J.K. Rowling's thoughts
This is a personal expression, which has nothing to do with tales of the dead.
Over the seventeen years that I planned and wrote the seven Harry Potter کتابیں (not to mention Quidditch through the Ages, Fantastic Beasts and Where to Find Them and The Tales of Beedle the Bard), I generated a mass of information about the magical world that never appeared in the books. I liked knowing these things (which was fortunate, دیا that I couldn't stop my imagination spewing it all out) and often, when I needed a throwaway detail, I had it ready because of the background I had developed.
I also found myself developing storylines for secondary (or even tertiary) characters that were superfluous to requirements. مزید of a wrench were the plots I worked out for some much مزید important characters that had to be sacrificed for the bigger story. All of these I inwardly termed 'ghost plots', my private expression for all the untold stories that sometimes seemed quite as real to me as the 'final cut'. I have occasionally been in conversation with a reader and made mention of part of a ghost plot; looks of consternation پار, صلیب their faces as, for a تقسیم, الگ کریں second, they ask themselves whether they have accidentally skipped twenty pages somewhere. I apologise to anyone I might have accidentally wrong-footed in this way; the problem is, literally, all in my head.
This is a personal expression, which has nothing to do with tales of the dead.
Over the seventeen years that I planned and wrote the seven Harry Potter کتابیں (not to mention Quidditch through the Ages, Fantastic Beasts and Where to Find Them and The Tales of Beedle the Bard), I generated a mass of information about the magical world that never appeared in the books. I liked knowing these things (which was fortunate, دیا that I couldn't stop my imagination spewing it all out) and often, when I needed a throwaway detail, I had it ready because of the background I had developed.
I also found myself developing storylines for secondary (or even tertiary) characters that were superfluous to requirements. مزید of a wrench were the plots I worked out for some much مزید important characters that had to be sacrificed for the bigger story. All of these I inwardly termed 'ghost plots', my private expression for all the untold stories that sometimes seemed quite as real to me as the 'final cut'. I have occasionally been in conversation with a reader and made mention of part of a ghost plot; looks of consternation پار, صلیب their faces as, for a تقسیم, الگ کریں second, they ask themselves whether they have accidentally skipped twenty pages somewhere. I apologise to anyone I might have accidentally wrong-footed in this way; the problem is, literally, all in my head.
Its a Stage Show!
Some Websites Posts its a Prequel Of harry potter movie series but its only a stage دکھائیں playing اگلے year!
Play Details: Based on an original, new story سے طرف کی J.K. Rowling, Jack Thorne and John Tiffany, Harry Potter And The Cursed Child, a new play سے طرف کی Jack Thorne will receive its world premiere in London's West End in the summer of 2016 at the Palace Theatre.
Produced سے طرف کی Sonia Friedman Productions, Colin Callender’s Playground Entertainment and Harry Potter Theatrical Productions.
Harry Potter And The Cursed Child, will be directed سے طرف کی John Tiffany with movement سے طرف کی Steven Hoggett, set designs سے طرف کی Christine Jones, costumes سے طرف کی Katrina Lindsay, lighting سے طرف کی Neil Austin, موسیقی سے طرف کی Imogen Heap, sound سے طرف کی Gareth Fry and special effects سے طرف کی Jeremy Chernick.
*Diagon Alley is a cobbled wizarding سٹریٹ, گلی and shopping area located in London behind a pub called the Leaky Cauldron. Many of the set pieces were re-dressed and repurposed as Hogsmeade for Harry Potter and the Prisoner of Azkaban.
*To create the magical moment when Harry's wand chooses him in Ollivanders, filmmakers slowed the film speed, which is normally twenty-four frames per second, to one hundred and twenty frames per second.Remarkably, this dilation of time, some clever lighting, a smoke machine, and a پرستار were all they needed to produce this effect.
*To create the magical moment when Harry's wand chooses him in Ollivanders, filmmakers slowed the film speed, which is normally twenty-four frames per second, to one hundred and twenty frames per second.Remarkably, this dilation of time, some clever lighting, a smoke machine, and a پرستار were all they needed to produce this effect.
