesting arc to play with this character,
who comes into Hogwarts as death warmed over and grows into someone the kids
learn to trust."
       There is a method to Moody's madness, though his irreverent brand of tough love
often terrifies his students and draws criticism from his peers. "What appealed to me
about the character," says Gleeson thoughtfully, "is that he reminds me of some of my
old teachers. He has no time for book learning or pussy-footing about. He wants to
show these young men and women what they're up against - evil exists and they better
know what they're getting themselves into. He's a one-man initiation ceremony, a
walking rite-of-passage. He doesn't believe in treading lightly with Harry or the other
students because that won't prepare them for the real world."
      "Moody is a complex, challenging character," Heyman observes. "Brendan
brought a great balance of ferociousness and humor to the role that makes him both
formidable and lovable."
          "You seldom find an actor of Brendan's depth and calibre," adds Newell, who
previously worked with Gleeson on the 1992 family adventure Into the West. "Perhaps
it's true of all Irishmen, but Brendan has an elemental quality to him that is part savage
and part wide-eyed innocent, which suited him well in playing this multifaceted
character."
       Moody's piercing blue mechanical eye was created for the production by creature
effects supervisor Nick Dudman and visual effects supervisor Jimmy Mitchell. "The eye
became a character in itself," Newell says, "although to reveal exactly how we created it
would spoil the illusion for audiences."
      Costume designer Jany Temime was inspired by spaghetti westerns when she
created Moody's signature black coat, a battered hunk of leather and buckles that
appears as world-weary as its owner. "Moody is a warrior. The man has no house, no
home. He literally lives in his coat," Temime surmises. "We had a team of people who
spent a week aging and distressing the coat to give it a lifetime's worth of wear."
        As Moody attempts to protect Harry from the mysterious forces threatening his
life, the teenager must contend with a hostile force of a different kind: muckraking
reporter Rita Skeeter. As unscrupulous as she is intense, Skeeter will stop at nothing
and stoop to anything for her outrageous gossip columns.
        "Rita writes what people want to hear or what she thinks will keep them reading,"
says internationally acclaimed actress Miranda Richardson, whose diverse film credits
include The Hours, Sleepy Hollow, Enchanted April and Mike Newell's hit 1985 thriller
Dance With a Stranger. "She'll do whatever it takes to get the story she's already
pre-written in her head. Whenever the danger is heightened, she gets more excited.
The idea of imminent death or potential injury makes great press. And that really makes
her tick."
      "Rita is calculating and tough, but she oozes charm - that's how she gets the
scoop," Newell explains. "Miranda is such a gifted actress. She has a wonderful sense
of comic timing, and at the same time she's able to portray a delicious menace."
      Skeeter fans the flames of the Harry Potter backlash that erupts in the wake of
his dubious selection for the Triwizard Tournament, and delves deeply into his personal
life - and Hermione's. "She's absolutely horrible!" Emma Watson exclaims. "Rita seems
to have it in for Hermione. She highlights the insecurities Hermione harbors about
herself, like being a bookworm or the teacher's pet, much as Professor Trelawney did in
the third film."
        It's no surprise that the flamboyant journalist's fashion sense is as dazzlingly
outlandish as she is. "Rita feels it's as much her duty to dress for the occasion as it is to
tell the truth - as she sees it - for her readership," says Richardson. "As far as she's
concerned, she's the only one who is well-dressed."
       "I was inspired by the 1980s," Jany Temime says of her desgin for Rita Skeeter's
wardrobe. "Strong colors, very angular and specific to the story she's investigating. For
example, when the Triwizard contestants face their first challenge with the dragons,
she's dressed in a snakeskin kind of material with scales. When she attends the diving
challenge, it's no accident that her outfit is a poisonous, sickening green."
       Harry does his best not to be distracted by Moody's unorthodox manner or Rita
Skeeter's insidious gossip, as he fears an encounter with Lord Voldemort - the dark
wizard who murdered his parents - is inevitable. "You-Know-Who," as he is tremulously
referred to by citizens of the wizarding world, is brutal, fiendish and without remorse.
Harry is the only person ever to survive the Dark Lord's killing curse - an astonishing
feat that left him with emotional wounds far worse than the scar emblazoned on his
forehead.
      "The term ‘enemies' doesn't do their relationship justice," Radcliffe says. "Harry
hates Voldemort with every fiber of his being. He wants to murder him for killing his
parents. At the same time, he is also absolutely terrified of him."
        "It's quite hard to play someone who is is the essence of evil," muses Ralph
Fiennes, whose career has encompassed a vast range of heroic, romantic and
villainous characters in films such as The Constant Gardener, Red Dragon, Maid in
Manhattan, The English Patient and his Oscar-nominated turn in Schindler's List. "In my
discussions with Mike about the character, we talked about giving Voldemort human
qualities, because to just play ‘evil' is really impossible. ‘Evil' is often conveyed through
gnashing of teeth and a lot of spit. I wanted my portrayal of Voldemort to be deeply, truly
evil. That comes from fear, frustration and unhappiness. Voldemort was a rejected child.
He had a very unhappy childhood, and that's where his anger, jealousy and hatred
began to fester."
       "Voldemort is someone who knows no love," Heyman notes. "He thinks of love
as a flaw. He is the embodiment of pure evil. Someone who is powerful and attractive.
Ralph is an actor of great depth, and he captures the complexity of Voldemort's
charisma and darkness brilliantly."
        Enraged that the legend of Harry Potter - the boy who lived - has eclipsed his
own, Voldemort has spent the last thirteen years regaining the powers he lost on the
fateful night that Harry's parents died. With help from his sniveling servant Wormtail, the
Dark Lord triumphanty returns to human form to destroy Harry once and for all.
       "Mike was very keen to explore Voldemort's unexpected mood swings, his
explosive rage," Fiennes says. "There are moments when anger spits out of him at
Harry and other moments when he can be almost pleasant. You never quite know what
he's going to do.
       "People are incredibly scary when they're charming but you suspect they might
suddenly do something very violent," he continues. "If you sit across the table from
someone who offers you a glass of wine and a present, but you know that he stabbed
his wife to death, it's quite unnerving."
         "Ralph is really frightening as Voldemort," Newell confirms. "(You can see he's
mad, gone somewhere else in his eyes.) I'm nailed to the floor when he's onscreen in
this film."
      "It was a very intense experience," Radcliffe says of filming his scenes with
Fiennes. "I learned from watching him, the way he used his body and his hands,
especially when Voldemort first regains his human form. It's fantastic."
       "Daniel had to put up with a lot from me," Fiennes says with a chuckle. "Here's a
boy who's tied up with a man pushing his finger into the wound on his head, laughing
and delighting in the pain he's causing. He had to act as though he was in agony and
terror without having many words to say. I was full of admiration for him."
       Much consideration was given to the design of Voldemort's look, as it's the Dark
Lord's first appearance in full human form in the Harry Potter film series. "When Ralph
joined the cast, David Heyman said to me, You're gonna mess about with his face,
aren't you?" Newell recalls. "I said No, no. Ralph can play evil. He'll dredge it up from
the inside of his psyche. Then I went home over the weekend and thought, I really
should mess about with his face."
      "My nieces and nephews were dying to come to the set and see Uncle Ralph as
Voldemort," Fiennes recalls, "but when they arrived they didn't recognize me!"
        Creature effects supervisor Nick Dudman and his team created the key concepts
for Voldemort's makeup, in which minimal prosthetics and transfers were used to cast a
sickly, transluscent pallor to Fiennes' skin and suggest a snarl of veins running down his
skull, arms and hands.
      "The makeup is quite simple and strong in its design," notes Fiennes, whose
head, arms and chest were shaved as part of the process. "I wanted to wear as little
makeup as possible, to be free to move. The idea is that Voldemort has just gotten this
new skin. He's new in this body, so he's testing it, relishing the power of it."
        A light silk fabric was used to create Voldemort's black flowing shroud, giving him
the appearance of a "floating reptile," as Fiennes describes his wardrobe. "When you
see Voldemort in full figure, it's as if he's wearing this black, floating skin. And no shoes.
It didn't feel right that he would have shoes on. He's just come out of a cauldron."
       "We wanted a costume that had a simplicity about it, something that isn't as
heavy as those worn by the professors," adds Heyman. "It's quite spare, not overly
ornate, because he is anti-aesthetic. The Death Eaters may enjoy the jewels and finery,
but not Voldemort."
       In post-production, the visual effects team digitally re-shaped Fiennes' nose,
flattening it and adding slits to evoke a serpentine look that underscores Voldemort's
Slytherin origins. "It's really creepy," Heyman says of Fiennes' digital transformation,
"but in a very subtle, disquieting way."


                              WE ARE THE CHAMPIONS
       A competition so dangerous it hasn't been staged for over 100 years, the
Triwizard Tournament is one of the wizarding community's most revered traditions.
Three champions - one from each of the largest European wizarding schools - are
selected by the enchanted Goblet of Fire to compete for the glory of winning the
coveted Triwizard Cup. Once chosen by the Goblet, there is no turning back.
        The champions may rely soley on their wits and their wands to navigate three
perilous phases of the Tournament. The successful completion of each task yields clues
to the next, without which a champion has no hope of surviving - let alone winning - the
competition.
      Harry Potter and his fellow students watch in awe as their peers teem through
the Hogwarts halls in advance of the Triwizard Tournament: the graceful and
sophisticated girls from the Beauxbatons Academy of Magic, led by the majestic
Madame Maxime, and the stoic young men of Durmstrang Institute, headed by the
enigmatic Igor Karkaroff.
        The Goblet of Fire's first selection is the champion to represent Durmstrang:
Bulgarian Quidditch superstar Viktor Krum, a handsome and stoic teen-of-few-words.
An exhaustive casting search for a Bulgarian actor with the right look and level of
athletic ability led the filmmakers to newcomer Stanislav Ianevski.
      "Viktor Krum is the best Quidditch Seeker in the world, and he's worshipped by
fans and other players," says Ianevski, who compares Krum to England's beloved
Manchester United football star Wayne Rooney.
      "Stan doesn't just look the part, broodingly dark and handsome and athletic, but
he can really act," Newell says of Ianevski, who had never acted before being cast as
Krum.
       To represent Beauxbatons Academy, the Goblet chooses the lovely and
beguiling Fleur Delacour, played by French actress Clémence Poésy (Gunpowder,
Treason & Plot, Bienvenue chez les Rozes). "Fleur is very chic and graceful, but she's
also quite serious," Poésy comments.
       "Clémence typifies French poise and dignity," says Newell, "but at the same time
she is strong and determined, like Fleur."
       "Clémence is also a very gifted actress," Heyman elaborates. "She was able to
embody the dignified inner strength and fearlessness necessary to be the Beauxbatons
Triwizard champion."
     The Hogwarts students are unanimous in their excitement when the Goblet
names Hufflepuff golden boy Cedric Diggory as the third Triwizard champion. "Cedric
exemplifies all that you would expect the Hogwarts champion to be," Newell says.
"Robert Pattinson was born to play the role; he's quintessentially English with chiselled
public school boy good looks."
        "Cedric is competetive, but he's also a nice guy who plays fair and sticks to the
rules," says Pattinson (The Ring).
       "He's the archetypal hero who gets the girl - and in this case, my girl!" adds
Radcliffe. "But Cedric and Harry ultimately bond through mutual respect and a
combined sense of fair play."


