Verbal Backchannels in English Conversation Between Daniel Radcliffe and J.K Rowling

VERBAL BACKCHANNELS IN ENGLISH CONVERSATION BETWEEN DANIEL RADCLIFFE AND J.K ROWLING

A Thesis Submitted to Letters and Humanities Faculty In Partial Fullfilment of the Requirements for the Degree of Strata One

RAHMAT EDI SUTANTO NIM. 1111026000075

ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY OF SYARIF HIDAYATULLAH JAKARTA 2015

ABSTRACT

Rahmat Edi Sutanto, 1111026000075, Verbal Backchannels in English Conversation between Daniel Radcliffe and J.K. Rowling. Thesis: English Letters Department. Letters and Humanities Faculty, State Islamic University of Syarif Hidayatullah, Jakarta, 2015. The aim of the research is to find out how backchannels works during the conversation and to determine the functions of those backchannels using conversation analysis theory. The data in this research are collected from the transcript of the conversation and it limits into 14 data. The analysis shows that the works of backchannels are similar with turn. Hence, before determining backchannels, it is really important to separate the utterance which role either as backchannels or turn, because turn is not backchannels and it could be as simple as backchannels. As for result, in the conversation, backhannels often uttered both of simultaneously with part of ongoing talk (overlap) and within the possible completion (TRP) without any gap. Furthermore, those backchannels, mostly functioned as continuers, agreement, and understanding content. Keywords: Backchannels. Turn. Overlap. Conversation Analysis.

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DECLARATION

I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of the university or other institute of higher education, except where due acknowledgement has been made in the thesis.

South Tangerang, November 2015

Rahmat Edi Sutanto

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ACKNOWLEDGEMENT

In The Name of Allah, The Most Gracious, The Most Merciful

All praises be to Allah SWT, the Lord of the Universe, who give

the writer an extraordinary power, patience, spirit and every single idea

that the writer writes in this thesis. Peace and bless be upon the prophet

Muhammad SAW who had changed the world into the better place to live.

The writer would like to give the greatest and the deepest gratitude

to his beloved parents, his mother and father, and two lovely annoying

sisters who give mentally total support until this thesis is finished.

Furthermore, the writer also would like to give a thanks and the

greatest gratitude to:

1. Prof. Dr. Sukron Kamil, M.A, the Dean of Letters and Humanities Faculty.

2. Drs. A. Saefudin, M.Pd, the Head of English Letters Department.

3. Elve Oktafiyani, M. Hum, the Secretary of English Letters Department.

4. Mrs. Sholikatus Sa‟diyah, M.Pd, as the advisor of the writer, for her

extraordinary guidance, patience, and caring to guide him doing the

research.

5. All the lecturers of English Letters Department, who have dedicated to

educate and teach him the knowledge as long as his study.

6. Kak Jessica, the Assistant Secretary of English Letters Department.

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7. Student Executive Board of English Letters Department.

8. 2011 English Letters Students, classmates in ELD C and Linguistic

Fantastic.

9. All the RusaBesi members and the advisor Akhmad Zakky, M.Hum.

10. Fahmi Oji who introduces the writer to the research issue and Kak Chicha

who wants to discuss about the research because we have the same issue.

11. The Kostan Haji Hadromi Squads (Bewok, Aki, Item, Chipung, Jaisy, Lay,

Aab, Umar, Satria, Ade, Hanif, Rego, Wahid, and Iik).

12. All friends and relatives that are not mentioned by one.

May Allah SWT give a blessing for them all. And may we have a

brighter future. Amin.

South Tangerang, November 2015

R.E.S

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THE LIST OF TABLE

TABLE I ...... 22

TABLE II ...... 24

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TABLE OF CONTENTS

ABSTRACT ...... i

APPROVAL SHEET ...... ii

LEGALIZATION ...... iii

DECLARATION ...... iv

ACKNOWLEDGEMENT ...... v

THE LIST OF TABLE ...... vii

TABLE OF CONTENTS ...... viii

CHAPTER I. INTRODUCTION ...... 1

A. Background of The Study ...... 1

B. Focus of The Study ...... 4

C. Research Question ...... 4

D. Significance of The Study ...... 5

E. Research Methodology ...... 5

1. The Objectives of Research ...... 5

2. The Method of Research ...... 5

3. The Instrument of The Research ...... 6

4. The Unit of Analysis ...... 6

5. The Technique of Data Analysis ...... 6

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CHAPTER II. THE THEORETICAL DESCRIPTION ...... 7

