标题是：Newt Scamander - The Wizard Who Caught Grindelwald 纽特·斯卡曼德 - 抓住格林德沃的巫师
大标题是：'Creature teacher' Newt To Tie the Knot. '生物教师'纽特将要结婚
小标题是：'Bachelor no more? Maverick Magizoologist is engaged to wizarding nobility!不再单身？特立独行的神奇动物学家与巫师贵族订婚！
大标题是：Beast Tamer Newt to Wed 驯兽师纽特即将结婚
小标题是：Bachelor magizoologist Newton Scamander to marry childhood sweetheart! 单身的神奇动物学家牛顿斯卡曼德将要迎娶青梅竹马！
【The Art Of Fantastic Beasts: The Crimes Of Grindelwald】
The camera would tilt down to this shot – a puddle on the cobbled street with the reflection of Circus Arcanus upside down – then Tina’s legs walk into the frame and through the puddle. The camera turns 180 degrees showing Tina walking away from camera in the puddle reflection; the camera then pushes in on Tina as the ripples in the puddle subside, revealing Tina walking towards the now fully realized Circus Arcanus.
相机倒过来拍这个镜头 - 鹅卵石街道上的一个水坑，里面是马戏团的倒影。
We begin with Kama leading her down narrow steps to the sewer. The next two show Tina imprisoned, from different angles.
This image stood to establish this important character’s key abode. The design proved to be a catalyst, as the small set created to shoot this moment evolved greatly, with input from cast, writer and production designer alike.
the basket contains an illusion of shining objects, created by light-reflecting lining, which entices the babies to climb in and be captured.
the carousel included fortune-telling teacups, Thestrals instead of horses and chilcren riding chocolate broomsticks.
Inside, the decoration is strikingly mundane.
‘We decided that Newt would really live in his basement, so upstairs it was furnished as sparsely as possible,’ explains set decorator Anna Pinnock. What few loving touches there are have been provided by Bunty, Newt’s assistant, housekeeper and secret admirer. Sadly, such touches go largely ignored by an oblivious Newt. This is mostly the Spartan décor of a mind focused elsewhere.
The graphic design team’s quota ran to little more than magically branded biscuits and other sundry goods. ‘There were a few products, because Newt ends up cooking dinner for Jacob and Queenie here’, recalls Eduardo Lima, ‘but nothing else.’
There was a discussion as to whether Newt even slept in this stark environment. ‘He probably doesn’t,’ concludes Eddie Redmayne, ‘He sleeps down in his basement.’
‘We did a lot of research into contemporary zoologists and vets,’ says set decorator Anna Pinnock, also keen to fuse the real and magical for maximum effect. That also means the two sides of Newt – the strict dedication of his off-centredness. ‘David Yates wanted to make Newt seem a lot more focused and recognizably professional, immersed in the care of his creatures, practical in his skills while also keeping his eccentricity and special magical abilities with the creatures as evident as possible.’
‘We created an X-ray machine based on what was happening in the era,’ says Bohanna. Magic and science are blended together, with Bohanna even providing some radiation suits hanging from coat-hooks.
In amongst the jumble of tables and desks, and pseudo-scientific equipment, the graphic design department contributed labels for potion bottles sketches and a pile of notebooks that Newt has been collating. ‘He has maps and charts,’ says graphic designer Eduardo Lima. ‘And we brought back many of the things we desgined for the first film. There were specific notes from the book he was writing.’
‘You’re always trying to think about the personality behind the thing that you’re having to create,’ explains Mina. ‘We know he’s very logical, but also impulsive like a mad professor.’
During the flashback to Newt’s unsettled schooldays, we get a glimpse of his formative ventures into magizoology, for which was built a small but significant set. Stocked with a collection of snail-like Streelers, a tadpole tank, and an injured baby raven, which he is tending, Newt has established his first sanctuary for beasts in a secret cupboard space at Hogwarts. It is a forerunner of the case and basement he will design as an adult.