                     STAGING THE TRIWIZARD TOURNAMENT
       Production on Harry Potter and the Goblet of Fire commenced in late Spring
2004 at Leavesden Studios, Herfordshire, England. After filming at Leavesden and
locations including Oxford University, Virginia Water in Surrey, Ashridge in Hertfordshire
and Glen Nevis in Scotland, production wrapped in March 2005.
         Perhaps the greatest challenge of the production was bringing to life the three
thrilling and treacherous phases, or "tasks," of the Triwizard Tournament.
       The first task pits each champion against a different breed of dragon. The
competitors must recover a golden egg nesting under their gigantic reptile's protection.
As fate would have it, Harry draws the most fearsome dragon of all - the Hungarian
Horntail.
      This exhilarating sequence begins in an arena carved into the rocky Scottish
landscape. The sprawling set, which evokes the look of a quarry crossed with a
medieval bullring, was built in two parts at Leavesden Studios.
       "It was one of the biggest sets we've ever built for any of the films, but when
you're battling a dragon you need space," notes production designer Stuart Craig, a
three-time Academy Award winner (The Englilsh Patient, Dangerous Liaisons, Gandhi)
who received an Oscar nomination for his work on Harry Potter and the Sorcerer's
Stone. "Also, we didn't just confine the chase to arena. We decided to make full use of
the magnificent backdrop of the Scottish Highlands."
      "We've taken the dragon chase well beyond the book," visual effects supervisor
Jimmy Mitchell elaborates. "We really show Harry's prowess on a broom as the Horntail
chases him out of the arena and up through mountains, viaducts and rooftops, and all
across the school grounds."
        Craig and Mitchell collaborated on the design of the ferocious Horntail, an
ill-tempered creature bedecked with a spiked hide. "Stuart and I discussed the design of
the Horntail at length," Mitchell says. "Should it be a quadraped or a biped with wings?
Because dragons are so closely associated with dinosaurs, we decided to give it a
raptor-like physique with bat wings. Then we aged it and tore up its wings to make it
look like a creature that had lived for a great number of years."
       As Mitchell and his team were creating the computer generated Horntail, special
effects supervisor John Richardson and creature effects & makeup supervisor Nick
Dudman designed and built a "practical dragon" - a 40 foot long animatronic beast
equipped with a fully operational flamethrower.
       "The dragon operates through a combination of animatronics and people
manuevering it manually under the wings," Dudman says of the creature, which appears
in the scene where Hagrid leads Harry to the forest one night before the tournament to
warn him about the dragons. "The movement is computerized for safety, as the
flamethrower has a range of 30 feet. At that distance, just one minute jolt could
barbeque half the stunt team!"
       "We carried out a lot of tests with the flamethrower," Richardson reports. "We
had so many considerations, not least of which was ensuring the safety of everyone on
set. For example, you have to be aware of a backdraft, as flame can attack you from
any angle."
        Harry's epic battle with the Horntail required Daniel Radcliffe to be hurled around
and dangled off of rooftops as his alter ego is pursued by the relentless reptile. "The
dragon battle was very physical and even terrifying at times!" Radcliffe says. "When we
were doing the stunt where Harry falls down the roof, I found myself literally dangled by
my ankles, hanging upside down 40 feet in the air. Then I was dropped suddenly and
hurtled head first toward the ground. I knew it was safe because our stunt team is so
brilliant. But I did feel my life flashing before my eyes for a second!"
       The champions face even greater danger in the second task, which demands
they locate and rescue a loved one from the watery recesses of the Black Lake. Even
more daunting, they have only one hour to complete the challenge - lest, Harry fears,
their nearest and dearest will become permanent residents of the loch's murky depths.
       "The Black Lake is filled with plant life, rocks and creatures you imagine could
exist for hundreds of years deep in a Scottish loch without being discovered or
disturbed," says Stuart Craig of his design for the mythical underwater environment.
       The filmmakers were determined that the characters appear to be swimming in a
deep and dense river, as opposed to the clear blue water of a typical underwater filming
tank. "We faced one of our greatest challenges with the underwater sequence,"
Heyman relates. "Filming in an actual loch would have been too cold and impractical.
We looked into doing a process called ‘dry for wet,' where you suspend an actor and
blow wind on them to give the illusion that the they are underwater, but the hair didn't
undulate convincingly."
       Over the course of three months, the production constructed what became one of
the largest underwater filming tanks in Europe, measuring 20 feet deep by 60 feet
square, to accommodate the actors, the stunt and diving teams, the camera crew, the
blue screen and camera equipment. "Every single drop of water was filtered every 1 ½
hours, so it was probably purer than bottled water!" Richardson says of the tank's
sophisticated purification system.
       Richardson's team constructed a special viewing gallery which separated 2 nd unit
director Peter Macdonald and the crew from the actors, the dive team and the
underwater camera unit by two and a half inches of reinforced glass. Instruction was
relayed to the swimmers by 2nd unit 1st assistant director Jamie Christopher via a
sophisticated speaker system. A "dry room" was also built to enable Radcliffe and his
co-stars to remove their breathing apparatus for short periods of time without having to
surface and risk problems with ear pressure.
       During the construction of the tank system, Radcliffe and his fellow actors took
scuba diving training. "I'm not a strong swimmer, but thankfully I found swimming
underwater relatively easy," reports Radcliffe, who started his six months of training in a
swimming pool and progressed to larger pools until he was ready for filming in the
massive tank. "The hardest thing was combining the technical side of diving with acting.
I had to remember that Harry has gills, so he's not actually breathing, so I had to be very
careful not to let out any air bubbles. I couldn't see anything around me, and all I could
hear was Jamie's disembodied voice. It was quite a bizarre experience, but I absolutely
loved it."
       Stunt co-ordinator Greg Powell was responsible for overseeing the training and
safety of Radcliffe and the other actors, who were in turn supported by four divers each
and the dive master. "Not only did Daniel have to swim, act, speak lines and respond to
creatures that would be added by a computer in post-production," Powell reminds, "but
he had to perform with webbed hands and feet. He accomplished all of this while 20 feet
under water in total darkness - before he ran out of air and gave the signal for one of the
stunt team to swim in and give him back his oxygen mask. It really was an incredible
achievement."
      In total, Radcliffe spent 41 hours and 38 minutes under water over a three week
period of filming, with one dive alone lasting 75 minutes, "which was quite cool!" he
enthuses.
       Creature effects supervisor Nick Dudman and his team were responsible for
tethering likenesses of Ron, Hermione, Cho Chang and Fleur's younger sister Gabrielle
Delacour to the loch's ruins assembled at the bottom of the tank, where Harry struggles
to free his friends from their bonds. Dudman explains the meticulous process: "We
made body casts of each actor, punched in each hair individually and added skin color
layer by layer. We needed to make them match the person perfectly as well as move in
a way that made them look peaceful or asleep. We used floatation tanks and pumped
water into rams in order to keep them bouyant."
       "All credit for directing the underwater scenes must go to our second unit director
Peter Macdonald," Newell praises. "Without Peter, we couldn't have made this film. His
patience and skill in directing this huge sequence, which literally took weeks, is beyond
compare."
       Visual effects supervisor Jimmy Mitchell and his team created the computer
generated underwater universe, from the ruins that may once have been a part of
Hogwarts to the wicked water demons known as Grindylows. "I think of them as a very
unpleasant, distant cousin of the Cornish pixie!" Mitchell says of the tempermental
creatures.
       Harry also encounters a mermaid in his quest to find his friends in the loch, and
the filmmakers endeavored to make her "unlike any mermaid you've seen before,"
Heyman says.
       "Stuart and I designed the mermaid's tail to move from side to side, rather than
up and down, which is what happens when you have a person in a mermaid suit,"
Mitchell explains. "Then we made the creature longer than humanly possible and gave
her hair made of jellyfish tentacles."
       The third and final task requires the teen wizards to navigate a dense and
foreboding maze formed by tall, thick hedges and shadowy pathways choked with mist.
The champions begin their journeys at dusk, with nothing to guide them but an eerie
blue light emanating from the center of the elaborate topiary, where the coveted
Triwizard Cup awaits.
       "We endeavoured to make the maze taller and bigger than any you've ever
seen," Craig says. "It's disorienting, disturbing and altogether intense!"
         Dumbledore cautions the champions not to lose themselves within the living
labyrinth, which seems to have a sinister agenda of its own. "This is a double-edged
warning," Heyman explains. "The maze is spacially enormous and so there is a real and
terrifying threat of becoming lost. At the same time, it's a living creature that feeds on
fear, preying on the insecurities of all those who dare enter."
        "The maze is really creepy, like being in a cemetery at night," Newell comments.
"The fact that the contestants are exploring the biggest maze imaginable is scary
enough, but it has a malevolent personality, and one of the ways it operates is to make
all who enter doubt their sanity. You become increasingly vulnerable, unhinged and
inhuman. Each time you're badly frightenend in the maze, it strips another layer away
until you're raw."
      As darkness descends and the competitors are drawn deeper into its folds, the
maze literally closes in, enveloping and attacking them. As with both the dragon and
underwater tasks, the realization of the "practical" maze became a collaborative effort
between John Richardson's special effects team and the visual effects group headed by
Jimmy Mitchell.
      Richardson and company engineered several sections of the labyrinth, which
stood 25 feet high and 40 feet long. These computerized hydraulic walls were designed
to move independently of each other, swelling and surging at the actors on command.
       "The maze has a heavy steel substructure, which could literally crush the actors if
something went wrong," Richardson cautions. "We had various failsafe devices in place
to ensure that this never happened... although when you see the fear on the actors'
faces, I'm pretty sure it's genuine!"


                         THE PERILS OF BEING A TEENAGER
       Woven through the mystery and suspense of Harry Potter and the Goblet of Fire
is the humor and heartbreak of adolescence. Not only does Harry have to contend with
the return of his immortal enemy, face death in the Triwizard Tournament and contend
with a meddling reporter and a backlash by his peers - he's got to find a date for the
Yule Ball dance. But no magic can alleviate the painful awkwardness, shyness and
hormonal imbalances that are the hallmarks of teen angst.
        "One of the wonderful aspects of this story is the burgeoning interest Harry and
his friends have in the opposite sex and the innate awkwardness this brings," producer
David Heyman points out. "Mike Newell has a wonderful sense of humor and incredibly
intuitive comic timing, so watching these teens attempt to communicate with each other
is painfully funny."
      Harry and his fellow students find themselves transfixed when the exquisite
Beauxbatons girls and the impossibly masculine young men of Durmstrang sweep into
the Hogwarts halls.
      "When the Beauxbatons girls arrive, the Hogwarts boys are in a state of shock,"
says Newell. "They ooze femininity and render the boys - Ron in particular -
speechless."
        Costume designer Jany Temime's wardrobe highlights the differences between
the different schools and the nervous tension underpinning these sequences. "The
Beauxbatons girls are sophisticated and self-aware, so I draped them in the most
sensual and feminine fabric I could find, a delicate silk in the blue color of the French
flag," Temime explains. "The fabric clings to their form, in complete contrast to the
restrictive uniforms the Hogwarts girls wear. The Durmstrang boys radiate a masculinity
the girls have never seen before with their rough, almost primitive thick wool clothing,
heavy boots and wool coats."
      The arrival of the visiting schools and the commencement of the Triwizard
Tournament triggers a change in the dynamics between best friends Harry, Ron and
Hermione. For the first time, Harry and Ron find themselves at odds.
        "Ron thinks Harry put his name into the Goblet hoping to be selected for the
competition," Rupert Grint explains. "He's very angry with Harry and won't speak to him.
He's tired of Harry always being the center of attention."
       Radcliffe elaborates: "Harry is already trying to cope with the criticism from
everyone who believes he engineered his own entry into the competition, but he also
fears he knows the real reason he was chosen, and it all proves too much. His fight with
Ron exemplifies this."
      Meanwhile, the pressure to find dates for Hogwarts' Yule Ball also proves too
much for Harry and Ron, who finally recognizes a change in his feelings for Hermione.
"Much to her surprise, Hermione gets herself a boyfriend in Viktor Krum," Emma
Watson says. "This proves to be a huge shock for Harry and Ron - particularly Ron, who
has only just realized that Hermione is a girl!"
       "We've always had the sense that there is something growing between Ron and
Hermione, although neither are really aware of it," Grint muses. "In this film, both begin
to admit it to themselves. When Hermione turns up at the Yule Ball with Viktor Krum,
Ron finally realizes that he has feelings for her."
      "Ron is utterly devastated when he sees Hermione on the arm of another man -
especially his hero, Viktor Krum," Heyman points out.
       Harry experiences a terror unlike any he's accustomed to when he falls for the
gentle charms of fellow Hogwarts student Cho Chang. "One of the things I've always
liked about Harry is that he is absolutely pathetic when it comes to the whole romance
thing," Radcliffe says. "He has no clue how to behave around girls. He's a character for
anyone who has ever felt awkward around girls - which is probably every male in the
world."
       Harry's struggles to muster the courage to ask Cho to the Ball meet with
bittersweet results. "Cho is very fond of Harry and she doesn't want to hurt his feelings,
but she's already said yes to Cedric Diggory," says 18 year old first-time actor Katie
Leung, a Scot who won the part of the Ravenclaw Quidditch Seeker when her parents
persuaded her to attend an open casting call with 5000 other hopefuls.
       Romance also blossoms among the adults. Hagrid's heart is set aflutter when he
sets his gaze on Madame Maxime, the gloriously tall Beauxbatons headmistress played
by revered stage actress Frances de la Tour (The Cherry Orchard, Strike it Rich).
      According to de la Tour, "Even though she's 8 feet 4 inches tall, Madame
Maxime is in serious denial about being a giant. She just describes herself as big
boned! But despite their cultural differences, with Maxime being so chic and gentile
compared to Hagrid's rustic charm, her feelings for him are genuine."
        "Romance is a little tricky when you're a giant," Robbie Coltrane notes. "Hagrid
can't believe his luck when the Beauxbatons arrive and he sets eyes on someone even
taller than him!"
        Heyman and the cast credit Newell with infusing the film with his distinctly British
sensibility. "Mike's been to a British public school and can totally empathize with
boarding school life, and he has a keen sense of the youthful anarchy you often find in
these institutions," Heyman says. "He's done a fantastic job of bringing the discomfort
and awkwardness of school life to the film. Hogwarts feels more alive - and more British
- than it ever has before."
        Daniel Radcliffe concurs. "Mike is English, very very English. He wore a
waistcoat every day, which I quite like because you don't see enough waistcoats
anymore, really. He has an incredible presence and commands great respect, but he
totally understands the British sense of humor and he can relate to what it's like being a
teenager at a public school."
        Newell was able to join in the fun with his young stars, not least with Oliver and
James Phelps, who play Ron's older twin brothers, Fred and George Weasley. When
Fred and George take ageing potion in an attempt to fool the Goblet into believing
they're old enough to enter the Tournament, their plan backfires, temporarily rendering
them wizened old men. The script called for the twins to blame each other and hit the
floor fighting, but Newell wasn't satisfied with the Phelps' intensity in early takes.
       "Which one of you wants to fight me?" the director demanded. Incredulous,
Oliver nervously volunteered. Before he knew what hit him, Newell had wrestled him to
the floor.
      "I hadn't planned to demonstrate wrestling, but it just seemed to be a good
opportunity to make everyone laugh, even though I pulled a muscle and it hurt like hell
for months afterwards!" Newell recalls with a smile. "But it's good sometimes to make a
complete fool of yourself in front of people who see you as an authority figure. I can't
know everything and you don't get the best out of people when they think you do."


