- Who did you just watch afar and go,
"Holy mother of God, they're amazing."
Like, did you just watch them work,
and you're in awe?
- I mean there was, I mean, I think what I loved often
was watching the characters that were kind of
on the darker side, just 'cause that,
to get to that level was so different
to the characters I was playing.
I was surrounded by the Weasley's.
Like watching Alan Rickman,
or Helena Bonham Carter playing Bellatrix or
kind of that-
- And she was always the character you thought?
- Yeah, she was amazing. Yeah, yeah.
And just watching that, just being like, "wow."
Like getting to that level of like so,
in their character to the point
that when I was a child, like when I was younger,
I was actually genuinely quite scared of them.
- [Dermot] Yeah.
- because they were very much,
you know, just when they walked off set
they didn't just drop that character, you know,
they held that for quite a while.
So you were like,
- [Dermot] Helena I'd love to talk to you about
- "Oh, I see. No, come back."
- And I'm like, I think you are having fun,
being evil. I think you know that everyone's like,
scared of you outside of set.
- When you finished Hallows part two, did you
did you have the bug then?
Were you like, I this is what I wanna be doing
for the rest of my life?
Or was there ever a point where you just thought
I might just gonna do something else?
- Honestly, at the end of the films, I was like
I'm quite okay to be behind the camera
for a while. And, you know, being on the
film sets of Harry Potter was what inspired me
to then go, when I went to university
I went to film school and studied directing and writing.
So I definitely would no way have probably done that
if it hadn't have been the exposure to those films.
And massively, you know, obviously,
we celebrate all those in front of the camera,
but there were so many, you know
hundreds and thousands of brilliant people
behind the camera, you know, in, in the props and costumes
and sets and lights and sound and editing.
I mean, just incredible.
And, I was so lucky that I could be curious
in those 10 years to ask questions and
do work experience in different departments and
really learn a lot.
So I was.
- You did work experience? You do work experience
for departments?
- [Bonnie] Yeah, yeah. Like I,
- You weren't supposed to be on set when you were
like in the art department or something.
"Like where is she? She not just."
- Or you have to do work experience, you know
as a school exercise but obviously,
we didn't have time to spend a week
out going to some other things.
They're like, well, you can do it on the set.
- I'm like, okay
- They're doing the local Costa coffee. No.
- Yeah, no. you can do it.
- [Dermot] You are doing it here,
in the art department of Harry Potter.
- In terms of activism, where did,
the passion come from? Where did the,
was there a road to Damascus moment here,
where you, you know, you just thought, actually
you know what, I've got a voice.
I want to talk about the things that really mattered to me.
You know, we've talked before, both lovers of the ocean
lovers of the sea.
What, what was the fulcrum for you?
What was the point where you just thought
hang on a second, now I wanna do something here?
- Yeah, I feel like for me, you know,
like you say and like you say, the ocean
and land coastal environments and even just
other kind of natural environments have always
been something that I've, I guess,
got a lot of joy from,
a lot of inspiration for work from,
and have always felt like most happy in.
And therefore I've spent a lot of time
in that and already seen in my lifetime, you know
the degradation of those environments happen.
- Isn't that, isn't that crazy?
- [Bonnie] Yeah.
- In such a short period of time?
- Yeah. It is, terrifying.
To actually already see time passing.
- [Dermot] Yeah.
- You know, and our human effect on it.
And so always, yeah.
So I guess from taking a lot from it
like seeing how I can reverse that
and give back to that environment.
And I think similar to how, you know,
a lot of storytelling within, charity or
aid work has always been about giving
you know, obviously a voice to
voiceless communities, environments or,
you know, voice those kind of other species
within nature or environments.
So I've always been, I've always looked at
that work within the environment,
within the climate movement,
in terms of my relationship to it as still a storyteller
just in a, you know, different kind of way.