In a typical quirky Stuart Craig-like touch, the production designer had imagined this strange, cramped refuge hidden in between the vaulted ceiling of the cloisters and the floor above. ‘Newt’s little secret menagerie is in that space,’ he explains. ‘You walk through a small door off the cloister, go immediately up this tight little stone staircase, and end up sitting on the vaulting of the cloister below.’
For Redmayne, this space provided another keen insight into Newt’s psychology. ‘He felt much more comfortable in there with them than he did with other students. Right from when he was a kid at Hogwarts, he would go and collect damaged creatures and look after them and revitalize them. It was something in his blood.’
For Rowling, Newt’s kindred relationship has only become more important. ‘I’ve got a hero who is interested in saving an aspect of the magical world that, at this period, virtually no one else cared about,’ she says. ‘Newt is treading this very lonely road where he says, “You know what? We are destroying something so beautiful if we let these creatures go. They are inconvenient, they get in the way, they break the Statute of Secrecy, many of you don’t understand them and are really frightened of them, but we have to protect them, and I’m going to do it.” And, that gets him into all kinds of trouble. And, it compounds what other people see as his oddness.’
‘Apart from the symbolic connotations of the beastly world and the beasts within us, I think that people with modern sensibilities will view Newt’s approach to these creatures as entirely ordinary,’ explains Rowling. ‘But the world hasn’t always been like that and actually in some parts of the world right now, obviously, that is not the view that people take. So that’s at the core of Newt as a character. He’s actually defying the wizarding law of the time to save some of these creatures.’
‘In between the end of movie one and the beginning of movie two, Newt has found himself, very reluctantly, famous,’ explains JK. ‘And he really hates it. This is a man who’s happiest alone in a jungle, dealing with some fearsome creature that no other wizard would want to go near, and now people want his autograph, and that’s hideous for him. He thought his book was going to protect and save creatures and educate his fellow wizard.’
If anything, his personal life is even more of a mess. He hasn’t heard from Tina in months.
‘What I love about Newt is that he’s not easy,’ says Eddie Redmayne, ’With the first film, David Yates said to me that he wanted to explore his ‘knottiness’. And jo has extended that into the second film. He’s still true to himself: he’s not trying to please anybody. Being knotty means making sure you investigate the harder edges as well as the soft ones.
‘Newt is genuinely happy in his own, to other people, slightly odd world,’ says JK, ‘He’s having a fulfilled existence, he’s making his own moral choices in an arena where he’s very comfortable. However, during this movie he’s forced to accept that there’s no hiding from the larger struggle going on among wizard kind. It touches too many people he cares about.’
‘Newt is one of the few to call Dumbledore on what he does to other people,’ adds Rowling. ‘That’s what’s so interesting to me about their relationship, because I want someone to call Dumbledore on his secretiveness, and his manipulation, and I want to hear his answers.’
Newt：’Eddie Redmayne was very keen to stick with the hair. He loved its sort of oddness, without it being distracting. With everybody else in the movie their hair goes back, Eddie’s goes forward. Eddie has the same toupee, with the same light colour. It goes well with the little tan that we put on him. His silhouette has become pretty iconic. Even in a dark alley you know it is him. Which is key because we do shoot quite dark sometimes.’
While tolerating his predilection for magical beasts, Newt has long been a worry to his brother. Still, Theseus and Leta did attend the launch of his new book. And with Theseus having been chosen to help hunt down Grindelwald, Newt’s talents might actually be of use. With the Dark wizard fixed on tracking down the Obscurial hiding out in Paris, Torquil Travers, the Head of Magical Law Enforcement, presses the younger Scamander to help them intercept Credence.
Even when Newt refuses, Theseus asks him to be his best man.
On the surface, Theseus and Leta’s romance looks a fine match. As far as Theseus is concerned, they have fallen in love, they’re engaged, and things are going well in their life.
Yet unbeknownst to the older Scamander, Leta has her own store for secrets that threaten to derail the forthcoming wedding.