A. Previous Research ...... 7

B. Concept ...... 9

1. Conversation Analysis ...... 9

2. Turn Taking ...... 10

3. Overlap ...... 13

4. Backchannels ...... 14

5. The Functions of Backchannels ...... 16

6. Key of Transcription ...... 22

CHAPTER III. DATA ANALYSIS / FINDINGS ...... 24

A. The Data Description ...... 24

B. The Data Analysis ...... 29

CHAPTER IV. CONCLUSIONS AND SUGGESTIONS ...... 46

A. Conclusions ...... 53

B. Suggestions ...... 55

BIBLIOGRAPHY ...... 56

APPENDICES

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CHAPTER 1

INTRODUCTION

A. Background of Study

During conversation, people have to be cooperative in order to get

the purpose of communication. Cooperation during a communication is

important. A communication is not going well if the participant could not

cooperate with each other. However, communication shares some

information which is the main thing for participants to know.

There are many ways used by people to communicate and one of

them is through a conversation. Conversation is a part of communication

when people try to share information with other people. Conversation is

the people way to sustain their relationship with others. It involves two

members in a conversation, doing the different role as speaker and hearer.

According to Pridham, conversation is categorized according to the

situation: situated, semi, and natural conversation.1 In a situated

conversation, often the conversation structure proceeds step by step in

order to develop the topic and interaction between each participant is

unnatural because the interaction depends on a script, for examples:

1 Francesca Pridham, The Language of Conversation, (New York: Routledge, 2001), p. 57.

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conversation in a movie and drama. Moreover, semi conversation has a flexible and fluid structure, for examples: talk show and interview. As a semi conversation, talk show contains the structure which is usually organized and it can be set in an interview guide. Furthermore, natural conversation occurs spontaneously, without any planning or prompting beforehand and also the participants have not set the topic before, so topic change or shift can occur.2

In daily conversation, people unconsciously have been tied to a basic concept of an interaction. They tend to obey the communication rules during a conversation. The rules might be some knowledge that speaker and hearer have already know. For instance, they have to make some feedback and respond or they have to listen to the speaker and wait till they have a right to speak during a conversation. Those problems are some mechanisms that occur in conversation.

When people getting involves in conversation, they do a respond to the speaker indicate that they are listening, the respond through a feedback both verbal and non-verbal. The feedback is given by participant of conversation such as yeah, uh-huh, right and so on, called backchannels.

Backchannels occur in both direct and indirect conversation such as face- to-face and telephone conversation. People use this signal in conversation because they have to convince the speaker that the information has received and they understand what the speaker talk about.

2 Ibid, p. 59.

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There are many different ways of doing the signal, including head nods, smiles, and other facial expressions and gestures, but the most common vocal indication. Some of these are present in Mary‟s contribution in conversation below.

Caller: If you use your long distance service a lot than you‟ll

Marry: uh-uh

Caller: be interested in the discount I‟m talking about because

Marry: yeah

Caller: it can only save you money to switch to a cheaper service

Marry: mmm

These type of signals („uh-uh‟, „yeah‟, „mmm‟) provide feedback to the current speaker that the message is being received.3 The absence of backchannels is typically interpreted as significant. During telephone conversations, the absence of backchannels may prompt the speaker to ask if the listener is still there. During face-to-face interaction, the absence of backchannels may be interpreted as a way of withholding agreement, leading to an inference of disagreement.4

Furthermore, as the mechanism in conversation, backchannels is really related to both of turn taking system and overlap. The difference between backchannels and both of them is that backchannels do not

3 George Yule, Pragmatics, (New York: Oxford University Press, 1996), pp. 75-76. 4 Ibid.

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purloin the speaker shift. People do backchannels in order to give a

feedback to what speaker says. Thus, backchannels do not legitimate the

speakership.

As previously mentioned, conversation is necessity for people in

their daily life and backchannels always occur in their daily conversation

in order to give contribution during conversation. Thus, the issue interests

the writer to do this research by analyzing a conversation which contain

backchannels.

B. Focus of The Study

In this study, the writer will limit the discussion in backchannels

which occur during the conversation between Daniel Radcliffe and J.K

Rowling. The video of the conversation downloaded from Youtube in 25

January 2015.

