Q&A: David Heyman
THR sits down with the wizard behind the 'Potter' franchise
The Hollywood Reporter: You studied art history at Harvard. Ever regret choosing producing over art dealing?
David Heyman: No, (though) there was a point where I contemplated being an art dealer. But now I love art as someone who goes to galleries occasionally, who buys occasionally.
THR: How has the "Potter" franchise evolved since you began producing all those years ago?
Heyman: In a couple of ways. Firstly, it has become slightly more contemporary in spirit, even though it's clearly surrounded by traditions and old-fashioned influences. The issues we're dealing with in the more recent movies are very different from those from the first films. The books themselves have matured and have become a more natural counterpoint to the magical world in which they are set. Secondly, from the third film, we began to tell the stories from Harry's point of view. As the books became larger and more extensive in scope, it became obvious we'd have to tell the story from Harry's point of view rather than attempt to make a single film using all the character strands.
THR: Have the budgets grown?
THR: Do you feel differently as a producer tackling the last books in the franchise than you felt when you embarked on the process for the first time?
Heyman: There is an element of feeling more confident and you understand the framework and practicalities of making such a film a bit more. The difference with the last two films ("Harry Potter and the Deathly Hallows: Parts I & II"), is I feel a sense of the end being nigh and a lot of us (working on it) feeling that mix of melancholy and excitement. We've all grown up doing this process of eight films. In the 10 years of making the films, people have married, divorced, babies have been born and it really is like a big family. But we are all excited about embracing the future.
THR: You haven't just made "Harry Potter" movies. How did you manage to make other films ("Yes Man," "I Am Legend," "The Boy in the Striped Pajamas" and "Is Anybody There?") while embroiled in "Potter"?
Heyman: It wasn't without its challenges. The great thing on "Potter" is that the lines of communication are fast, open and really direct. It means everything on "Potter" has its own shorthand and decisions are quick and easy.
THR: Warner Bros. has backed the "Potters," but you have worked with other studios on other projects. How is the climate for independent producers?
Heyman: The options in terms of U.S. financing for movies are demonstrably more limited than they were. Studios are primarily interested in big tentpole pictures right now, so it is hard for independent producers.