‘Callum Turner has good hair, but we had to lighten it to match Eddie’s. The biggest thing with Theseus is that Callum has not got a freckle on his face. One of my team, Emmy Beech, took about fifty minutes to carefully freckle him up. It’s a work of art. I think the boys look great together. They look like brothers.’
As scarred and brutal as his name suggests, Gunnar Grimmson is the polar opposite of everything the Magizoologist hero stands for. He hunts down beasts rather than rescues them, taking a cruel pleasure in his task. In short, he is the anti-Newt – his nemesis. And now he’s tracking Newt’s movements through the avenues of Paris.
‘He’s hired by London’s Ministry of Magic to hunt down Credence,’ says actor Ingvar Eggert Sigurusson, who naturally feels his character is misunderstood. ‘To me he’s a good guy, but no possibly to the audience, and definitely not to Newt. He hates him. They have some kind of past. Grimmson is very skilled at hunting down dangerous beasts.’
By Grimmson’s twisted logic, magical beasts represent a great risk to the world, none more so than an Obscurus. ‘So he’s the right man for the job,’ states Sigurusson.
演员英格瓦尔·埃格特·西格鲁森（Ingvar Eggert Sigurusson）自然觉得自己的角色被误解了，“他被伦敦魔法部雇用来追捕克雷登斯。对我而言，他是一个好人，但观众不会这么想，纽特绝对不这么想。纽特讨厌他，他们过去有些交集。格里姆森非常擅长追捕危险的野兽。”
Queenie is not herself at all. Her entire outlook on life was transformed when Newt Scamander crashed into the relatively subdued magical existence she shared with her sister Tina in a New York brownstone, with a case full of beasts and a humble Brooklyn baker in two. A world of excitement and possibility had opened up. Not least the possibility of love for the beautiful, young witch gifted – and cursed – with Legilimency: the power to decipher thoughts.
‘In the first film, she had this real innocence and vulnerability and joy and excitement,’ says Alison Sudol, ‘there was this adventure suddenly happening in her life. Then meeting Jacob was just wonderful. It was really delicious exploring all that.’
Between films, Queenie has got herself into something of a fix. Wary of discovery by the outside world, MACUSA have stringent laws about any kind of interaction with No-Majs. The notion of marrying one is outrageous. But Queenie has taken it upon herself to reverse the effects of Jacob’s Obliviation in the hope to doing just that – marrying him.
‘By the time of the second movie they have been in a relationship for a while,’ she explains. ‘There is a bit of desperation, and it pushes her to make, perhaps, not the wisest of choices.’
Her actions have caused a rift between the two sisters. Furthermore, with Jacob unwilling to break wizarding regulations, Queenie has placed him under a spell and whisked him to Europe where marriage to a No-Maj is permitted.
After Newt restores the befuddled baker to his normal faculties, there is a blazing row, and a deeply ashamed Queenie storms off to find Tina in Paris, where she will fall under Grindelwald’s poisonous influence.
Importantly, we still need to believe that in her core she is the same person. ‘ You need to stay with her,’ Sudol says, ‘even if it hurts.’
In Paris, vulnerable and alone, Queenie is scooped up by Grindelwald’s shadowy gang of acolytes, and Sudol has been so impressed by how JK Rowling depicts the Dark wizard not as an ogre and outright villain but a master manipulator. Grindelwald knows the way to get to Queenie is through her big heart, and he begins telling her everything she wants to hear.
‘He’s also a bit flirty,’ says Sudol. ‘It’s the age-old thing of the good girl getting swayed by the bad boy.’
On first reading the script, Sudol admits that the complex journey that Queenie takes came as a shock. Having given it some thought, she now sees that there was no other way for the character to go. ‘It’s a lovely idea that she and Jacob fall madly in love and they have lots of children. But where is the drama in that? This is an exploration of the uninitiated maiden’s descent into the underworld…’
‘Queenie is on a journey. She is not in her comfort zone anymore. We see her soaked in the rain in literally the third scene, and we carry on throughout the movie with her a bit bedraggled. She isn’t all glossy curls anymore. She’s searching. She’s on the run. She is still very pretty, but that polished sort of bubbly look has gone.’
