The interior of Newt’s suitcase is the heart of the film. It’s a bit like Doctor Who’s TARDIS basically. You open it up, you can go down, and in there is this extraordinary world. The set was everything I could have
dreamed of. It really is Newt’s character, described in all the most intricate physical terms. When Newt enters into his case, he comes into the inside of this very tall, misshapen shed. And then as he comes out, he comes into the environment we’re in here. And this environment is really how he contains and looks after all his menagerie of animals. It was a really, really tricky journey to get to what Newt’s case should be. The first thing we started to play with, was the idea that inside of the case is almost an Eden-like environment. So when you stepped into the Erumpant environment, it was almost like you were in an African plain. J.K. Rowling saw the stuff and said, “no, it’s too epic.” Newt’s not that good a wizard. He’s magical but within certain realms. There’s a humility to his world. He’s got a set of enclosures within his case which are like dioramas. So they’re limited. But they create
the impression to the animal that it’s free. What we’ve got here is a partial set. We’re
going to build a lot of this as well in the CG world, so the Thunderbird world, for example, here. From up here we can see most of the different environments. She was very keen to get an element of all of the environments on one stage, so that the actors could go on a journey, rather than it being individual elements shot against a green screen. By creating everything in one space, hopefully that journey will become a lot easier for the actors to act in, which is one of the challenges of creating something like this.