He never patronizes them. He can be quite idiosyncratic,

He has no time for book learning or pussy-footing about. He wants to show these young men and women what they're up against - evil exists and they better know what they're getting themselves into. He's a one-man initiation ceremony, a walking rite-of-passage. He doesn't believe in treading lightly with Harry or the other students because that won't prepare them for the real world.

Moody is a gunslinger with a wand. He's someone who has chased the demons away from goodness to the extent that he's gotten quite warped by it. One of the things [director] Mike Newell suggested when we first discussed the character was that Moody's great wounds have damaged him greatly. It's a very interesting arc to play with this character, who comes into Hogwarts as death warmed over and grows into someone the kids learn to trust.

As long as such suburbs do not end up as commuter dormitories or nothing more than commuter suburbs. The next stage is to produce a richer range of activities and employment opportunities so they can be more self-contained. I think Springfield is a first step, but only a first step and the next phase is going to be critical and that is achieving higher level of self-containment.

I'm aware now over the last 5 or 10 years that when you do an accent, you really have to kind of get down to the nitty gritty and go into the phonetics of it, if necessary. Find out not just the sounds but the rhythms and the music - or lack thereof - in a particular accent.

Look at the Coen brothers. All their minor characters are as interesting as their protagonists. If the smaller characters are well-written, the whole world of the film becomes enriched. It's not the size of the thing, but the detail.