Jacob joins Newt on his mission to French capital, desperate to make things right with Queenie. But compounding Jacob’s relationship problems, he will have a serious rival for Queenie’s attentions in the shape of Grindelwald. For, having fled to Paris, Queenie will fall into the charismatic wizard’s orbit.
‘Things are getting serious on many levels,’ says Fogler. ‘But the beautiful thing about Jacob is that, even though he finds himself in the middle of chaos, he tries to do the right thing. He’s going to help Newt until the end of his journey. His heart is so big that he can’t help but help people.’
If there is an upside to his predicament, it is the chance to renew his friendship with Newt. ‘Their relationship is iconic,’ observes Fogler. ‘It’s like Han and Luke, Sherlock and Watson, and Laurel and Hardy. There are moments there, where you look at us, it could almost be in black and white. We’re two different sides of the spectrum, both physically and personality wise. Newt is book smart and I am street smart.’
‘When we meet her we feel that she’s a woman who’s struggling to emerge into the light, but she’s burdened by her past,’ says the author. ‘Her family casts this enormous shadow over her. At this point in wizarding history, the Lestranges are the very epitome of pure-blood aristocracy.’
‘The lestrange family name comes with a whole raft of expectations and associations,’ David Heyman says, ‘so she has to live with that, and she certainly has a dark side. She has done bad things in the past. But that does not necessarily define her. She’s someone who is decent. She and Theseus, Newt’s brother, are a couple. But she is wrestling with what is expected of her and who she really is.’
“She’s quite complicated,’ says director David Yates, ‘a little damaged, and confused…She’s kind of a tragic figure in a way.’
Back in their Hogwarts days, when only teenagers, Leta and Newt developed a special bond. Both outsiders in their own way, they were instinctually drawn to one another.
‘Their oddness brings them together,’ explains Kravitz. ‘On paper it might not make any sense, but Newt is such a compassionate person who loves beasts. He loves things that no one else will love, and Leta is that in a lot of ways.’
The legacy of their friendship will be the seed of much romantic confusion in the second film. Before it even begins, Leta has become engaged to Newt’s older borhter Theseus. Nevertheless, it could be that Newt still understands Leta a lot better than his brother does.
‘Leta lives in a place, emotionally, where no one wants to be,’ says Kravitz, who admits that has been tough to play. ‘She has a lot of self-loathing. I had to find that in myself – the things I don’t like about myself. Dipping in and out of that has been quite intense.’
Leta is also in possession of a secret regarding her own family, a secret that links mysteriously to Credence’s quest to know his true identity and place in the world.
‘It is something that unravels during the course of the film,’ says Yates, ‘and that’s always a very interesting thing to investigate – guilt and what it does to you. Her journey goes to a lot of interesting, odd, intense places.’
Yusuf Kama has been hiding out in a dismal, subterranean chamber that runs beneath the Seine. It also turns out to be close to the Paris sewer system. It is here he imprisons Tina, Newt and Jacob, bringing about an unexpected reunion. It is here too that he reveals his obsession with Credence.
It is here Tina is confronted with the sight of Kama’s calculations of the Lestrange family tree scribbled over the walls.
‘Kama is obsessed with how Credence might connect with the Lestrange family,’ says Craig. ‘The graphics on the walls of this massive tunnel, and roof above him, reveal he has been obsessively trying to work out a connection with Credence, and then track him down and kill him.’
‘A fascinating character. There is this underlying, mystical elegance. He’s got naturally very curly hair, which he wears in a calm, elegant wave.’
When owls are not secure enough, the wizard turn to a magical book to get in touch with their magical friends.
‘It looks like a book but each page is a picture of someone in their office.’ Explains Miraphora Mina, whose team has been responsible for creating it. ‘Like a photo album’.
