chapter  11
Considering Transtexts as Brands
ByHÉLÈNE LAURICHESSE (TRANSLATED BY KATHERINE TAYLOR)
Pages 17

In 2005, Daniel Heyman, producer of Harry Potter (Gonzalez, 2009), stated:

Box office admissions generally cover the film’s budget and marketing investments. It’s on other forms of exploitation that you gain the money. ‘Harry Potter’ has become almost a brand. In fact, we are in the middle of developing a theme park in Florida devoted to it. ‘Harry Potter’ has even entered into the museum world now that the Museum of Science and Industry in Chicago has dedicated an exhibition to it. What’s more, we are re-editing video packages which will in time allow us to produce eight DVDs with previously unseen footage of the shooting. But we should not lose sight of the fact that it all started with the film, and, naturally, the book before that. These are the driver’s compartment, which leads all the rest.1