                      ROCKING IN A WINTER WONDERLAND
      It is with great excitement (and trepidation) that the students steel themselves for
the Yule Ball, an enchanted evening of formal dress, proper dancing and... dates!
       The production staged the elaborate Yule Ball celebration just before the
Christmas holidays in December 2004, a fitting and colorful end to the year's filming.
"We wanted to create a tremendous change in the Great Hall for the Yule Ball," Newell
explains, "so that the characters and the audience feel like they've never seen this place
before."
       Production designer Stuart Craig and his art department were responsible for the
Great Hall's magnificent transformation. "The description in the novel is that it's an ice
palace with icicles hanging from the ceiling," Craig notes. "We took it a step further and
made the magic ceiling out of ice. The walls are covered in highly reflective silver and
everything you see, from the doors, flambeaus, windows and even the fireplace, was
given an icy or silver makeover."
        To complete the look, set decorators Stephenie McMillan and Lee Sandales
created magical ice sculptures, iced drinks and frosted food of all descriptions. "We
descended on Billingsgate fish market and literally cleaned them out of lobsters, prawns
and crabs!" McMillan recalls. "We had to treat and prepare them to survive the heat of
film lights and to stop them from smelling, but they made fabulous centerpieces for the
Yule Ball tables."
       The cast underwent a major wardrobe transformation for the Ball as well. "We
prepared over 300 costumes for the Yule Ball alone," costume designer Jany Temime
says. "First, we designed the boys' evening attire. Each has white or black ties and
fancy waistcoats. Harry wears a very classic black waistcoat. The Slytherins have white
ties because they regard themselves as posh."
       Ron doesn't fare so well, however. "My outfit is horrible, all pink lace and
flowers!" Rupert Grint exclaims. "But it was actually quite fun wearing it. It was kind of
like something out of the 1970s and so hideous I actually quite liked it!"
       Designing the girls' dresses took several months, during which a team of 100
dressmakers and wardrobe artists handmade the the gowns at Leavesden. "The girls
were so excited about what they were going to wear it was as if they were going to a
real ball!" Temime recalls.
        A turning point of both the evening and the story occurs when Hermione, the
typically serious-minded student, makes a grand entrance on the arm of Durmstrang
champion and Quidditch superstar Viktor Krum.
       "Hermione's dress had to be really special," Temime says of the gown, which
took three months and twelve meters of chiffon to make. "I wanted it to be a fairy tale
dress, something that would make all the children gasp when she entered the room."
      "It's unlike anything Hermione has ever worn before," Emma Watson notes. "Our
hair and make-up team spent hours transforming me for the scene. I knew that all eyes
were on me when I entered the hall, which was very scary!"
     "Emma is such a naturally beautiful girl that we have to play her makeup down
when she's dressed in her school uniform as ‘plain' Hermione," says makeup artist
Amanda Knight, "but we were able to really have fun with her makeup for the Yule Ball."
       Then there was the considerable task of teaching the teenage cast to dance over
several weeks of rehearsal at Leavesden. "The girls were really looking forward to the
dance and the boys, being typical boys, were very nervous about it," Watson observes.
"I love dancing and really enjoyed learning to waltz, but what was interesting was that
Mike didn't want us to be perfect dancers. He wanted the camera to pick up that we
weren't exactly sure what we were doing."
       "It was terrifying," Radcliffe says. "My parents are both very good dancers, but it
seems to have skipped a generation. Everyone else had about three weeks to learn the
steps, but because I was so busy filming other scenes, I only had four days. So I would
get halfway through the steps and just lose it completely. Luckily, Harry's not supposed
to be a fantastic dancer."
        "The dancing was absolutely hysterical," says Newell, who readily admits he's a
terrible dancer himself. "Dan works so hard at absolutely everything, but it seems God
did not necessarily mean for him to be a ballroom dancer. He is absolutely his character
at that particular moment in the story!"
       The Ball quickly segues from stilted formal dancing to a wild rock free for all. "I
remember my own time at university," Newell recalls. "At the end of every year there
was a swanky ball with formal dancing, but by the end we would all let our hair down
and it was enormous fun. So I wanted to recreate that feeling with the Yule Ball, a real
sense of teenagers letting rip!"
      Newell and producer David Heyman recruited British band Pulp's legendary
singer and lyricist Jarvis Cocker, who together with members of his new group
Relaxed Muscle and drummer Phil Selway and guitarist Johnny Greenwood from
Radiohead, took the stage to play original music during the rocking Yule Ball sequence.
       Working with renowned music producer Mike Hedges, Cocker penned three
songs for the band to perform in the film: "This is the Night," "Magic Works" and "Do
the Hippogriff."
       "Jarvis was a wonderful collaborator," says Newell. "He had a lot of fun with the
whole thing. He said that when he was a kid, he used to be called ‘four eyes' because
he wore glasses, so for the scene he wanted to be four eyes. Then he shut his eyes and
revealed eyeballs painted on his eyelids!"
       "It's not often that you get members of Pulp and Radiohead in the Great Hall,"
Heyman says with a smile. "Although it was just make believe, it really was an awesome
experience watching the Yule Ball scenes come to life. I think for all the cast and crew, it
created a great party atmosphere in which to end the year."
                       THE ADVENTURE CONTINUES IN IMAX
        Harry Potter and the Goblet of Fire will be released in IMAX® theatres worldwide,
in addition to conventional theatres, beginning 18 November 2005. The film has been
digitally re-mastered into the unparalleled image and sound quality of The IMAX
Experience® with proprietary IMAX DMR® (Digital Re-mastering) technology.
       This represents the seventh IMAX DMR film release from Warner Bros Pictures,
and the second film in the Harry Potter film franchise to be digitally re-mastered for The
IMAX Experience. It follows the successful June 2004 release of Harry Potter and the
Prisoner of Azkaban: The IMAX Experience, which grossed nearly $14 million in
worldwide IMAX box office. Past Warner Bros Pictures and IMAX collaborations have
included Charlie and the Chocolate Factory: The IMAX Experience, Batman Begins:
The IMAX Experience, The Polar Express: An IMAX 3D Experience, the last two
instalments of the Matrix trilogy, as well as the original production of NASCAR 3D: The
IMAX Experience.
        IMAX Theatres deliver images of unsurpassed clarity and impact, and will enable
audiences to experience the magic and adventure of Harry Potter and the Goblet of Fire
on screens up to eight stories tall and 120 feet wide, surrounded by state-of-the-art
digital sound. (IMAX screens can be three times larger than the average 35mm screen,
4500 times larger than the average TV screen, and as wide as an NFL football field.)
       "Harry Potter and the Goblet of Fire is a film rich in scope and detail, all of which
will be well served by the scope of IMAX," says David Heyman, producer of the Harry
Potter film series. "I have loved the immersive IMAX experience ever since I first saw
Fires Of Kuwait over ten years ago, so it is a thrill for me to have Harry Potter shown in
this exciting format."
        "We are very excited to bring the suspense, humour, action and drama of Harry
Potter and the Goblet of Fire to life on the giant IMAX screen," director Mike Newell
says. "The breathtaking IMAX format brings a whole new perspective to this marvellous
story."
       The sheer size of a 15/70 film frame, combined with the unique IMAX projection
technology, is key to the extraordinary sharpness and clarity of the images projected in
IMAX theatres. The 15/70 film frame is ten times larger than a conventional 35mm
frame and three times bigger than a standard 70mm frame. IMAX projectors are the
most advanced, powerful and highest-precision projectors in the world, and the key to
their superior performance is the proprietary "Rolling Loop" film movement. The Rolling
Loop advances the film horizontally in a smooth, wave-like motion. During projection,
each frame is positioned on fixed registration pins, and the film is held firmly against the
rear element of the lens by a vacuum. As a result, the picture and focus steadiness are
far above normal projection standards and provide outstanding image clarity.
       To fully envelop IMAX theatre-goers, the IMAX sound system is a specially
designed multi-channel stereo system that delivers superb clarity and quality for
maximum impact. The IMAX Proportional Point Source loudspeaker system was
specifically designed for IMAX Theatres and delivers superb sound quality to every
member of the audience, regardless of where they may be seated.
        There are more than 200 educational and entertaining films in the Large Format
film library, which have been enjoyed by more than 800 million people around the world.


                                     ABOUT THE CAST
      16-year-old DANIEL RADCLIFFE (Harry Potter) once again reprises the role of
Harry Potter in Harry Potter and the Goblet of Fire, his fourth film in the blockbuster
Harry Potter series.
       Playing the role of young Harry Potter has won Daniel worldwide acclaim and the
Variety Club of Great Britain's Best Newcomer Award, presented in February 2002. In
April 2002 he was also honoured with the prestigious David Di Donatello Award,
presented by Italy's Ente David Di Donatello for his superb portrayal of Harry and for his
contribution to the future of cinema.
      Daniel first appeared on British television in December 1999 when he played the
young David Copperfield in BBC television's highly acclaimed production of David
Copperfield. The drama, directed by Simon Curtis, also starred Dame Maggie Smith
who appears alongside him now as Professor McGonagall.
      Prior to filming the first Harry Potter feature, he made his feature film debut as
Jamie Lee Curtis' and Geoffrey Rush's screen son in John Boorman's The Tailor of
Panama.
      In November and December of 2002 he was also the ‘Surprise Guest' at several
performances of the Olivier Award-winning comedy The Play What I Wrote, directed by
Kenneth Branagh, at Wyndhams Theatre in London's West End.
       In his spare time, Daniel's main interests continue to be movies and music,
particularly rock and indie British bands.