C. Research Question

Based on the background of study and focus of the study, the

writer will formulate the following questions:

1. How backchannels works during the conversation between Daniel

Radcliffe and J.K Rowling?

2. What are the functions of those backchannels?

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D. Significance of The Study

This research is expected to give contribution and benefit in

linguistics, especially in the branch of linguistics which is conversation

analysis discuss about backchannels. Besides, this research is also

expected to give a reference for the next researcher who discuss about

backchannels using conversation analysis theory.

E. Research Methodology

1. The Objectives of The Research

This research is aimed to analyze the works of backchannels and

those functions which occur in the conversation between Daniel Radcliffe

and J.K. Rowling.

2. The Method of Research

The method of this research is descriptive qualitative method

focuses on the utterance in the conversation as the research object. The

research will answer the research problems with the description of theory

which is related to the issue of this research.

3. The Instrument of The Research

Main instrument of the research is the writer himself by watching

the video as secondary instrument, listening every utterance carefully and

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repeatedly. Then, the writer will identifies and analyze the selected data

using relevant theory.

4. The Unit of Analysis

The analysis unit of this research is selected utterance which

contains backchannels collects from the video of conversation between

Daniel Radcliffe and J.K. Rowling randomly. The topic of the

conversation is “The Story of Harry Potter book and film”.

5. The Technique of Data Analysis

The writer uses the technique of descriptive analysis by watching

the video through some steps. First, the writer makes the transcript from

the video. Next, the writer identifies the utterance which is as a

backchannels. Then, the writer analyses the works and the functions of

backchannels which occur in conversation between Daniel Radcliffe and

J.K Rowling.

CHAPTER II

THE THEORETICAL DESCRIPTION

A. Previous Research

In this research, there are some studies who already researched

about backchannels and using conversation analysis theory as an approach.

First, the research about “Analysis on Backchannels Used in SBS

(The Special Broadcasting Service) Insight Talk Show Episode Designing

Babies” which researched by Nisa Fitria Ansori (2014) in State Islamic

University Syarif Hidayatullah Jakarta. The research discusses

backchannels sign that occur in conversation between Jennie Brockle as

host and some participants. The aim of the research is to find out the types

of backchannels that occurred and to categorize the functions in that

conversation. The results of the research are that there are twelve verbal

backchannels and seven non-verbal backchannels. The others, there are

four functions of those backchannels, they are as continuers, convergence

tokens, engaged response tokens and information receipt tokens.

Second, the research about “The Use of Back Channels between

Native and Non-native Speakers in English and Japanese” which

researched by Shigeo Uematsu (2000) in Setsunan University. The

research discusses back channels use in conversation between native and

non-native speakers in English and Japanese. The result of the research is

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the Japanese female is highly proficient in English and utilized a wide variety of backchannels in both English and Japanese.

Third, the research about “Effect of Native-Language and Sex on

Back-channel Behavior” which researched by Marilyn S. Feke (2003) in

University of Pittsburgh. The research is aimed to compare the usage of back-channel responses and the effect of gender on the production of back- channel responses among native-English speakers (from the United State and Canada) and native-Spanish speakers (from Chile and Argentina) in conversations conducted by interlocutors with the same native language.

The results of the research are the native-Spanish-speaking females show the greatest difference in back-channel behavior between single and mixed conversations, followed by native-English-speaking females, the native-

English-speaking males, and native-Spanish-speaking males.

In addition, the differences between this research and those previous researches are located on the research problems and unit of analysis. This research focuses on the works of backchannels and those functions which occur in natural conversation between Daniel Radcliffe and J.K Rowling.

