The Daily Mail has released the first official photo of Emma Watson as Lucy in My Week with Marilyn.  It also comes with an article that has more information on her character.

The film’s based on a memoir by Colin Clark, who was Laurence Olivier’s assistant on the movie and who, during an intense period of filming, became Marilyn Monroe’s confidant. But he flirted with Lucy as much as possible in between takes. Clark described Lucy as ‘one of the prettiest little girls I have ever seen in my life… slim as a wand, curly brown hair, huge brown eyes and a wide cheeky grin.’

Harvey told me: ‘For ten years she has been this schoolgirl in the Harry Potter films and now you see her as a woman for the first time. She has an elegance about her – she looks like Jean Shrimpton! – plus she has a gift for comedy and drama, and we’re just starting to see her range. I feel we’re going to work together a lot in the future.’

FirstShowing has released a 40 minute long interview with Harry Potter producer David Heyman where he talks about his 10+ years producing the films, Deathly Hallows and so much more!!

Thanks SnitchSeeker!

In addition to Bonnie Wright and Evanna Lynch, Tom Felton, Matt Lewis and Rupert Grint, James and Oliver Phelps were in Total Film Indonesia’s November 2010 issue.  Their interview is now online and some of the translation can be read below, the rest may be read here.  They talk about their characters fates in the book as well as their lives on and off the set.

And James, you lose your life in Part 2. What was your experience filming this?
JP It was cold. I actually fell asleep. They said, “Lie there.” So I did. And then I opened my eyes and everyone had gone offstage, and gone to lunch, and I’d fallen asleep and they left me there. I said to Rupert, “Why didn’t anyone wake me up?” He went, “Well, you were so in character, we didn’t want to disturb you…”
OP The truth was, we saw him and thought, “We’ll leave him.” We like to wind each other up…

You have lots of interesting stories. Tell us of a prank you did on set.
JP We had a bit of a prank war going on with a few of the hair and makeup department. There was one girl, Grace, a trainee at the time – this is on the fifth movie – and she’d done something minute. She’d like, called us the wrong name in a joking way. We left it a few weeks. We knew that she, when we’d had a bit of a hiatus, went on holiday to Newquay, in Cornwall. So we got her car registration number, rang her up, doing a completely different voice…
OP More to the point we found out from her friends where they’d gone…
JP …and where they’d stayed and we really went into detail. So, we said to her, “We’re from NCP car parks and you owe us just over £1000 now. We’ve sent you letters in the post and, by law, now we have to contact you.” She was like, “I’ve never heard of this.” And we said, “No, your car is this car, with this registration. You parked at this location. We sent you letters, in the post, and everything. And you are at this address now?” She said, “Yes, that’s me.” Then we said, “Well, would you like to e-mail our superior? He can get back to you about it.” She said, “Yeah, please…” So we said, “OK, this is the e-mail: o-l-i-v-e-r-@got-you.com.” She went, “You bastards!” (laughs) So she was got big time. We decided it was too good so we Bluetooth it to everyone in the studio as well!
OP Where we did it… we were actually sitting in the courtyard. There were no lights or anything. It was three of us – James, myself and one of the guys, Andy – and we were huddled around my laptop, and we were calling her up and recording it. At the time, Liam Gallagher was having a tour of the studios, and he walked by and was, “How’s it going?” And we were, “You’re all right, mate?” And then we just got on with it. That was quite surreal! (laughs)

In an interview with the Sabatoge Times, Matt Biffa talks about why he chose Nick Cave’s ‘O Children’ for the Harry/Hermione dance scene in Harry Potter and the Deathly Hallows as well as mentioning his work on Goblet of Fire.  Some of that interview may be read below, but there is far more at the source, so be sure to check it out.

Why did you select Nick Cave’s O Children for ‘that scene’ in The Deathly Hallows? What was your creative process?
Well first of all, my job here was to send songs to the three Davids, and David Yates made the final decision in consultation with the others. I try not to second-guess the director too much, and to that end, I always think my job is to just put the songs out there and see how they go down. It’s just as important to know what doesn’t work, and why, as what does, so you have to be as broad as possible.

First I read the script, at least five times to start with, and countless times after that. It was beautifully written, and there was this real palpable sadness in it – all those beautiful little touches, like the toy soldiers lying abandoned in the cupboard under the stairs, and Hermione tying the scarf to the tree after Ron’s departure – that was all there, and it was all really evocative.