       17-year-old RUPERT GRINT (Ron Weasley) reprises his role as the youngest
Weasley brother and best friend to Harry Potter. Although Harry Potter and the
Sorcerer's Stone was Rupert's first foray into the world of professional acting, his natural
talent has garnered him worldwide critical and public acclaim and a British Critic's Circle
nomination for Best Newcomer.
      Since filming the first Harry Potter film, he has gone on to star alongside Simon
Callow and Stephen Fry as a young madcap professor in Peter Hewitt's Thunderpants.
He, of course, most recently starred again as Ron Weasley in Harry Potter and the
Chamber of Secrets and Harry Potter and the Prisoner of Azkaban.
      Rupert is the eldest of five children and cites many similarities to his character of
Ron, not the least having to wear hand-me-downs and having an inexhaustible love of
sweets.
       Prior to winning the role of Ron Weasley, he performed in school productions and
with the local theatre drama group. Productions included the role of the gangster
Rooster in Annie, a production of Peter Pan and Rumpelstiltskin in the Grimm Tales.
       He has grown immensely since audiences first welcomed him several years ago
as the impossibly cute and hilarious youngest Weasley boy - and now a mature young
man of 17, Rupert can often be found on a golf course when not on a film set.


       15-year-old EMMA WATSON (Hermione Granger) reprises her superb portrayal
of the bookish but kind-hearted Hermione Granger, a character who is now starting to
develop an interest in things other than books.
      Playing Hermione in the first film saw Emma's debut into the world of
professional acting, although her natural ability has been evident since an early age.
       Her brilliant performance in the role of Hermione has won Emma a huge
following throughout the world and the highly prestigious AOL award two years running
for Best Supporting Actress for Harry Potter and the Chamber of Secrets and Harry
Potter and the Prisoner of Azkaban. She has also just been voted Best New Performer
for Harry Potter and the Prisoner of Azkaban by the readers of Total Film magazine.
        Emma continues to balance filming with her studies and school activities and is a
keen hockey, netball, tennis and rounders player, as well as a budding athlete. She is
also an art scholar and boasts the most colourful and creative dressing room at the
studio. Her other hobbies include seeing her friends and family, travelling, dancing
(street jazz, hip hop, salsa and the introduction of ballroom dancing for her role in Harry
Potter and the Goblet of Fire ) and singing.


      18-year-old TOM FELTON (Draco Malfoy) returns as Harry Potter's arch-enemy
and Slytherin school boy Draco Malfoy, a role he has made his own in all four of the
Harry Potter films.
      Tom has been acting professionally for nine years and was first seen on the big
screen in 1996 when he played the role of Peagreen in Peter Hewitt's The Borrowers. In
1999, he went on to play the part of Jodie Foster's screen son Louis in Anna and the
King.
       He has also appeared in a number of UK television series including Bugs, in
which he played the role of James, and Second Sight, starring opposite Clive Owen as
Thomas Ingham. He has also starred in two BBC Radio 4 plays, playing the role of Ioeth
in The Wizard of Earthsea and Hercule in Here's to Everyone.
        Tom first came to attention in 1995 when he was featured in a number of top
television and advertising commercials. Along with displaying an early talent for acting,
he is an avid carp fisherman and loves to fish at any opportunity.


       STANISLAV IANEVSKI (Victor Krum) joins the cast of Harry Potter and the
Goblet of Fire as the Durmstrang school's competitor for the Triwizard Tournament cup,
Victor Krum, competing against Hogwarts and the Beauxbatons.
      20-year-old Bulgarian-born Stanislav was discovered quite by chance for the role
of Krum while at his British boarding school. Stanislav had been at boarding school in
the UK for four years when the Harry Potter casting director visited his school, and quite
by chance overheard him talking in a corridor. Casting director Fiona Weir then asked
the head of Drama if Stanislav would be willing to attend an audition for the role of
Victor Krum. Stanislav was short-listed after this audition, but, due to a prior school
arrangement, was unable to attend the second audition and assumed his chances of
winning the role had been greatly reduced.
       Stanislav was given another chance to audition and was eventually short-listed
for the part. Although he had never professionally acted, acting was in his family and
clearly the casting director recognized a natural ability. Stanislav met again with the
casting director and was eventually asked to meet with the director of Harry Potter and
the Goblet of Fire, Mike Newell. He was then told that he had won the part of Victor
Krum.
       While not on a film set, like his character Krum, Stanislav enjoys playing a range
of sports including tennis, football, rugby, athletics and swimming.


        18-year-old KATIE LEUNG (Cho Chang) joins the cast of Harry Potter and the
Goblet of Fire as Cho Chang, a Ravenclaw at Hogwarts and the object of Harry Potter's
affectionate gaze.
      This is Katie's first professional role and her first-ever acting role.
        Katie responded to an open casting call in February 2004 where she beat 5000
girls for the role of Cho Chang. Katie had no prior acting experience or coaching; it was
quite by chance that her father saw an advertisement on a Chinese television channel
for the casting call. Katie thought it might be quite "fun" to go along and try her luck,
though that day she was more interested in going shopping.
       On the day of the casting, Katie joined the queue of thousands of young girls
desperate to win the part of Cho Chang. After the initial casting call, she was extremely
shocked to hear that she had been short-listed and that the casting director wanted her
back for further auditions; with no prior acting experience she was convinced that she
wouldn't get the role. After more auditions and screen tests, her mother was called to
say that Katie would be playing Cho Chang in Harry Potter and the Goblet of Fire.
      Katie is a huge music fan and listens to all kinds of music including R&B, Pop,
Rock, Hip Hop, and she also plays the piano.


       15-year-old MATTHEW LEWIS (Neville Longbottom) reprises his role as Harry
Potter's faithful friend Neville Longbottom in Harry Potter and the Goblet of Fire.
        Matthew has been acting since he was just five years-old, after joining an
amateur dramatics club. He won the role of Neville after an open casting call was held
in his hometown of Leeds.
       Matthew has starred in a number of television series including Heartbeat, City
Central, Where the Heart Is, Sharpe, Emmerdale, Dalziel and Pascoe and Some Kind
Of Life.
       When Matthew is not busy filming he enjoys spending time with his friends,
reading and writing short stories, listening to Rock music, playing computer games and
sports - particularly golf. Matthew also used to belong to the Air Cadets and recently
developed a rather keen interest in filmmaking. He is also an avid supporter of Leeds
football club


      ROBERT PATTINSON (Cedric Diggory) joins the Harry Potter cast as Cedric
Diggory, head boy and Hogwarts' official representative in the Triwizard Tournament in
which he is joined, of course, by the last-minute mysterious addition of Harry Potter
himself.
       19-year-old Pattinson began his professional career recently with a role in Uli
Edel's Sword of Xanten, opposite Sam West and Benno Furmann.
       Prior to this, Robert was a member of the Barnes Theatre Group, taking on the
lead role in Thornton Wilder's Our Town as George Gibbs; he played Lord Evelyn
Oakleigh in Cole Porter's Anything Goes, and Alec in Tess of the D'Urbervilles. He also
recently starred as Malcolm in Macbeth at the OSO Arts Centre.


      CLÉMENCE POÉSY (Fleur Delacour) plays Fleur Delacour, a student from
Beauxbatons School for Girls chosen to pit her wits against Harry Potter, Cedric Diggory
and Victor Krum in the Triwizard Tournament.
        To British audiences Poésy is now virtual royalty, after her powerful performance
as Mary Queen of Scots in the BBC's successful mini-series Gunpowder, Treason &
Plot, starring Robert Carlyle and directed by Gillies MacKinnon.
        Gunpowder was the French star's first major part in English and a chance for her
to show that she was capable of succeeding outside France and in another tongue. She
is one of very few French actors who is able to shift registers and dialect in English,
alternating seamlessly between the role of a demure French-educated Queen and a
spirited American adolescent.
       Having completed filming in England on Harry Potter and the Goblet of Fire,
Poésy flew to Prague to star in Revelations, a new series produced by NBC, directed by
Lili Zanuck and starring Bill Pullman and Natascha McElhone. In this contemporary
drama loosely based on the New Testament's Book of Revelations, the innocent-looking
blonde plays two dark parts, including that of a morally-challenged fallen angel.
       With her career blossoming abroad, the young French star has also committed
herself to a number of upcoming projects at home in France during 2005. Among them
are Mon Prisonnier, a period film directed by Laurent Bouhnik (24 Hours in the Life of a
Woman) with Louis Garrel (The Dreamers) and François Berléand; and Les Animaux
Domestiques, in which she will play the lead role. This love story takes a wry look at the
world of reality television and is directed by a rising French talent, Eric Forestier
         In France, Poésy is already a household name, having starred in a number of
critically acclaimed movies. She played the lead female role in Nina Grosse's L'Été
d'Olga in 2002 and starred as Magalie Rozes in Francis Pallau's Bienvenue chez les
Roses, where she plays the daughter of Carole Bouquet.
       Television dramas and mini-series have also brought her much renown. She
starred in Olivier Peray's TV series La Vie Quand Même (2002), also known as Life
After All in its international release, and in Patrice Martineau's Tania Boréalis.
       Despite her professional track record, Poésy was very young when she started
acting on stage in Etienne Guichard's Le Dragon and in Mai ‘45 Mai ‘95 and feels that
she still has a lot to learn. She has been accepted by France's most prestigious drama
school, the Conservatoire National.


      ROBBIE COLTRANE (Rubeus Hagrid) is back as the much loved character of
Rubeus Hagrid, Hogwarts' caretaker and part-time teacher and close friend of Harry,
Ron and Hermione.
       Coltrane is one of the UK's most prolific and respected film and television actors
with a multi-award-winning career spanning 30 years. His illustrious film career to date
boasts 40 films including, most recently, Ocean's Twelve, in the role of Matsui and, of
course, Harry Potter and the Sorcerer's Stone, Harry Potter and the Prisoner of
Azkaban, and Harry Potter and the Chamber of Secrets, the former of which garnered
him BAFTA and the London Film Critics Circle Award nominations for Best Supporting
Actor as well as Scottish Screen's Best Actor Award.
       Other recent credits include Allen and Albert Hughes' From Hell; the James Bond
films The World is Not Enough and GoldenEye, in which he played Valentin Zukovsky;
Warner Bros Pictures' Message in a Bottle; Buddy; The Pope Must Die; Henry V; Let it
Ride; Absolute Beginners; Defence of the Realm; Mona Lisa and Nuns on the Run, for
which he was awarded The Peter Sellers Award For Comedy at the 1991 Evening
Standard British Film Awards.
      Perhaps Coltrane is best known as Fitz in the internationally acclaimed and
hugely popular television series Cracker. The three seasons of the phenomenally
successful drama amassed an impressive array of awards, including two BAFTA Best
Drama Series Awards in 1995 and 1996, the Royal Television Society Award for Best
Drama, the 1993 Broadcasting Press Guilds Award for Best Series and the US
CableACE Awards Best Movie or Mini Series.
       Coltrane himself was honoured with a staggering array of awards for his portrayal
of the tough, wisecracking police psychologist, Fitz. Incredibly, he won the BAFTA
Award for Best Television Actor three years in a row (1994, 1995 and 1996); Best
Television Actor at the 1993 Broadcasting Press Guilds Awards; a Silver Nymph Award
for Best Actor at the 1994 Monte Carlo Television Festival; Best Male Performer at the
1994 Royal Television Society Awards; FIPA's Best Actor Award and a CableACE
Award for Best Actor in a Movie or Mini Series.
       Coltrane starred most recently in the finale episode of the hugely successful
series Frasier. Prior to that, he starred in and was executive producer on the critically
acclaimed two-part ITV series The Planman.
      Coltrane first came to attention in Slab Boys in 1978 at the Traverse Theatre and
the Hampstead Theatre, before launching himself in the early 1980s on an
unsuspecting comedy scene with appearances on Alfresco, A Kick Up the Eighties,
Laugh? I Nearly Paid My Licence Fee and Saturday Night Live.
       He went on to make star appearances in 13 Comic Strip productions and
numerous television shows including Blackadder III and Blackadder's Christmas Carol,
as well as being nominated for a BAFTA Award for Best Actor for his portrayal of Danny
McGlone in Tony Smith's Tutti Frutti.


