Um, w- how, how much of a task was that? How much did you lean on, um, created sound versus sound libraries and preexisting audio?

Huge amount of it was, is original and recorded.

So we went to a school, um, and recorded in 5.1 LCR spot mics, ambisonics, um, and that was in a nice big hall with like real kids.

So you got their authentic mischief and, um, them being themselves, which just adds so much.

And then actually them not following the script was some of the most useful, [chuckles] some of the most useful stuff, um, because it's just real, you know? Um, but so there was load, yeah, a l- a lot of that we, we leaned on really heavily.

Then the Hogwarts Express was, we actually built the Hogwarts Express piece by piece initially.

Um, you know, the rattle from the window, the door, the, the creaks of the floor, and then we went and recorded this real steam engine.

Yeah, and for continuity, absolutely.

It's around about 130 hours of content for all seven books, and there isn't a moment in the sound where we haven't cut, for instance, the backgrounds, so it's like constant effects the whole time.

Scope-wise, everything is covered: every movement, every location, the outside of those locations.

If we're in Hagrid's hut, I know where that is situated in the grounds, how close it is to the Black Lake, how close it is to the Forbidden Forest, how much of those elements should bleed in through the windows, what time of day it is, what time of year it is.

Every classroom, every bit of text was scrubbed through to see what details are in the classroom.

You can't have a clock mentioned in book six and not have it in book one, so everything is totally canon to the books.

Harry's Patronus is a stag, and for the scene where he first conjures it, Lawrence crafted a whole ethereal soundscape.

It's literally an abstracted stag call.

[stag calling] There are choral layers.