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B. Concept

1. Conversation Analysis

Conversation analysis developed as a field of study in the 1960s

through intense collaboration among the late Harvey Sacks, Emanuel

Schegloff, and Gail Jefferson. It seeks to describe the underlying social

organization which conceived as an institutionalized the basics of

interactional rules, procedures, and conventions through which orderly and

intelligible social interaction is made possible.5 According to Liddicoat,

Conversation Analysis is an approach to the study of talk in interaction

which grew out of the Ethnomethodological tradition in sociology.6

In addition, conversation analysis focuses on how people produce

utterances, assuming that hearers can make sense of them by using special

methods and procedures. It approaches consider the way participants in

talk construct solutions to recurrent problems in conversation in order to

create social order.7 Besides, Goodwin and Heritage explain that

conversation analysis has focused primarily on ordinary conversational

interaction and conversation between acquaintances, friends, and siblings.8

In the framework of „conversation analysis‟ (CA), the various

mechanisms determining people‟s use of language in an extended, open

5 Charles Goodwin & John Heritage, Conversation Analysis Vol. 19, (Los Angeles: Annual Reviews inc, 1990), p. 288.. 6 Anthony J. Liddicoat An Introduction to Conversation Analysis, (New York: Continuum, 2007), p. 2. 7 Karin Aijmer & Anna-Brita Stenstrom, Approaches to Spoken Interaction, (Journal of Pragmatics 37, 2005), p. 1744. 8 Charles Goodwin & John Heritage (1990), Op. cit, p. 289

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conversational setting are explored: who holds the right to speak (often

called the „floor‟); what kind of rules are there for taking, yielding, or

holding the „floor‟; what makes a particular point in the conversation

particularly appropriate for a „turn‟; and so on.9

However, there are many mechanisms in talk occur in

conversation. In any social life, people have different interpretation about

language and how they give responses when they get involve in interaction

with others. Thus, in simple definition, conversation analysis (CA) is the

study of social interaction and the other forms of talk of interaction.

2. Turn Taking

One of the most noticeable features of conversation is that speakers

change. In fact, in most cases, only one person speaks at a time and

transition from speaker to speaker occurs fluidly with few gap and little

overlap.10 The basic unit of the conversation is the „turn‟, that is, a shift in

the direction of the speaking „flow‟ which is characteristic of normal

conversation.11

In any situation where control is not fixed in advance, anyone can

attempt to get control, it called turn-taking.12 Speaker change is a

normative process which must be achieved by participants in the

9 Jacob L. Mey, Pragmatics: An Introduction 2nd ed, (Malden: Blackwell Publishing, 2001), p. 150. 10 Anthony J Liddicoat (2007), Op. cit, p. 51. 11 Jacob L Mey (2001), Op. cit, p. 139. 12 George Yule (1996), Op. cit, p. 72.

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conversation. That is to say, turn-taking behavior is socially constructed

behavior, not the result of an inevitable process.13 Though speaker change,

it is overwhelmingly true that one party talk at a time in conversation. The

feature‟s preservation must take a work, the taking of turns must be

organizationally achieved.14

Turns occur normally at certain well-defined junctures in

conversation.15 A model of turn taking can only account for the facts of

turn-taking if it deals with the „randomness‟ of turn-taking in terms of

what is said, for how long and by whom. In order to achieve this, a model

of turn-taking needs to be sensitive to each „next bit‟ of talk, rather than

trying to describe or prescribe behavior over a whole conversation.16

Furthermore, Sacks et al. as cited in Lerner explain that for turn-taking in

conversation, some way of integrating the two techniques is required in

order to minimize both gaps and overlaps between turns. It can be

described in a set of rules:

1. If the current speaker selects next speaker, then he or she must stop

speaking and the selected speaker must speak.

2. If the current speaker selects next speaker but he or she is

constructing, then transition should occur. He or she should stop

and next speaker should start.

13 Anthony J Liddicoat (2007), loc. cit. 14 Gene H. Lerner, Conversation Analysis: Studies from the first generation, (Philadelphia: John Benjamins Publishing, 2004), p. 35. 15 Jacob L Mey (2001), loc. cit. 16 Antony J Liddicoat (2007), Op. cit, p. 54.

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3. If current speaker of a next has not been done, self-selection may

be instituted and the current speaker may continue speaking.

4. If the current speaker has finished his or her turns which describe

in third rule, then the selected speaker must speak.17

Moreover, turn-taking is a natural mechanism which always occurs

in a conversation. It is a cooperation form that should be done by

participants in a conversation. According to Lerner, one massively evident

social organizationally relevant is orderliness at talking.18

In addition, it is important to distinguish turn and backchannels,

because backchannels is not turn, and vice versa. Nevertheless, turn could

be as simple as backchannels. The only thing that separates them into two

different terms is that backchannels do not purloin the speaker shift, there

is no speaker change at that moment. Turn is only belong to the primary

speaker, any utterances even it is simple like backchannels which

produced by primary speaker must be serve as turn, not backchannels.