      RALPH FIENNES (Lord Voldemort) plays the coveted role of one of literatures
most terrifying villains - the evil Lord Voldemort
      After studying art, Fiennes realized that his real passion was acting, which led
him to RADA. After graduating, he won his first roles that summer in Twelfth Night, A
Midsummer Night's Dream and Ring Around the Moon, all at the Open Air Theatre in
Regent's Park.
       Following further theatre roles, he joined the Royal Shakespeare Company in
1988. His most notable and critically acclaimed performances during his two seasons
with the RSC included Henry VI, Edmund in King Lear and Berowne in Love's Labours
Lost.
        In 1991, Fiennes won his first television role in the award-winning Prime Suspect.
His big-screen debut came when he starred as Heathcliff in Wuthering Heights. After
this, Fiennes starred in Peter Greenaway's The Baby of Mâcon, but it was his role in
Wuthering Heights that brought him to Hollywood's attention. Spielberg cast him
opposite Liam Neeson as the Nazi officer Amon Goeth, in the critically acclaimed
Schindler's List, for which he was awarded not only the New York Critics' Best
Supporting Actor, London Film Critics' Best Actor, and the National Society of Film
Critics, but was also nominated in both the Golden Globes and Academy Awards.
      Further high profile roles followed in a number of highly acclaimed films, including
Robert Redford's Quiz Show; the Academy Award-winning The English Patient, for
which he received his second Academy Award nomination; Oscar and Lucinda; The
End of The Affair and Red Dragon. Other films he starred in include Onegin, Sunshine,
Spider and Maid in Manhattan.
      Fiennes was most recently seen in Fernando Mereilles' film adaptation of John
Le Carré's The Constant Gardener, and will next be seen in Merchant Ivory's The White
Countess. He will also be the voice of the dastardly Victor Quartermaine in the
upcoming Wallace & Gromit: The Curse of the Were-Rabbit, as well as play a
supporting role in Martha Fienes' Chromophobia.
       In December 2002 he opened at the Royal National Theatre in a new play by
Christopher Hampton, The Talking Cure, in which he played Carl Jung, directed by
Howard Davies. In 2003 he starred in the title role of Ibsen's Brand for Adrian Noble at
the RSC, and in 2005, he played Mark Anthony in Deborah Warner's new stage
production of Julius Caesar.
     SIR MICHAEL GAMBON (Albus Dumbledore) reprises his role as Albus
Dumbledore, the wise and respected headmaster of Hogwarts School.
       Gambon started his career with the Edwards/MacLiammoir Gate Theatre in
Dublin in 1963. He was one of the original members of the National Theatre Company
at the Old Vic under Lawrence Olivier and appeared in many plays before leaving to join
Birmingham Rep where he played Othello. In the 40 years since, Gambon has
established himself as one of the greatest stage actors of his time, winning an Olivier
Award for Alan Ayckbourn's A Chorus of Disapproval and The Life of Galileo and
Volpone, which garnered him the 1995 Evening Standard Award for Best Actor.
       Film fans know him for his starring role in Peter Greenaway's The Cook, the
Thief, His Wife and Her Lover, as well as, more recently, Matthew Vaughn's Layer
Cake, Being Julia, Wes Anderson's The Life Aquatic, The Gambler, Dancing at
Lughnasa, The Last September, Tim Burton's Sleepy Hollow, The Insider, High Heels
and Low Lifes, Charlotte Gray, Robert Altman's Gosford Park, John Frankenheimer's
Path to War, Conor McPherson's The Actors, Mike Nichols' Angels in America and
Kevin Costner's Open Range.
       Perhaps Gambon's most memorable role was in the Dennis Potter television
series The Singing Detective, which won him Best Actor awards from BAFTA, the
Broadcasting Press Guild and the Royal Television Society. He also starred in the
BBC's Wives and Daughters and Charles Sturridge's acclaimed Longitude, and Stephen
Poliakoff's A Family Tree.
      Gambon most recently appeared on-stage in End Game, directed by Matthew
Warchus and co-starring Lee Evans. His additional theatre credits include the title roles
in Macbeth, Coriolanus and Othello; Simon Gray's Otherwise Engaged; Alan
Ayckbourn's The Norman Conquests; Just Between Ourselves and Man of the Moment,
opposite Ralph Richardson in Alice's Boys; Harold Pinter's Old Times; the title role in
Uncle Vanya and Veteran's Day with Jack Lemmon.
       With the Royal Shakespeare Company, Gambon played the lead roles in Harold
Pinter's Betrayal and Mountain Language, Simon Gray's Close of Play, Christopher
Hampton's Tales from Hollywood, Ayckbourn's Sisterly Feelings and A Small Family
Business, and David Hare's Skylight (both in the West End and Broadway). He also
starred in Richard III, Othello, Tons of Money, A View from the Bridge and Yasmina
Reza's Unexpected Man (which transferred from the Barbican to the West End). Most
recently he led Nicholas Hytner's production of Cressida at the Almeida and Patrick
Marber's production of Caretaker in the West End, as well as Stephen Daldry's A
Number at the Royal Court.


     Internationally acclaimed Dublin-born actor BRENDAN GLEESON (Mad-Eye
Moody), joins the cast of Harry Potter and the Goblet of Fire as Mad-Eye Moody,
Hogwarts' new Defence Against the Dark Arts teacher.
        A former teacher himself, Gleeson left the profession to pursue a career in his
first love, acting, and joined the Irish theatre company Passion Machine. Gleeson
landed his first starring role in I Went Down, which was followed by his much acclaimed
role in John Boorman's The General. His performance gained him awards for Best Actor
at the 1998 Boston Society of Film Critics' Awards, Best Actor at the 1998 ALFS, and
further awards by the London Film Critics and the Best Actor Award at the 1999 Irish
Film & Television Awards.
       Over the past few years, Gleeson has become a household name after
appearing in a number of successful films, most recently playing the powerful and
wronged King Menelaus in Wolfgang Petersen's Troy. Other recent credits include
August Nicholson in M Night Shyamalan's The Village; Cold Mountain, directed by
Anthony Minghella; Ridley Scott's Kingdom of Heaven and Breakfast on Pluto, directed
by Neil Jordan.
       Gleeson's rise to fame began when he appeared in Jim Sheridan's The Field,
followed by a number of small roles in such films as Far and Away and Into the West.
Gleeson attracted the attention of Hollywood when he starred as Hamish in the film
Braveheart alongside Mel Gibson.
      Other notable screen credits include John Woo's Mission: Impossible II, Steven
Spielberg's AI Artificial Intelligence, John Boorman's The Tailor of Panama and Country
of My Skull, Danny Boyle's 28 Days Later and Martin Scorsese's Gangs of New York.
       On stage, Gleeson has appeared in many productions including King of the
Castle, The Plough and the Stars, Prayers of Sherkin, The Cherry Orchard and The
Paycock at the Gaiety Theatre, which also toured at the Chicago Theatre Festival. He
returned to the stage in 2001 at The Peacock Theatre Dublin in Billy Roche's play On
Such as We, directed by Wilson Milam


       JASON ISAACS (Lucius Malfoy) reprises his role as the odious death-eater
Lucius Malfoy in Harry Potter and the Goblet of Fire. From the heartbreaking romantic in
Rodrigo Garcia's Nine Lives, opposite Robin Wright Penn and the repressed suburban
dad in Chumscrubber (both having world premieres at Sundance 2005), to the hilarious,
sexist, homophobic movie star in Donal Logue's Tennis Anyone, Isaacs proves yet
again that he is one of the most chameleon-like actors of his generation. He just
wrapped the comedy Friends with Money alongside Catherine Keener, Jennifer Aniston,
Joan Cusack and Frances McDormand and is about to start shooting Good, an
adaptation of the award-winning play, co-starring Hugh Jackman.
       Isaacs' performance pulling double duty as both Captain Hook and Mr Darling in
the feature Peter Pan for director PJ Hogan had critics raving - the LA Weekly calling
him "a revelation" and the UK's Times claimed that he was, "quite simply, the best
Captain Hook ever to grace a screen."
       In 2003 he wowed the critics again in the bittersweet romantic comedy
Passionada, which had a number of reviewers - including Rex Reed - comparing him to
"a young Cary Grant." The previous year saw him as the deliciously sinister Lucius
Malfoy in Warner Bros Pictures' blockbuster Harry Potter and the Chamber of Secrets.
Earlier that year, he was unrecognizable as the bullet-headed Captain Mike Steele in
Ridley Scott's critically acclaimed box-office hit Black Hawk Down.
      Isaacs also appeared opposite Jackie Chan as the suave international spy in The
Tuxedo, in command of Nicolas Cage in John Woo's Windtalkers and in a sensational,
strapless, sequined gown with Keanu Reeves and Charlize Theron in Sweet November.
        Isaacs has been working non-stop since his scene-stealing turn as Colonel
William Tavington opposite Mel Gibson in The Patriot, a performance that garnered him
a nomination from the London Film Critics' Circle. Other film credits include The End of
the Affair, the box-office giant Armageddon, Dragonheart, Divorcing Jack and singing
and dancing in The Last Minute. In addition, he has made several movies with his
friend, director Paul Anderson - the sci-fi thriller Event Horizon, Soldier and the British
cult film Shopping. The eagle-eyed will spot him in un-credited cameos in Anderson's
Resident Evil, in Rob Bowman's Elektra and in fragments of Mike Figgis' experimental
film, Hotel. Isaacs made his feature film debut with Jeff Goldblum and Emma Thompson
in The Tall Guy.
       Recently on the small screen he guest-starred as a Belfast photojournalist in
three episodes of NBC's The West Wing and starred in the pilot episode of Brotherhood,
directed by Phillip Noyce for Showtime, which has been picked up as a series by the
channel.
        After graduating from the prestigious Central School of Speech and Drama in
London, he starred for two seasons in Capital City, a hit British TV series based on the
world of high finance; in the mini-series Civvies by Lynda La Plante; in The Fix by Paul
Greengrass and countless other single dramas. On stage he created the role of Louis in
the critically acclaimed Royal National Theatre production of the Pulitzer Prize-winning
Angels in America - Parts 1 & 2, and has performed to packed houses at the Royal
Court Theatre, the Almeida Theatre, the King's Head and five times at the Edinburgh
festival.
        Born in Liverpool, England, Isaacs attended Bristol University where, while
studying law, he directed and/or starred in over 20 theatre productions. When not
immersing himself in a new character or accent, he returns to his home in London and
tries to remember what he normally sounds like so his daughter can recognize him on
the phone.


      GARY OLDMAN (Sirius Black) reprises his role as Sirius Black, Harry's wronged
godfather who recently escaped from Azkaban prison.
       Oldman began his career in 1979, working extensively in the London theatre.
Between 1985 and 1989 he worked exclusively at London's Royal Court Theatre. In
1985 he was awarded Best Newcomer by London's Time Out Magazine for his
performance in The Pope's Wedding. That same year he shared the London Critics'
Circle Best Actor Award with Sir Anthony Hopkins.
       He has since gone on to become one of the most respected and talented film
actors working today with credits including Ridley Scott's Hannibal, Oliver Stone's JFK,
Tony Scott's True Romance, Luc Besson's The Professional, Francis Ford Coppola's
Bram Stoker's Dracula and the starring role of Beethoven in Immortal Beloved.
      In 1997 and 1998 Oldman starred in The Fifth Element, Air Force One and Lost
in Space. These films and Coppola's Dracula place him in the rarefied league of actors
who have opened four movies in the number one position at the box office.
       In 1995 Oldman and manager/producing partner Douglas Urbanski formed the
production company The SE8 Group, which produced Oldman's directorial debut Nil By
Mouth (which he also wrote). The film was invited to open the 1997 50 th Cannes Film
Festival in the main competition and Kathy Burke won Best Actress for her role. The film
also won Oldman the prestigious Channel 4 director's prize in the 1997 Edinburgh Film
Festival.
      In 1998 Nil by Mouth won Oldman a BAFTA for Best British Film and Best
Screenplay and further nominations for Best Actor and Best Actress.
       Oldman's other major film credits include Sid and Nancy, Stephen Frears' Prick
Up Your Ears, Tom Stoppard's Rosencrantz & Guildenstern are Dead, Nic Roeg and
Dennis Potter's Track 29, Criminal Law, Chattahoochee, Murder in the First State and
State of Grace. In 1999, Oldman executive produced and starred in the SE8
Group/Douglas Urbanski film The Contender, which received three Academy Award
nominations. Fans of the television series Friends will also remember Oldman for his
guest appearance as an alcoholic actor, a role which earned him an Emmy nomination.
Other television performances include Mike Leigh's Meantime and The Firm, directed by
the late Alan Clark.
       Since last working on Harry Potter and the Prisoner of Azkaban, Oldman most
recently starred in Batman Begins as Jim Gordon.