Much like the moving portraits on the walls of Hogwarts, each page in this magical directory will show that witch or wizard. If they’re not in, you just see their office.
The three ministries might differ structurally, but they are all stifled by that wizardly predilection for soul-sapping bureaucracy. It is another of JK Rowling’s recurring theme: magic or not, all governmental bodies come buried in paperwork.
‘The paperwork, all the files and stationery, are very much of the time,’ says Miraphora Mina. ‘Even the style of the folders is all very twenties.’
For each ministry the graphic design team has a signature colour. For British establishment it is purple, for MACUSA it’s green, and for the Ministere it is blue. You’ll see it in the ribbons and folder edges, just a subtle touch of colour to denote a particular brand of magical officialdom.
‘If anything, we’ll see that France is even more tied up in bureaucracy,’ says Mina. ‘We have had to create reams of French documentation.’
Once the mayhem of the chase is underway, involving a battalion of CGI Matagots, the Ministere’s temperamental feline security personnel, the scene switched to a greenscreen set.
‘We had to create endless virtual rows of shelves,’ says Tim Burke, visual effects supervisor. ‘All of those shelves start to animate in this fanstastic chase sequence, which we shot with lots of green props for the actors to interact with and dodge. What’s great on this film is that the actors are very involved in what we’re doing. They’re giving us their character beats. So we’re getting Eddie Redmayne saying what he would do and Katherine Waterston saying what she would do, and we’re developing the story with them. They’re giving us ideas for what the creatures would do. It’s a real collaboration.
“我们不得不创造无数排的虚拟书架，”视觉特效总监Tim Burke说。 “所有这些架子都在这个追逐系列中移动，我们用了许多绿色道具、让演员能够与其互动和躲闪。这部电影的优点在于演员们非常参与我们在做的事。他们会告诉我们他们角色的节拍。所以，埃迪雷德梅尼说他会做什么，凯瑟琳沃特森说她会做什么，我们和他们一起发展故事。他们给了我们神奇动物会怎么行动的想法。这是一次真正的合作。”
‘Circus Arcanus is a brutal place,’ explains JK Rowling. ‘It might seem at first glance to be a place of great wonder and mystery, but in fact, it’s a combination of freak show and a form of people trafficking.’
‘It is very poor and dirty,’ remarks costume designer Colleen Atwood. ‘In terms of the costumes, there are a lot of chinks in everyone’s armour. They are filthy, really brown and kind of thrown together as opposed to designed.’
The mood, emphasizes Atwood, is poverty. This is more of ‘an end of the road’ circus. ‘If you see a clown,’ she says, ‘he’s more likely a clown whose feet are on backwards. There are a lot of deformities here, halfway between human and creatures.’
Like The Blind Pig, the goblin Gnarlak’s dingy speakeasy in New York, this shabby establishment reveals the unwholesome lower tiers of the wizarding world. And it is to here Tina that has come in search of Credence.
Credence is no longer Credence Barebone. Following the death of his adoptive mother at his own, uncontrolled hand, and his arrival in Paris, he is known only as Credence. Once again, this troubled young man is unwittingly the eye of the storm. No less than five separate parties are in pursuit of him, each with their own agenda for the tragic Obscurial: Tina is desperate to save him, Newt as well, but Yusuf Kama, Grimmson, and, worst of all, Grindelwald have something less savoury in mind.
‘Well, you could with justice, have believed that Credence had been killed at the end of the first film,’ says JK Rowling. ‘But, in fact, as Newt knows, you can’t kill an Obscurial when they’re in their Obscurus form. You can shatter the Obscurus temporarily, but the person hasn’t died. So Credence survives and his big question now is, “Who am i?” And his quest for his true identity propels his story through the second movie. One of the major strands in this movie, is, who is Credence?’