3. Overlap

Mostly, conversation consists of two, or more, participants taking

turns, and only one participant speaking at any time in conversation.19

When people in conversation, and there are participants who talk at the

same time, then overlap is occurs. Yule explain that overlap is when both

17 Gene H. Lerner (2004), loc. cit. 18 Ibid, p. 35. 19 George Yule (1996), loc. cit.

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speakers trying to speak at the same time.20 Overlapping talk occurs in

places which are just prior to possible completion, that is, within the

transition space, and produce very short overlaps.21

Besides, overlap is related to features of the turn-taking system.22 It

is not seen as competitive, it is a way for people to grabbing the turn.23

More than one person speaking at a time can be an interactional problem,

and this problem can only be resolved by a return to one person speaking

at a time. Schegloff as cited in Liddicoat maintain that common overlap is

indicated by increased volume, higher pitch, and faster or slower pace of

talk.24

Moreover, overlap must not be confused with backchannels. People

do overlap in order to grab the turn from the primary speaker that is why

overlap is related to features of turn taking system. Nonetheless, if those

overlap is not aimed to grab the speakership, it is only serve as a signal to

what speaker says, then it is not overlap but backchannels. The difference

between both of them is that backchannels is not a way to grab the turn.

4. Backchannels

During a conversation, speakers, within an extended turn, still

expect that their conversational partners to indicate that they are listening.

20 Ibid, p. 72. 21 Anthony J Liddicoat (2007), Op. cit, p. 87. 22 Ibid, p. 89. 23 T. Givon, Conversation: Cognitive, Communicative, and Social Perspectives vol 34, (Philadelphia: John Benjamins Publishing V, 1997), p. 64. 24 Antony J Liddicoat (2007), op. cit, p. 92.

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Backchannels provide feedback to the current speaker that the message is

being received.25 Wales maintain that feedback refers to process where a

receiver‟s reactions to a message are picked up by the sender.26

The receiver‟s reactions can be in different ways, including head

nodes, smiles, and other facial expressions and gestures, but the most

common is vocal indication such as („uh-huh, „yeah‟, „mmm‟) when

someone is talking.27 Furthermore, backchannels are utterances as well as

turns, but it is not purloin the speaker‟s floor during a conversation. People

use backchannels to acknowledge what the current speaker says and

generally encourage him or her to go on.28 Yule gives the example of

backchannels as below,

Caller: If you use your long distance service a lot than you‟ll

Marry: uh-uh

Caller: be interested in the discount I‟m talking about because

Marry: yeah

Caller: it can only save you money to switch to a cheaper service

Marry: mmm

25 George Yule (1996), Op. cit, p. 75. 26 Katie Wales, A Dictionary of Stylistics. 2nd ed., (Harlow: Pearson Education Limited. 2001), p.147. 27 George Yule (1996), loc. cit. 28 Anna – Brita Stenstrom, An Introduction to Spoken Interaction, (London and New York: Longman, 1994), p. 5.

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Moreover, backchannels occur in both face-to-face and telephone conversation. It indicates that the listener is following and not objecting to, what the speaker is saying.29 It is perhaps more often inserted at syntactic and semantic, and occurs naturally. Stenstrom explains that backchannels as a means of helping the complex transaction. People use backchannels to let the current speaker continue his or her speaking.30

The absence of backchannels during a conversation is typically interpreted as significant. During telephone conversation, the absence of backchannels may lead the speaker to ask if the listener still there. Besides, during face-to-face conversation, the absence of backchannels may be interpreted as a way of withholding agreement, leading to disagreement.31

In conclusion, Stenstrom describes support moves, which can be nowadays, with a few restrictions, reclassified as backchannels. The characteristics of those support moves are,

1. They are no turns in their own right and thus do not involve

speaker shift.

2. They may be inserted almost anywhere during a conversation.

3. They are often uttered simultaneously with part of ongoing talk

(overlap).

4. They are mostly uttered with low intonation.

29 George Yule (1996), loc.cit. 33 Anna –Brita Stenstrom (1994), op. cit, p. 6. 31 George Yule (1996), op. cit, p. 76.

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5. They may be accompanied by body-motion.

