What was it like to work with Daniel, Rupert and Emma?
It’s so delightful. All the time. And I’ve worked with them now for five years effectively, so it’s a long time seeing the same people all the time. Dan has just outstanding energy and enthusiasm and passion for the work and the people he’s with – it’s always admirable.

Emma is bright and funny, conscientious, and always questioning in a good way, and I encourage that. And Rupert hasn’t changed much. He’s always chilled out. And probably the coolest person I know because he’s just got his own way of doing things…his own rhythms. He’s a really impressive young man. So it’s never not been enjoyable.

It’s always been a joy. And as we’ve moved towards the end, it becomes more emotionally significant because this is it. They’re going to do their last couple of films now. This is the last time they’re going to play those characters. So, if anything, it became more emotional towards the end.

Which was the most difficult scene to film in Harry Potter and the Deathly Hallows – Part 1?
The most difficult scene in Deathly Hallows – Part 1 is a big chase sequence in the beginning of the film, which I worked on with another partner I have as I make these films – a chap called Stephen Woolfenden. He’s the second unit director, and he’s a remarkable man. He gets all the tricky bits of action that need to be shot, and much more besides that. He’s like my right hand man, basically.

And that sequence took months and months to film, and we had to go on location to tunnels in Liverpool at night with dozens and dozens of stunt cars and stunt drivers, and there were lots of days in rigs inside the studio. And it was difficult because it was complicated. And Stephen shouldered a lot of that. We worked very closely together and I trust him implicitly, and he’s a hugely loyal part of this whole creative team to work with and behind me. So that scene was probably the trickiest I think.

If you could pick any prop to keep, what would it be?
Well, I have a couple of nice props, which were gifts. I didn’t steal them. I was thinking about trying to stuff them in my briefcase and get through security, but I was worried about getting caught, and that wouldn’t be a good headline. I was given a Beedle the Bard book, which is the book that Hermione reads in Deathly Hallows, which was a gift from Dumbledore to Hermione, and I have the Deathly Hallows symbol.

I also have a wand. The props department is amazing on Harry Potter. There’s a chap there called Peter Dorme, who works with Stuart Craig and Stephanie McMillan, and towards the end of shooting, they presented me with a wand, which I can use on my next film, of course. They’re the things I’m taking away… legitimately.

Is there a possibility for a movie adaptation of The Tales of Beedle the Bard?
Oh, wow, that’s a great idea. I think that’s a really smashing idea. I think Jo would have to give her blessing to that whole notion, and I’m sure it’s been discussed or conceived as a great idea within the studio. Honestly, I’m concentrating on getting Part 2 ready and then having a break. Then I need to get away from wizard-y things for a bit because I’ve been doing it for five-and-a-half years, so I’m probably going to look for something completely different to do straight after.