      ALAN RICKMAN (Professor Snape) is known throughout the world for his
performances in films as diverse as Love Actually, Die Hard, An Awfully Big Adventure,
Bob Roberts, Dogma and Galaxy Quest.
       For Sense and Sensibility and Michael Collins, he received BAFTA nominations,
and for Robin Hood: Prince of Thieves, he won the BAFTA Award for Best Supporting
Actor. For Truly Madly Deeply, Close My Eyes and Robin Hood: Prince of Thieves, he
was named Evening Standard Film Actor of the Year. For Mesmer, he was named Best
Actor at the Montreal Film Festival. Recent films include Blow Dry, The Search for John
Gissing and Play, directed by Anthony Minghella for Beckett on Film.
        For his role as the enigmatic Russian monk in HBO's Rasputin, Rickman won the
1996 Emmy, Golden Globe and SAG Awards for Outstanding Lead Actor. Other
television credits include Something the Lord Made, for which he received an Emmy
nomination as Best Actor, Benefactors, Revolutionary Witness, Spirit of Man, Pity in
History, The Barchester Chronicles, Busted, Thérèse Raquin and Romeo and Juliet.
      As a director, Rickman's work includes Wax Acts with Ruby Wax in the West
End, and The Winter Guest by Sharman MacDonald, at both the West Yorkshire
Playhouse and the Almeida Theatre in London. He then went on to direct (and co-write
with MacDonald) the feature film version of The Winter Guest, starring Emma
Thompson. It was an Official Selection for the Venice Film Festival, winning three
awards and later winning Best Feature at the Chicago Film Festival.
      As a member of the Royal Shakespeare Company he starred in Les Liaisons
Dangereuses, both in the West End and on Broadway, where he was nominated for a
Tony Award. Other productions for the RSC include Mephisto, Troilus and Cressida, As
You Like It, Love's Labour's Lost, Captain Swing and The Tempest. Most of his stage
work, however, has been in contemporary theatre and includes Fears and Miseries of
the Third Reich at the Glasgow Citizens; The Carnation Game and The Summer Party
at the Crucible Sheffield; Commitments and The Last Elephant at the Bush Theatre;
Bad Language at the Hampstead Theatre Club; The Grass Widow; The Lucky Chance
and The Seagull at the Royal Court.
        For the national theatre Rickman starred in Antony & Cleopatra and played the
title role in Hamlet at Riverside Studios, directed by Robert Sturua, the celebrated
director of the Rustaveli Theatre in Georgia. Rickman has also appeared three times at
the Edinburgh Festival - a double bill of The Devil is an Ass and Measure for Measure,
which also toured Europe; Brothers Karamazov, which then toured the USSR and Yukio
Ninagawa's Tango at the end of Winter, which later transferred to the West End,
winning Rickman the Time Out Award for Best Actor.
       Rickman recently starred in the highly acclaimed West End production of Noel
Coward's Private Lives. He won both the Variety Club and Theatre Goers Awards for
Best Actor and was nominated for Olivier and Evening Standard Awards. The play
enjoyed a sell-out run at the Albery Theatre before transferring to Broadway where
Rickman was nominated for a Tony Award as Best Actor. Returning to London, he
filmed Love Actually for Richard Curtis and Something the Lord Made, for HBO.


        DAME MAGGIE SMITH (Professor McGonagall) is quite simply one of the
world's greatest stage and screen actresses, revered both by her peers and the public
alike, and the recipient of countless awards, including two Academy Awards, the CBE
and the DBE, as well as an Emmy for her role in My House in Umbria. Most recently
she received Academy Award, Golden Globe and BAFTA nominations for her role in
Robert Altman's highly acclaimed Gosford Park.
      Dame Maggie Smith was most recently seen in Ladies in Lavender, alongside
Judi Dench and directed by Charles Dance, and My House in Umbria, with Chris
Cooper, directed by Richard Loncraine.
       Smith first appeared on stage with the Oxford University Drama Society in 1952
and then made her professional debut in New York in The New Faces 1956 Revue. She
joined the Old Vic Company in 1959 and began gathering awards including the 1962
Evening Standard's Best Actress Award for her roles as Doreen in The Private Ear and
Belinda in The Public Eye.
      Smith joined The National Theatre in 1963 playing Desdemona opposite
Laurence Olivier's Othello and went on to further success in Black Comedy, Miss Julie,
The Country Wife, The Beaux Stratagem and Much Ado About Nothing.
      But it was in 1969 when her portrayal in The Prime of Miss Jean Brodie
catapulted her into the public eye and won her an Academy Award and the Society of
Film and TV Arts Best Actress Award. Further film roles followed including Travels with
my Aunt (nominated for an Academy Award for Best Actress) and Death on the Nile.
Then, in 1977 Smith won her second Academy Award and a Golden Globe for her role
in Neil Simon's California Suite.
       The accolades continued to flow with Alan Bennett's A Private Function
(co-starring Michael Palin), for which she won a BAFTA Award, a Golden Globe, a
Variety Club Award and her fifth Academy Award nomination. Further film success
followed with Merchant Ivory's A Room with a View, The Lonely Passion of Judith
Hearne (and a BAFTA Award for Best Actress), Steven Spielberg's Hook, Sister Act,
The Secret Garden, Richard III, The First Wives Club, Washington Square, Tea with
Mussolini (for which she won a BAFTA Award for Best Actress), The Last September
and Callie Khouri's Divine Secrets of the Ya-Ya Sisterhood with Sandra Bullock.
        Smith has remained faithful to her stage career throughout her illustrious film and
television work. She played the title role of Hedda Gabler in 1970 and won her second
Variety Club Best Actress Award for her portrayal of Millamant in the Way of the World.
Further stage productions include Night and Day and Edna O'Brien's Virginia, for which
she received the Evening Standard Drama Award for Best Actress. Other notable
productions include The Interpreters, Infernal Machine, Coming in to Land, Lettice and
Lovage (for which she won a Tony Award for Best Actress), The Importance of Being
Earnest, Three Tall Women (for which she won the Evening Standard Award for Best
Actress), A Delicate Balance, Alan Bennett's Lady in the Van and, most recently,
opposite Judi Dench in David Hare's The Breath of Life.
       Major television credits include Granada's Mrs Silly, for which she won a BAFTA
for Best Actress; the BBC's Momento Mori; Suddenly Last Summer and Talking Heads:
Bed Among the Lentils, for which she won the Royal Television Society Award for Best
Actress and, most recently, the BBC's All the King's Men and David Copperfield.
       In 1970 Smith received a CBE and in 1990 she became Dame Maggie Smith
when she received the DBS. She was awarded the Hamburg Shakespeare Prize in
1991, is a Fellow of the British Film Institute, was awarded a Silver BAFTA in 1993, and
is a patron of the Jane Austen Society.


      TIMOTHY SPALL (Peter Pettigrew aka Wormtail) rejoins the cast once again as
the spineless Wormtail, Voldemort's loyal servant and betrayer of Harry Potter's
parents.
       Spall has been a familiar face to TV and film audiences across the globe for over
20 years, since he first shot to fame as the hapless Barry in BBC TV's Auf Wiedersehen
Pet. He has gone on to star in over 30 films including Mike Leigh's Secrets & Lies and
Topsy Turvy, receiving BAFTA and London Film Critics' Circle Award nominations for
Best Actor and Best Supporting Actor, respectively. He received further nominations
from the British Independent Film Awards and the London Film Critics' Circle as Best
Actor and Best Supporting Actor for his role in Peter Cattaneo's Lucky Break, and again
Best Actor nominations by the British Industry Film Awards and Europe Film Awards for
Leigh's All or Nothing.
      Most recently, Spall completed a role alongside Jim Carrey in Lemony Snicket's
A Series of Unfortunate Events. Other notable film credits include Cameron Crowe's
Vanilla Sky, Kenneth Branagh's Love Labour's Lost and Hamlet, Mike Leigh's Life is
Sweet, Bernardo Bertolucci's The Sheltering Sky, Clint Eastwood's White Hunter Black
Heart, Richard Loncraine's My House in Umbria, Doug McGrath's Nicholas Nickleby,
Rock Star, Christopher Miles' The Clandestine Marriage, Brian Gibson's Still Crazy and
Simon Wincer's Young Indie.
      Spall is also highly respected in the world of television drama. He received a
BAFTA nomination as Best Actor for Julian Farino's Our Mutual Friend and also won the
Broadcasting Press Guild TV Award again for Best Actor. He also won Best Actor
Awards from both the Cinema Tout Ecran and Prix d'Italie Awards for his role in
Stephen Poliakoff's Shooting the Past, as well as further BAFTA nominations both for
Shooting the Past and Danny Boyle's Vacuuming Completely Nude in Paradise. His
most recent television role was in the series Cherished.
       In addition to his film and television career, Spall is a revered stage actor of many
performances, including Stephen Daldry's This is a Chair at the Royal Court; Robert
LePage's A Midsummer Night's Dream at the National Theatre; Mike Leigh's Smelling a
Rat; Trevor Nunn's The Three Sisters, Nicholas Nickleby and Merry Wives of Windsor
for the Royal Shakespeare Company; and David Jones' Baal, again for the Royal
Shakespeare Company.


     PEDJA BJELAC (Igor Karkaroff) joins the cast as Igor Karkaroff, the enigmatic
headmaster of the Durmstrang School for Boys.
      Bjelac began his career in his home country of Yugoslavia, where he remains
one of the leading stars of film and television, with credits including Stand By and 120
SA 80. He has gone on to star in various European productions, including Harrison's
Flowers in France and The Final Victim in Belgium.
       American audiences may well recognize him from the American teen comedy
Eurotrip.
       His television credits include NBC's Cries of Innocence, Ariana's Quest and
Children of the Dune.
      In the UK Bjelac has starred in Warriors, alongside Damian Lewis and Ioan
Gruffudd, and in Charles II, in which he starred alongside Rufus Sewell.


         FRANCES DE LA TOUR (Madame Maxime) joins the Harry Potter cast for the
first time as Madame Maxime, the giant headmistress of the French girls' school, the
Beauxbatons Academy of Magic, one of three schools competing in the Triwizard
Tournament.
      De la Tour began her acting career with the RSC in 1965, since becoming one of
the UK's leading stage actresses.
      She has starred in over 35 stage productions, winning major awards for her
performances, including the Variety Club Best Actress award for Fallen Angels by Noel
Coward; the Best Actress Olivier Award for A Moon For The Misbegotten by Eugene
O'Neill; and both the Evening Standard and Olivier Best Actress Awards for Duet For
One by Tom Kempinski.
        Other notable stage appearances include such productions as Helena in Peter
Brook's acclaimed production of A Midsummer Night's Dream; Rosalind in As you Like
It; the title role in Hamlet; Small Craft Warnings by Tennessee Williams; the title role in
St Joan; When She Danced, by Martin Sherman, opposite Vanessa Redgrave, for
which she won Best Actress in a Supporting Role Olivier Award; Lillian, a one woman
show based on the life of Lillian Hellman; Olga Knipper in Chekhov in Tsaritsin, devised
and performed in Russian and English; Greasepaint, a one woman Japanese play by
Inoue; Three Tall Woman by Edward Albee, with Maggie Smith; Blinded by the Sun;
The Play About The Baby, by Edward Albee; The Forest; Cleopatra opposite Alan Bates
in Anthony and Cleopatra; The Good Hope; The Dance of Death by Strindberg, once
with Alan Bates and the second time with Ian McKellen; and The History Boys.
      She has appeared in more than 20 television roles including Duet For One, a
performance that earned her a Best Actress BAFTA nomination.
        Other notable television roles have included Miss Jones in Rising Damp, A Kind
of Living, Cold Lazarus by Dennis Potter, Tom Jones, The Egg by Patrick Marber, Born
& Bred, Poirot: Death on the Nile and Waking the Dead.
      Her film credits include Rising Damp, for which she won the Evening Standard's
Best Actress Award. She has also starred in Michael Cacoyannis' film of The Cherry
Orchard, Richard Curtis' Love Actually and the anticipated 2006 film of Alan Bennett
and Nick Hytner's The History Boys.