‘Credence is a young man with a severely troubled and traumatic history,’ explains Miller, ‘Through an act of only partially intentional violence, having cast off the chains of his abuse, he is now setting out on a journey of self-discovery, because much of what he knew of himself he knows now to be a lie.’
Before being adopted by the tyrannical Mary Lou Barebone in New York, Credence had been born to an unnamed witch. Now he is driven by the possibility of discovering the identity of his mother – who may have a connection to the Lestrange family tree- and thereby find his place in the world. He also hopes that by understanding where he came from he will gain mastery over the Obscurus within him – that vortex of parasitic magic manifested as an inky, roiling cloud.
‘He is already starting to gain a measure of control, to manifest the Obscurus intentionally,’ says Miller, ‘There’s a liberation and relief to that. He is transforming into someone who is surviving. Which brings with its burdens of choice and responsibility, but he’s still a kind of unexploded bomb because of his inherent power.’
在暴力的玛丽露拜尔本收养他之前，克雷登斯的母亲是一个不知道姓名的女巫。现在，克雷登斯有可能通过发现他母亲的身份 - 他母亲可能与莱斯特兰奇家族有关 - 从而找到他在世界上的位置。他也希望，通过理解他的出身，他能懂得掌握他体内的默默然 - 一种寄生魔法的漩涡，一团漆黑的滚动的云。
The fact that he is even alive is a miracle. Credence has reached the point in a wizard’s life when the Obscurus would normally have killed them. As Miller sees it, survival has become a mechanism of discovery. ‘He knows his mother who gave him up is in Europe. He has an adoption paper.’
The tragic irony is that Grindelwald has the knowledge of Credence’s true identity.
‘We have moved on from the bowl cut! What’s exciting is that we see him leaving New York with a hat, beneath which we spot a shaved head. The idea is that when he eventually arrives in Paris he fits in with the crowd. He’s got a simple crop – a grown-out version of the shaved head. Quite dark. We’ve kept him quite tired looking, quite dirty, almost bestial.’
‘This movie deals with the rise of an autocrat, or a man who will be an autocrat if he gets the chance,’ explains JK Rowling. ‘He’s a very seductive character and hopefully people will understand why even good-hearted characters are persuaded by him as he beings to gain power.’
‘He’s a very sophisticated villain in the sense that what he wants to do, really, is to win hearts and minds’, says Yates. ‘He wants to convince people that his path is the right path. Voldemort would go around killing people willy-nilly and bludgeoning people with his philosophy. So, you kind of knew who the bad guy was. It was so obvious.’
While he is going to great lengths to ensnare the power of Credence’s Obscurus, Grindelwald has also come to Paris to pursue a global agenda.
Grindelwald is obsessed with the idea of seeing wizardkind rise up and take their rightful place in the world. Those he sees as unpolluted by non-wizarding blood. The concern is that he wants to not only dominate non-wizards but also eventually eradicate them entirely.
Which makes him a credible threat to those who belive in love, understanding and curiosity. Yates says, ‘ Grindelwald makes a case for the path he wants to take us all down, and he pretends he’s one of us. He pretends to empathize with us, which makes him probably the most dangerous villain ever.’
‘He’s a compelling speaker,’ explains the director, ‘and he’s playing a longer, cleverer, more dangerous game than the obvious.’
Magically speaking, things are looking up for Tina. In the months since Newt Scamander departed New York, she has been reinstated as an Auror – the wizarding community’s law enforcement – and rediscovered her talent for both magic and investigation. At MACUSA, Tina now counts as a pretty powerful witch.
‘She’s got her old job back, and in the middle of a mission,’ says Katherine Waterston. ‘Back in the thick of it, and she’s thriving in that position. What she learned in the first film was that although she was nervous about what was going to happen with her career, she never fully lost her confidence in following her instincts, which led them to Grindelwald’s arrest. Her core confidence was always there. It was just a little shaken.’
