How does it feel now that it's all over, and there's nothing left to film?
WRIGHT: It's very weird. I think it's one of those things that we thought would never, ever happen. It was the last week, and then it finally became the last day, and it was just so bizarre. I think for all of us, it's been such a long journey, and such an amazing journey, that we were all very happy to tie it up and move on to the next stage of our lives. I think that's the most important thing now for me, is definitely to keep acting, and to try and diversify my skills and share myself in different roles. When you start so young working, you build a hunger for acting, working, and a busy life.

What was it like the last day on set? How do you deal with the end of all of that—is there a lot of crying?
WRIGHT: It was much more emotional than anyone anticipated. I think what was bizarre about it was we were so used to that environment of the studios, sets, and people you are with, that it became almost like a second home to us. For that to suddenly finish was the weirdest thing for us. This thing that had become such a norm for us was suddenly going to be just terminated.

I think it takes a long time, I think it did for everyone. The next six months afterwards, and even now, because the last film hasn't come out—that feeling of it settling in, slowly but surely, that it's finally going to be the end when the last film comes out. It was a big thing for us all, but I think it was a very proud moment for everyone, as well. It was a time to celebrate the amount of work people had put into it, and how much of a success it has been.

In the new movie, one of the sort of fan-favorite moments from the book involves your character and Mrs. Weasley—when Mrs. Weasley curses at Bellatrix Lestrange. When you were doing that moment on set, what was that like?
WRIGHT: It was in the Great Hall, and it's an amazing moment for Mrs. Weasley—Julie Walters is the actor. She finally gets to show us what she's made of, and obviously Mrs. Weasley is protecting Ginny and protecting her family. It's just a great moment to show what family is, and the alliance that they have, and how strong a unit they are.

You mentioned before that being thrust into this situation so young made you and the other younger cast members mature quickly and learn how to speak to older people. Did you get any memorable acting advice from the film legends that you were working with?
WRIGHT: Yeah, definitely. We were surrounded by a mixture of so much amazing talent and such long careers. Their knowledge and charisma was difficult to escape, you know! [laughs] On set, you could definitely feel that you were in the presence of someone who has acted in amazing films and has performed incredibly.

They were all very open to us, and talked to us, but it wasn't until the films went on, when we grew older, that they really began to relate to us and talk to us more. When we were younger, everything was a bit more divided, because we had school to get on with and different things. I think as we got older and we had many more scenes with them, that relationship did build much more in terms of the idea of talking about what was happening in the scene and sharing ideas. We did a bit more collaborating together.

Can you tell me about your role in Geography of the Hapless Heart?
WRIGHT: Yeah, that's a short film I did about two years ago. It's going to be one of five, they're set in different cities, at all different times. And they're linked through a necklace that's passed through the stories. Mine was the first story, it was set in London. It's about this young man who's walking home from work along the South Bank in London, and he reflects over his relationship he had with this girl that he basically ruined, and the girl is the character I play.

Can you explain your role [in The Philosophers] a little?
WRIGHT: It's set in an international school in Jakarta. It's called The Philosophers because it's based around this philosophy classroom, before they graduate from their last year of high school from this international school. Their philosophy teacher is very sort of strange and corrupt. There's a thing in philosophy called "thought experiments," where you basically imagine a situation that you go in as a group and put philosophical ideas into practice.

We use our imagination, that we all create and think of, as this bunker that's going to sleep ten people to hide out from a nuclear war, a [post]nuclear sort of world. And it's all this battle between the 21 of us, the students and the teacher, of who should be saved, who should go in this bunker. It's quite a psychological thriller; we flick back from this imaginary world and into the classroom. It's very sort of analytical, about ideas and friends against friends, so it should be interesting.