      A multi-talented actor, ROGER LLOYD PACK (Barty Crouch) is perhaps best
known in the role of Trigger in the hugely popular BBC TV series Only Fools and
Horses, although fans will most recently remember him in the BBC's The Vicar of Dibley
as Owen Newitt, opposite our own "Fat Lady," Dawn French
       Lloyd Pack's big-screen performances have ranged from British and Independent
to Hollywood roles. His film credits include Fiddler on the Roof, Interview with the
Vampire, The Young Poisoners Handbook, The Hollow Reed, The Avengers and, most
recently, Vanity Fair with Reese Witherspoon, among others.
       A versatile small screen actor, Lloyd Pack has also starred in Dirty Deeds,
Heartbeat, Tom Jones, Kavanagh, Oliver Twist, Born & Bred, The Bill and Where the
Heart Is. He has also enjoyed a successful theatrical career, and has made many
appearances at a number of world famous theatres including the Lyric, Old Vic, National
and, most recently, the Donmar Theatre. Productions he has appeared in include Wild
Honey and One for the Road, both roles for which he won Best Supporting Actor, as
well as Futurists, Roserholm, School for Wives, Flea in her Ear, Art and The Dark at the
Donmar. Lloyd Pack also won the British Theatre Association Drama Award in 1984.


       Multi-talented British actress MIRANDA RICHARDSON (Rita Skeeter) joins the
cast of Harry Potter and the Goblet of Fire as Rita Skeeter, the nosey Daily Prophet
reporter who will stop at nothing to get the story she wants on Harry Potter and the
Triwizard Tournament.
       Richardson studied drama at the Old Vic Drama School, honing her art in many
different roles before shooting to fame in Mike Newell's highly acclaimed Dance with a
Stranger, where she played Ruth Ellis, the last woman to be hanged in England.
      She received fantastic reviews for her performances in Neil Jordan's The Crying
Game, Mike Newell's Enchanted April, for which she received a Golden Globe Award,
and Louis Malle's Damage, a performance for which she received an Academy Award
nomination. In 1994 she played Vivienne in Tom & Viv, for which she earned another
Oscar nomination in 1995.
       Richardson's other film credits include Empire of the Sun, directed by Steven
Spielberg; Sleepy Hollow, directed by Tim Burton; Get Carter; Spider; The Hours,
alongside Glenn Close; The Actors; and Churchill: The Hollywood Years, and she lent
her voice talents to the animated feature Chicken Run.
      On television, Richardson first appeared as Queen Elizabeth I in the hilarious
Black Adder series alongside Rowan Atkinson. Most recently, she appeared in BBC's
The Lost Prince, for which she was nominated for a Golden Globe Award for Best
Actress in a TV drama; Merlin; Alice; and she has made special cameo appearances in
Absolutely Fabulous. Further television credits include Dance to the Music of Time,
Kansas City, Apostle and All for Love.
      Most recently, she starred in Joel Schumacher's film The Phantom of the Opera
as Madame Giry, as well as the film Wah-Wah, alongside Emily Watson and Gabriel
Byrne, and the television drama Friends and Crocodiles with Bill Nighy.


       DAVID TENNANT (Barty Crouch, Junior) stars in Harry Potter and the Goblet of
Fire as Barty Crouch, Junior, the son of Barty Crouch.
       Tennant's film credits include, most recently, Stephen Fry's critically acclaimed
Bright Young Things, Free Jimmy and The Deputy.
      A respected classical actor, Tennant has performed numerous starring roles for
the Royal Shakespeare Company, including Touchstone in As You Like It, Romeo in
Romeo and Juliet, Antipholus of Syracuse in The Comedy of Errors, and Captain Jack
Absolute in The Rivals. He was nominated for a 2003 Laurence Olivier Theatre Award
for Best Actor of 2002 for his performance in Lobby Hero, performed at the Donmar
Warehouse and the New Ambassador's Theatres.
       On television, Tennant will be next be seen as the lead role in Casanova. He has
also starred in a range of well known series including Mrs Bradley Mysteries, People
Like Us, Love in the 21st Century and Foyle's War, among others.


                              ABOUT THE FILMMAKERS
      Acclaimed English director MIKE NEWELL (Director) directs Harry Potter and
the Goblet of Fire, the fourth instalment in JK Rowling's beloved Harry Potter series, a
mantle previously worn by Chris Columbus on the first and second films and Alfonso
Cuarón on the third. Newell is the first British director to take the helm of a Harry Potter
film.
        Newell most recently directed Julia Roberts and Julia Stiles in Mona Lisa Smile,
although he is perhaps best known for directing the 1994 hit romantic comedy Four
Weddings and a Funeral, which won a number of awards and garnered two Academy
Award nominations, including Best Film. In a career spanning 40 years, he has directed
films such as the highly praised Enchanted April, which earned three Academy Award
nominations and won Golden Globe Awards for Miranda Richardson and Joan
Plowright; Into The West, starring Ellen Barkin and Gabriel Byrne and featuring a score
by Patrick Doyle; and The Good Father, which starred Sir Anthony Hopkins and won the
Prix Italia in 1985.
       Newell's other notable feature films include Pushing Tin, starring John Cusack,
Billy Bob Thornton and Angelina Jolie, which was nominated for an Academy Award for
Best Adapted Screenplay; Donnie Brasco (teaming him again with composer Patrick
Doyle), starring Johnny Depp and Al Pacino; An Awfully Big Adventure; as well as
Amazing Grace and Chuck and Soursweet.
        After graduating Cambridge University, Newell joined Manchester-based
Granada Television as a production trainee and swiftly moved on to directing. His many
television credits include Them Down There, Ready When You Are, Mr McGill, Destiny
and The Melancholy Hussar, as well as numerous Anglo-American co-productions
including Blood Feud and CBS' Common Ground.
       Newell made his feature directional debut in 1977 with The Man in the Iron Mask,
starring Louis Jordan, Ralph Richardson, Richard Chamberlain and Jenny Agutter. He
made his US directorial debut in 1980 with The Awakening, starring Charlton Heston
and Susannah York. This was followed by Bad Blood, the TV film Birth of a Nation, and
then the haunting Dance With a Stranger with Miranda Richardson and Rupert Everett,
which won the Prix de la Jeunesse at Cannes and brought Newell worldwide critical
acclaim.
       Through his company, Dogstar Films, Newell served as executive producer on
Photographing Fairies, with Ben Kingsley and Best Laid Plans. He was also executive
producer on Ripley's Game, starring John Malkovich; 200 Cigarettes, starring Ben
Affleck and Kate Hudson; High Fidelity, starring John Cusack and Jack Black; and
Steven Soderbergh's Traffic, winner of four Academy Awards.


       DAVID HEYMAN (Producer) is once again producer of this, the fourth in the
series of film adaptations of JK Rowling's hugely successful Harry Potter stories.
       Having spent many years working in the States, it was in 1997 that Heyman
returned from the US to the UK to set up Heyday Films, with the intention of building on
his unique relationships in the US and Europe to produce international films of all sizes.
      Following the enormous worldwide success of Harry Potter and the Sorcerer's
Stone and Harry Potter and the Chamber of Secrets, Heyman went on to establish a
Heyday Films office in Los Angeles and executive produced Taking Lives, starring
Angelina Jolie and Ethan Hawke. Heyman is continuing to develop a diverse range of
projects both in the UK and the US, including The History of Love, directed by Alfonso
Cuarón; Yes Man, with Jack Black, Mike White and David Dobkin; an adaptation of the
comic book The Exec, to be directed by Christopher Nolan (Memento, Batman Begins);
and the best-selling novel The Curious Incident of the Dog in the Night-Time, to be
written and directed by Steve Kloves.
        In 2003 Heyman was honoured as ShoWest Producer of the Year, becoming the
first British producer to have ever been bestowed this accolade.
       Educated in England and the United States, Heyman began his career as a
production runner on Milos Forman's Ragtime and David Lean's A Passage to India.
Heyman went to Los Angeles in 1986 to become a creative executive at Warner Bros
Pictures, working on such films as Gorillas in the Mist and GoodFellas. He moved on to
become a vice president at United Artists in the late 1980s, before embarking on a
career as an independent producer. The first film he produced was Ernest Dickenson's
Juice, starring Tupac Shakur and Omar Epps. As an independent filmmaker, Heyman
has produced several films including the low-budget classic The Day-trippers, directed
by Greg Mottola and starring Liev Schreiber, Parker Posey, Hope Davis, Stanley Tucci
and Campbell Scott.


       STEVE KLOVES (Screenwriter) again pens the screenplay and script for this,
the fourth film in the series.
       Kloves began his career with the screenplay for the 1984 Jaffe-Lansing
production Racing With the Moon, a World War II era coming-of-age story directed by
Richard Benjamin and starring Sean Penn, Elizabeth McGovern and Nicolas Cage in
one of his earliest and most important roles.
       In 1989 Kloves made his directorial debut with the comedy/drama The Fabulous
Baker Boys, which starred Jeff Bridges, Beau Bridges and Michelle Pfeiffer. The film,
which Kloves also wrote, received four Academy Award nominations and Michelle
Pfeiffer won a Golden Globe and a BAFTA Award for her performance.
      Four years later, Kloves wrote and directed the psychological thriller Flesh and
Bone, starring Dennis Quaid, Meg Ryan and Gwyneth Paltrow.
      More recently, Kloves penned the screenplay for Wonderboys, starring Michael
Douglas, Tobey Maguire and Frances McDormand. The film, which was directed and
produced by Curtis Hanson, won him his first Academy Award nomination for Best
Adapted Screenplay.
      Kloves also wrote the screenplay for Harry Potter and the Sorcerer's Stone and
Harry Potter and the Chamber of Secrets.
      He will next write and direct The Curious Incident of the Dog in the Night-Time
which will be produced by David Heyman.
       DAVID BARRON (Executive Producer) rejoins the production team on Harry
Potter and the Goblet of Fire, having previously worked on Harry Potter and the
Chamber of Secrets.
       Barron began his career in television commercials, from where he graduated to
the production side of film and television projects.
     His most recent credits include that of co-producer on Sahara, starring Matthew
McConaughey and Penélope Cruz.
       Barron has been in the film industry for many years, having worked as either
location manager or assistant director on films including The French Lieutenant's
Woman and The Killing Fields. Barron went on to serve as production supervisor on
films such as Revolution, Legend, The Princess Bride, The Lonely Passion of Judith
Hearne, Hell Bound, Nightbreed and Franco Zeffirelli's Hamlet.
       In 1991, he was appointed executive in charge of production on George Lucas'
ambitious television project The Young Indiana Jones Chronicles, Series I. Barron
followed this with The Muppet Christmas Carol and, in 1993, joined Kenneth Branagh's
production team as associate producer and unit production manager on Frankenstein.
This film began an informal producing partnership with Branagh which has
encompassed In the Bleak Midwinter, Oliver Parker's Othello, a co-production with Luc
Roeg's Dakota films, Hamlet and Love Labour's Lost.
        Although he continues to develop projects with Branagh and his Shakespeare
Company, in spring 1999, Barron formed his own company, Contagious Films, with
British director Paul Weiland.