Ever the canny detective, Tina’s leads have brought her to Paris, on what Waterston classifies as a ‘pro bono’ mission. She is still a determined to find Credence, the abused orphan who harbours a deadly Obscurus. ‘It’s a little unclear whether MACUSA knows her whereabouts,’ says Waterston. ‘Tina isn’t confident they would approve of her desire to save Credence. They are seeking him for a different reason.’
Tina’s empathy for the young man lies at the heart of the character. The fact that she and Queenie were orphaned very young and Tina felt a responsibility to protect and take care of Queenie, has expanded beyond her sister.
‘A child in need, that’s her Achilles heel,’ says Waterston, ‘She’ll break the rules to help protect any child. That is what initially drew her to Credence. At the end of the first film, she gave him her word that she and Newt would protect him and she’s not one to go back on her word.’
Romantically speaking, things couldn’t have got worse for Tina. She and Newt had been separated by the Atlantic Ocean but had at least been writing. This was ended abruptly when Tina discovered that Newt is engaged to Leta Lestrange. This is all a ridiculous misunderstanding, of course, but interpersonal communication was never either of their strong suits.
‘She has to move on with her life,’ explains Waterston.’She has her work do to, which is Tina’s way of coping with painful things. So off to Paris she goes. But then Newt shows up and risks messing up her investigation as he chases her around insisting she listen to his version of what happened.’
In the end, the long-awated reunion of the oddball couple may not be quite as romantic as fans had envisaged. ‘There’s every chance that she might kick him in the shins,’ says Waterston. ‘She’s mad and thinks she’s been jilted. She’s got her pride. She’s trying to cover up how hurt she is, but of course he can see through that.’
This stuttering relationship is another wonderful example of what is so real and human about JK’s writing. Matters of the heart are beyond the reach of spells. And as the various perils mount up on and below the streets of Paris, Tina finds she is once again having a ball in Newt’s company. ‘It’s like, “Oh, god, this guys’s fun to be around”, and she has to deal with the fact that he’s wonderful and she can’t have him.’
To add to Tina’s woes, there has been this whole drama with Queenie. Put it this way, the stubborn Goldstein sisters do not see eye to eye on Queenie’s somewhat intense marital plans concerning Jacob.
‘That was a big responsibility for Alison and I,’ says Waterston, ‘to bring this history, that you don’t see play out, to the film. The fracturing of their relationship is an extraordinary loss for Tina. The film as a whole really explores important lessons about dealing with and confronting the troubled relationships in your life. In a way, while Tina’s desperately trying to save Credence, she misses some opportunities to repair her relationship with Queenie before it’s too late.’
Tina’s singlemindedness can be seen in her new look. She wears a long, leather coat like those worn by the classic movie detective. It lends her an aura of power. You wouldn’t mess with this lady in a hurry. But it is also like a suit of armour, protecting a fragile heart.
She is sporting a more stylish haircut too.
‘In the first film, her hair was so blunt and simple,’ says Waterston. ‘For the new film, I had been thinking how the romance with Newt had awakened that part of her life. There is now an awareness of herself as someone who could be attractive. I thought that for the first time in her life she would actually go to the hairdressers.’
Tina is now strictly business. ‘She’s a more powerful woman’, says Atwood. They had tried a dress along the lines of MACUSA’s Seraphina Picquery, but Waterston felt strongly they should stick with trousers. ‘Even though Tina has grown more confident that doesn’t mean she has become a different person, ‘ says Atwood. ‘And when the coat happened, it was such a great coat and pants she ended up back in trousers.’
The overcoat is impressive but heavy. ‘It was a workout just to put it on every day,’ says Waterston, but admits it helps define her character. ‘She has more authority now.’
Atwood is satisfied with the outcome. ‘With that amazing blue leather coat, with its cinch waist, she looks like a true detective.’
‘She is back to being an Auror again so we felt that she had to be more chic this time, but still with that simple but gorgeous bob. We ummed and ahhed about the fringe, but David decided he really liked it. That’s the big difference. On the first film, it was like maybe Queenie had cut it. Now, you know, she’s been to a new salon.