Harry Potter and the Chamber of Secrets (2002)

Although many of the key Harry Potter artisans participated in the production of both films, new to the team are Academy Award and BAFTA nominated cinematographer Roger Pratt (Iris, Chocolat, The End of the Affair), who takes over from John Seale, director of photography on Harry Potter and the Sorcerer’s Stone; and prolific Academy Award-winning costume designer Lindy Hemming (Four Weddings and a Funeral, Topsy Turvy, Funny Bones), who assumes the position previously held by Judianna Makovsky, who received an Oscar nomination and BAFTA nomination for her costumes in Harry Potter and the Sorcerer’s Stone.

Director Chris Columbus and producer David Heyman brought director of photography Roger Pratt aboard to give Harry Potter and the Chamber of Secrets a darker and edgier feel than that of the first film. Says Columbus: "We went for a moodier lighting scheme this time around. As the story descends into darkness and Hogwarts is in danger of closing, we wanted the film to get a little darker and creepier, where you’re not certain what’s going to pop out of the shadows. Roger brought this quality to the film, along with a sense of camera movement, which is a departure for me as a filmmaker."

"It was very important that the second film have the same basic qualities as the first, but that it stand out in its own right," Heyman points out. "To that end, Roger gave Harry Potter and the Chamber of Secrets a much darker feel, which reflects the growth of the characters and the story."

Meanwhile, costume designer Lindy Hemming played a crucial role in creating the looks and color schemes for the cabal of new characters introduced in the film. "Many of the characters already had an established appearance and wardrobe, so my real role was to create the costumes for Gilderoy Lockhart, Lucius Malfoy, Moaning Myrtle, Professor Sprout, Madam Pince, Madam Pomfrey and Mr. Weasley," Hemming says. "But I must also give credit to my associate designer, Michael O’Connor, who created the costumes for a myriad of characters you see in Diagon Alley."

Designing the look for the dandyish Gilderoy Lockhart provided Hemming with her most enjoyable and colorful challenge. "Lockhart is totally self-obsessed and vain and his clothes and his appearance are everything to him," she observes. "While most of the other characters in the film are dressed in dark, muted or somber colors, with Lockhart we were able to give him outfits in green, blue, deep red and even gold."

"Chris Columbus and Lindy had a very clear idea of how Lockhart should look and wanted to introduce color into the film through this character," Branagh adds. "We wanted to create a hybrid between a period dandy and someone who looked as if they could fit into Hogwarts. Lockhart struts like a peacock, wears a different costume in every scene…and of course there’s his hair!"

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