       TANYA SEGHATCHIAN (Executive Producer) became an executive producer
on Harry Potter and the Prisoner of Azkaban after a close collaboration with Alfonso
Cuarón and returns to the role on Harry Potter and the Goblet of Fire. Seghatchian was
the co-producer on Chris Columbus' Harry Potter and the Sorcerer's Stone and Harry
Potter and the Chamber of Secrets.
      Aside from the Potter franchise, Seghatchian recently produced the multi-award-
winning independent hit My Summer of Love, written and directed by Pawel
Pawlikowski. The film received the Michael Powell Award for the Best British Film of
2004, as well as a BAFTA Alexander Korda Award for the Outstanding British Film of
the Year.
        She is also a respected public interviewer and she devised and hosted the
sell-out Orangeword Screenwriting Series with Oscar and BAFTA-nominated
screenwriters. Prior to joining David Heyman in the creation of his company Heyday
Films, and subsequently discovering JK Rowling's much loved books, Seghatchian
script-edited Jimmy McGovern's award-winning drama series The Lakes, and produced
and directed various BAFTA-nominated documentaries for BBC Television.
     She is a graduate of Cambridge University where she ran the legendary
Cambridge Footlights Theatre Company.
       Academy and BAFTA Award nominee ROGER PRATT (Director of Photography)
rejoins the crew on Harry Potter and the Goblet of Fire, after having previously worked
as director of photography on Wolfgang Petersen's Troy and, of course, Harry Potter
and the Chamber of Secrets.
      Pratt is also well known for the critically acclaimed and award-winning Iris, as
well as Chocolat, the film which garnered Pratt both BAFTA and British Society of
Cinematographers Award nominations.
      His film credits encompass many of the most interesting of their genre including
The End of the Affair, starring Ralph Fiennes and Julianne Moore, for which he was
nominated for an Academy Award; Twelve Monkeys, starring Bruce Willis;
Shadowlands, starring Anthony Hopkins; and The Fisher King, starring Jeff Bridges and
Robin Williams.
       Other major cinema credits include Grey Owl, starring Pierce Brosnan; The
Avengers, starring Ralph Fiennes; In Love and War; Mary Shelley's Frankenstein,
directed by and starring Kenneth Branagh; Batman; High Hopes; Paris by Night; Mona
Lisa; Dutch Girls; Brazil and Monty Python's Crimson Permanent Assurance.
       He was also director of photography on several major television shows and
series including King Lear in 1999, Bernard and the Genie in 1991, Jim Henson's
Storyteller: Greek Myths in 1990, Scoop in 1987, The Short and the Curlies in 1987 and
Meantime in 1981.


        STUART CRAIG (Production Designer) has won many awards for his
outstanding achievements in production design, most recently Art Director of the Year
by the Hollywood Film Festival, which was presented to him by Chris Columbus.
Impressively, Craig has also been nominated for Best Production Design for all three
Harry Potter films by the British Film Academy Awards. The visionary sets from the first
film also garnered him an Evening Standard Award and Academy Award-nomination.
      Craig has been winning awards for 20 years and, in 1981, he won his first
Academy Award for Best Art Direction as well as a BAFTA-nomination for Richard
Attenborough's Gandhi and a BAFTA Award for David Lynch's Elephant Man.
       He went on to win a further Academy Award in 1988 for Stephen Frears'
Dangerous Liaisons (and a BAFTA nomination), and then in 1996, swept the board with
his third Academy Award, a BAFTA nomination and an Award for Excellence in
Production Design from Society of Motion Picture & Television Art Directors, USA, for
Anthony Minghella's The English Patient.
     Craig received two additional Academy Award nominations for Roland Joffe's
The Mission (1986) and Richard Attenborough's Chaplin (1991). He also received a
BAFTA nomination for Hugh Hudson's Greystoke: The Legend of Tarzan (1982).
       In addition to his plethora of awards, Craig's artistry can be seen in a number of
features including Cal (1983), a film which he also produced; Cry Freedom (1986);
Memphis Belle (1988); The Secret Garden (1992); Shadowlands (1993); Mary Reilly
(1994); In Love and War (1996); The Avengers (1997) and more recently, The Legend
of Bagger Vance in 1999.


       MICK AUDSLEY (Editor) joins the Harry Potter crew for the first time on Harry
Potter and the Goblet of Fire.
       Audsley is one of the most prominent editors working today. His credits include
Dangerous Liaisons, for which he received a BAFTA nomination; and The Snapper,
directed by Stephen Frears, for which he received a BAFTA television award.
      Most recently, Audsley worked on John Madden's Proof, as well as on Mike
Newell's Mona Lisa Smile, Stephen Frears' Dirty Pretty Things, High Fidelity and
Captain Corelli's Mandolin.
       Audsley also worked on Twelve Monkeys, Interview With the Vampire, My
Beautiful Laundrette and Dance with a Stranger (again with Newell). Other film editing
credits include The Avengers, Serpent's Kiss, The Van, Hero, The Angels, The Grifters,
We're No Angels and Soursweet.


       PETER MACDONALD (Co-Producer) reprises his role as 2nd unit director and
producer on Harry Potter and the Goblet of Fire. Macdonald has worked as 2nd unit
director on the previous three Harry Potter films.
       Macdonald's career in film and television began behind the camera. His credits
as an operating cameraman include The Return of the Pink Panther, Murder on the
Orient Express, A Bridge Too Far, Superman, Superman II and Cabaret.
       Macdonald went on to work as director of photography and then 2 nd unit director
on a great number of films including Batman, Batman & Robin, Star Wars: The Empire
Strikes Back, Tango & Cash, Excalibur, Labyrinth, The Company of Wolves, Shining
Through, Nowhere to Run, Dragonslayer, The Hound of the Baskervilles, Cleopatra and
The Visitors. Macdonald undertook the role of executive producer on The Quest, Tango
& Cash, Graffiti Bridge and, of course, the Harry Potter films.
     Macdonald has also worked as director on a number of productions including Mo'
Money, Tales from the Crypt, The Young Indiana Jones, Harbour Lights, Supply and
Demand and Legionnaire.


       JANY TEMIME (Costume Designer) was costume designer on Harry Potter and
the Prisoner of Azkaban and repeats her role on Harry Potter and the Goblet of Fire. In
between the two films, Temime worked as costume designer on Bridget Jones: The
Edge of Reason.
        Temime has enjoyed a prolific ten years with over 20 award-winning feature
credits to her name. She won the Welsh BAFTA for Best Costume Design for Marc
Evans' House of America, starring Steven Mackintosh, Matthew Rhys and Sian Phillips;
and a Golden Calf for Best Costume Design at the 1995 Utrecht Film Festival for
Academy Award-winning Antonia's Line (Best Foreign Picture), directed by Marleen
Gorris.
       Other credits include Mel Smith's High Heels and Low Lifes, starring Minnie
Driver and Mary McCormack; Todd Komarnicki's Resistance, starring Bill Paxton and
Julia Ormond; Invincible, directed by Werner Herzog and starring Tim Roth; The Luzhin
Defence, directed by Marleen Gorris and starring John Turturro and Emily Watson; and
Gangster No. 1 starring David Thewlis, Malcolm McDowell and Paul Bettany.
       Further films include Andy Hurst's You're Dead, starring Rhys Ifans and John
Hurt; The Commissioner, also starring John Hurt; Mike van Diem's Character, which
won the 1998 Academy Award for Best Foreign Film; George Sluizer's Crime Time;
Paula van der Oest's The New Mother; Frans Weisz' The Last Call; Ate de Jong's All
Men are Mortal; Digna Sinke's Belle van Zuylun - Madame de Charriere and Theu
Boerman's 1000 Roses, which won the Golden Calf for Best Picture at the 1994 Utrecht
Film Festival.
       Temime's main television credits include Bram van Erkel's In the Name of the
Queen, Pieter Verhoeff's The Lighthouse, which won the Golden Fipa Award for Best
Television Drama at the Nice Television Festival; and Theu Boerman's The Partisans,
which garnered Temime a Golden Calf for Best Costume Design and the program itself
winning Best Television Drama, both at the 1995 Utrecht Film Festival.


     PATRICK DOYLE (Composer) joins Harry Potter and the Goblet of Fire as music
composer.
      Doyle has a prolific career as a highly respected composer on a number of films
and was awarded Best Score for A Little Princess by the Los Angeles Film Critics
Association in 1995.
      Doyle's most recent film credits include Man to Man, Nanny McPhee,
Second-hand Lions and Calendar Girls. Doyle's other high profile credits include Killing
Me Softly, Gosford Park, Bridget Jones's Diary, Blow Dry, Love's Labour's Lost, Great
Expectations and Mike Newell's Donnie Brasco.
      After graduating the Royal Scottish Academy of Music and Drama, Doyle
composed music scores for television including Scottish television's Charlie Endell and
the BBC's The Butterfly Hoof.
       In 1987, Doyle joined Kenneth Branagh's Renaissance Theatre Company after
he was commissioned to write the music for the televised version of Shakespeare's
Twelfth Night.
        In 1989 he was asked to write the score for Branagh's film adaptation of
Shakespeare's Henry V, which began his career in film scoring. He then went on to
write the music for other productions including Hamlet, As You Like It, Much Ado About
Nothing, King Lear and A Midsummer Night's Dream.


       NICK DUDMAN (Creature & Make-up Effects Designer) and his team have
created the make-up effects and the magical animatronic creatures in all of the films to
date - Harry Potter and the Sorcerer's Stone, Harry Potter and the Chamber of Secrets
and Harry Potter and the Prisoner of Azkaban, the latter which earned a BAFTA
nomination.
        Dudman got his start in films working on the Jedi master Yoda, as a trainee to
British make-up artist Stuart Freeborn on Star Wars: The Empire Strikes Back.
       After apprenticing with Freeborn for four years on films such as Superman II and
Top Secret!, Dudman was asked to head up English make-up laboratory for Ridley
Scott's Legend. Since then, he has worked on Mona Lisa, High Spirits, Interview With
the Vampire, Batman and Judge Dredd.
       In 1995, his career path widened into animatronics and large scale creature
effects when he was asked to oversee the 55-man creature department for the Luc
Besson film The Fifth Element.
      Since then, he has led the creatures/make-up effects departments on several
blockbusters including Star Wars Episode I: The Phantom Menace, The Mummy and
The Mummy Returns.
     In addition, Dudman's company, Pigs Might Fly, creates and sells blood and
make-up products and provides special make-up courses.


       JIMMY MITCHELL (Visual Effects Supervisor) rejoins the cast on Harry Potter
and the Goblet of Fire. Mitchell previously worked as visual effects supervisor on Harry
Potter and the Chamber of Secrets and, between that and Goblet of Fire, he worked on
Pirates of the Caribbean.
       Mitchell joined ILM (Industrial Light and Magic) in 1990 and has played an
integral role in the creation of the groundbreaking computer graphics imagery in
Jurassic Park, Death Becomes Her and Terminator 2: Judgment Day, all of which
received Academy Awards for Best Achievement in Visual Effects.
       His other major film credits as visual effects supervisor for ILM include Jurassic
Park III; Sleepy Hollow; October Sky; Mighty Joe Young, which garnered an Academy
Award nomination for Best Achievement in Visual Effects; Contact; Mars Attacks! and
Eraser (co-visual effects supervisor).
       Mitchell was computer graphics supervisor, animator and model maker on the
jungle adventure Jumanji; computer graphics supervisor on The Mask; technical director
on Jurassic Park and Death Becomes Her; animator and technical director on Star Trek
VI and technical director on Terminator 2: Judgment Day.


      Academy Award and BAFTA Award-winning special effects supervisor JOHN
RICHARDSON (Special Effects Supervisor) (Aliens) has been the commanding force
behind the special effects in all three of the Harry Potter films and is again back on
Harry Potter and the Goblet of Fire.
       Richardson entered the film industry in 1962 at the age of sixteen, working for his
father, Cliff Richardson, a pioneer of special effects who started in the film business in
1921. Together they worked on The Victors, Lord Jim, Battle of Britain, Help and many
others.
       Richardson first began supervising films in 1967, working on pictures such as
The Devils, Straw Dogs, Young Winston and The Omen. His work has earned
widespread praise and more recently a further two Academy Award nominations for
Cliffhanger (responsible for both the live action and shooting the plane crash sequence)
and Starship Troopers.
       Since working on A Bridge Too Far in 1976, Richardson has been responsible for
the effects work on the eight Bond films, Ladyhawke for Richard Donner, Willow for
George Lucas and Far and Away for Ron Howard. Since being more permanently
based in California, he has been responsible for the effects work on Ghost in the
Machine and Love Affair, produced by Warren Beatty and directed by Glenn Gordon
Caron. He was responsible for the visual and live action effects and the shooting of the
plane crash sequence in this film. This was followed by Bushwacked, The American
President and John Woo's Broken Arrow.
       Richardson has supervised all types of special effects including mechanical,
physical, pyrotechnic, explosive and model effects. He has also directed many model,
action and 2nd units and is very much a "hands-on" technician. In recent years
Richardson was responsible for the special effects work on Renny Harlin's Deep Blue
Sea, and for the model work on The World is Not Enough and Brett Ratner's Family
Man. He also recently filmed the model sequences for Die Another Day, the latest of the
James Bond series.

				
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