"I watch a huge amount of stuff on the Discovery Channel and have started considering doing an Open University course because I'm becoming more and more fascinated by archaeology.
"So yes, as sad as I am to say goodbye to Harry, I'm really excited to see what the future holds."
While he is looking forward to pursuing other interests, fans can expect not to see him getting involved in sport as he admits he is "hopeless".
"I'm fit. I can run and I'm very agile but in terms of sports, I've always been pretty rubbish.
"I love cricket but I'm abysmal at it. What I love about cricket is there's a place for hopeless enthusiasts and that's what I am. "If nothing else, I can bring out the half-time oranges and keep score."
Total Film Indonesia (more here)
You’ve worked with the same people for a decade. In the future, are you going to avoid them or, if they’re attached to a project, are you going to jump at the question?
Nice question! I would jump at the chance, absolutely, definitely, both in terms of crew and cast. Actually, funnily enough, our second unit first AD on Harry Potter is in The Woman In Black. Which is brilliant. He’s a guy I know really, really well. He gets the set moving, and he’s fantastic. It’ll just give me that little bit extra confidence, knowing that I know somebody there because then it’s not like your first day at school. But Richard Griffiths said something to me once, that after your second job you will never again have the experience where you don’t know anyone. After you’ve done two jobs in the film or theatre industry, you will always know somebody you’re working with. Which is, fairly true, I have to say. What would be interesting, actually, is that I think probably directors would be more hesitant about combining people from Potter. I don’t think the issue would be us being reticent about that at all. I think it will be that they don’t particularly want to put us together because it’s so… When we’ve all grown up and look wrecked, like we eventually will do, then they might use us, together because nobody can tell the difference. But I think they’d probably try to split us because, you know, if my next film I was playing Alan Rickman’s son, people might find that a little hard to take so quickly after Potter.
After all this… you remain so polite, patient and enthusiastic – even to the point of talking to all the little Hufflepuffs between takes. How are you not a total diva?
(laugh) I don’t know. I love talking to the background because we have great kids on our films. They’re brilliant and they all want to be there. In the earlier films, there were some quite obnoxious kids in the background. On the last few films, they have just been brilliant. I think that, if you’re an actor, especially if you’re the principal in something, you have to see yourself as the… just like Amanda Knight is the head of the make-up department, and Lisa Tomblin is the head of hair, and Jany Temime is head of costume, you have to view yourself as the head of your department. So you lead by example and set a good example. I hate the hierarchy of the film industry. It’s one of the only things I dislike about the film industry. You hear horror stories about actors that won’t let people talk to them. I just think that, to be honest, if you’re doing that, you must be pretty stupid. There are moments, obviously, when you say, “I just want to be alone now”. That’s fine… but I think I have a more interesting day talking to them than I would be just chatting to myself. If you’re involved and you’re checking that everyone’s all right, everyone knows what they’re doing. There’s a legendary man called Michael Stevenson, who’s been in the film industry since long before I was a twinkle in my parents’ eye, and he is just amazing with names, If we have a Great Hall scene with four hundred extras, he will know every single one of them by their first name. He’s phenomenal. I watch him because he’s always going around and checking, “Do you know what you’re doing? Do you know what you’re think at this point?” Eventually I want to direct one day so you learn from people like that, in terms of how to run a set… how to make everyone work as happily and as most efficiently as they can. That’s kind of the art of being on a film set, I think: happy efficiency. If you can get that, then you’ll probably make a good film. Even if you don’t, everyone will want to work with you again.