So then I just focused on the dancing scene itself, which on the page was all of about five inches wide, just thinking about how Harry and Hermione felt. I did that solidly for about a month, reading it again and again, listening to hundreds of songs. Basically, it was pretty daunting, because I knew if we got it wrong we’d be crucified, especially as the scene wasn’t in the book. So really that meant we couldn’t have anything that had been used in a film or on television before, but also, there are certain songs that would pull you out of the wizard world and into ours.

When did you first hear the song  O Children?
I first came across O Children in 2004, and to be honest, I’d been saving it for the right scene since then. You do that with songs, sometimes. I knew it would be incredible, but that it needed something extraordinary to really do it justice. Anyway, truth is, I’d started listening to the song again because at the time my wife and I were going through a really tough time, and I was sort of using the song to help me through…we were about to separate, and I was terrified we were going to really hurt our little boys, who were one and three at the time. I totally identified with the lyrics: “Forgive us now for what we’ve done, it started out as a bit of fun”, “we’re older now and the light is dim, and you are only just beginning”, and particularly ”we’re all weeping now, weeping because there ain’t nothing we can do to protect you”. So in many ways, it had become a sort of love letter to my sons, if that’s not too cheesy, and then when I started working on this, I realised that it seemed as if it had everything that David wanted.

USA Today has a new report where they interview Helena Bonham Carter and Tom Felton about their characters in Harry Potter and the Deathly Hallows.

In the latest installment, Lestrange fairly begs to murder Harry Potter, lunging forward with unbridled bloodlust. “I just base her on a really, really naughty, horrible child,” says Bonham Carter. “She’s got arrested development. She’s totally unpredictable. You have no real idea of how she’s going to react.” She also is “the ultimate witch,” the actress says. “Kids are genuinely terrified by me on the street, which is quite funny.”

She didn’t relish the scene in which she tortures Hermione (Emma Watson). “It was pretty hard,” she says. “The sadistic part doesn’t come naturally to me. The oddness definitely does, but the sadism doesn’t.” All must have been forgiven. Watson and Bonham Carter happily socialized during filming. They discussed Hermione’s character, since in the final film installment, out in July, Bonham Carter impersonates Hermione. “We went to tea and had long chats,” Bonham Carter says.

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“He’s a character who’s very defined,” Felton says. “He was purposefully written by Jo Rowling as very one-dimensional in the first few books, because you’re supposed to hate him. You’re supposed to build up as much dislike for the character as you can until we get to Book 6. We hate him even more for the first half of that book because we think he’s up to something and we know he’s going to do some damage.  But it’s not until we actually see why he’s in that position and see him break down on two or three occasions that we actually start to feel a bit sorry for him. This guy’s a horrible victim of circumstances and terrible parenting.”

Felton says director David Yates explained Malfoy’s position in a way that hit home. “The Muggle (non-wizard) equivalent of what Draco was technically asked to do is like a terrorist group giving you a gun and saying, ‘Shoot your president in the head or we’re going to shoot you.’ God! Imagine a 16-year-old having to take that on! And that continues in the seventh book, when we really see him struggle. He’s a boy amongst men in a world that he does not want to be in. Every minute he stays there, he knows he’s not cut from the same cloth as those people.”

In a new interview with USA Today Ralph Fiennes talks about playing Lord Voldemort in the Harry Potter films!  Tom Felton, David Yates and Daniel Radcliffe also talk about Ralph.

“He’s really sort of the devil,” says Fiennes, 47. “He’s completely emotionally detached. He has no empathy. You find that in psychopaths.” “It’s about power with Voldemort,” he says. “It’s an aphrodisiac for him. Power makes him feel alive.” “Jo Rowling has always said that the thing that separates Harry from Voldemort is that Harry is not afraid of death,” Radcliffe says.

Director David Yates praises the actor’s ability to nail Voldemort’s mercurial menace. “Where he goes in his eyes is really haunting.”

And no matter the lights, cameras and presence of dozens of crewmembers, Radcliffe was consistently unsettled by Fiennes. “When Ralph’s doing his Voldemort stuff, he just really freaks me out.”

Tom Felton, who plays Draco Malfoy, says he also was unnerved. “Ralph is mesmerizing,” Felton says. “He never did two takes the same. … I had to keep reminding myself: ‘Stay in character. Don’t just sit there and watch his performance.’ He dominates scenes in the film, and it’s like that off the set as well,” Felton says. “He’s quite a charming guy. And when he opens his mouth, people listen. Let’s put it this way: No one talks over him.”