Issue link: https://digital.copcomm.com/i/1535796
5 8 P E R S P E C T I V E M AY / J U N E 2 0 2 5 As the second UK COVID-19 lockdown lifted and Fantastic Beasts: The Secrets of Dumbledore wrapped principal photography, our Art Department began a transition from the magical corridors of the wizarding world to a new and equally ambitious venture: developing the Harry Potter Studio Tour in Tokyo. It was the beginning of 2021, and things were looking promising. Then everything changed with one phone call. A "No Caller ID" lit up my screen—mysterious, intriguing. On the other end of the line was none other than Alfonso Cuarón. It had been nearly two decades since our last collaboration on Harry Potter and the Prisoner of Azkaban, and hearing his voice again was surreal. After a long, thoughtful conversation, he asked, "Are you interested in working on this? Call me back if you are…" Supervising Art Director Al Bullock and I had a chat, grinned at each other, and two days later, I called back. B e h i n d t h e S c e n e s o f a C i n e m a t i c J o u r n e y w i t h A l f o n s o C u a r ó n D I S C L A I M E R B Y N E I L L A M O N T, P R O D U C T I O N D E S I G N E R A