6. They may be replaced by body language.32

5. The Functions of Backchannels

Several researchers have contributed to determine backchannel

functions. Fries, Yngve, and Orestrom believe that backchannels are a

means for the non-primary speaker to give a signal to the primary speaker

that he or she understands and agrees.33 Furthermore, Tottie claims that

backchannels have several functions, which normally occur

simultaneously. They signal understanding and agreement, what can be

termed the supportive function and encourage the speaker to continue his

or her turn. Backchannels may end up as a turn, if the previous speaker

shows no willingness to continue speaking.34

Moreover, Maynard classified the functions of backchannels into

six functions as follows,35

1. Continuers

According to Schegloff, backchannels functions as a continuer

whereby the hearer, by using backchannels cues, they mandating

32 Anna –Brita Stenstrom, Impromptu Speech: A Symposium. Abo: Abo Akademis Kopieringscentrtal 1st ed, 1982, p. 321. 33 Pino Cutrone, “The Backchannel norms of Native English Speakers: A Target for Japanese L2 English Learners”, (Language Studies Working Papers vol. 2, 2010), p. 4. 34 Gunnel Tottie, Conversational Style in British and American English: The case of backchannels, (New York: Longman, 1991), p. 256-257. 35 Pino Cutrone (2010), loc. cit.

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the current speaker to continue speaking.36 The main functions of

this type of backchannels are for the non-primary speaker to signal

the primary speaker that they are listening, and allow the primary

speaker to continue his or her turn. This can be seen in the

following example below,

A. I‟ll pick it up from his place

B. Mm hm

A. At around 7 o‟clock.37

Gardner explains that items such as „Mm-hm‟ and „Uh-huh‟ with a

fall rising intonation are indicated as continuers. Besides, items

such as „Yeah‟ and „Mmm‟ are called acknowledgement tokens

and also serve as continuers.38

2. Display of understanding of content

This function of backchannels occurs when non-primary speaker

feels it is necessary to show that he or she understands about the

primary speaker is talking about, as in the following example,

A: You have to go two blocks.

B: Mm hm.

A: then turn left at the video store.

36 In Ron White, “Backchannelling, repair, pausing, and private speech”, (Applied Linguistics Vol. 18, no. 3, 1997), p. 323. 37 Pino Cutrone (2010), loc. cit. 38 In Ibid, pp. 4-5.

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B: Uh huh.

A: It‟s a few stores down on the right side.

B: I see.

A: You can‟t miss it.39

Yule maintains that the types of signal („uh-huh‟, „yeah‟, „mmm‟)

indicated that the non-primary speaker is following, and not

objecting to, what speaker is saying.40 „Yeah‟ is thought to serve

several functions, one of the functions is to show understanding of

content.41

3. Agreement

This function of backchannels occurs when the non-primary

speaker reacts to a question or question like utterance made by the

primary speaker, as in the example below,

A: You mean you heard the news already.

B: Ya

C. I was going to tell you.42

In example such this, it may be difficult to distinguish between the

agreement and understanding categories. According to Tao and

Thompson, a distinction by pointing out that the non-primary

39 Ibid. 40 George Yule (1996), Op. cit, pp. 75-76. 41 Pino Cutrone (2010), op. cit, p. 5. 42 Ibid.

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speaker gives a claim of understanding when the primary speaker

provides some new and previously unknown information to the

non-primary speaker. In the other hand, acknowledgement of

agreement does not involve unknown information.43

4. Support and empathy toward the speaker‟s judgment

This function of backchannels occurs when the non-primary

speaker respond with a show of support and empathy to a

statement produced by the primary speaker, as in the following

example below,

A: He quit his job again

B: It‟s going to be hard to find a new one

A: Yeah

B: He‟ll have to apply...

Geaney mantains that backchannels is vocal cues that signify that

the primary speaker still has the non-primary‟s interest.44 Maynard

identifies „Yeah‟ as a backchannel form that can be used to express

support and empathy towards the primary speaker‟s judgment.45

43 In Ibid. pp. 5-6. 44 Declan Geaney, Discourse Analysis and Related Topics for Teachers of English as a Second Language 1st ed. (Praha: Karolinum, 1996), p. 69. 45 In Pino Cutrone (2010), op. cit, p. 6.

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5. Strong emotional response

This function of backchannels occurs when the non-primary

speaker responds emphatically to a statement produced by the

primary speaker, which indicate more than simple continuer,

understanding or support, as in the following example,

A. I got an A+ on my Chemistry test.

B. Fantastic!

A. I hope I can keep it up all semester.

Goodwin has suggested assessment such as „Wow‟ or „Great‟

serves as strong emotive responses.46

6. Minor addition or request for information

This function of backchannels occur when the non-primary speaker

corrects something the primary speaker has just uttered, when the

non-primary speaker needs clarification or when the non-primary

speaker attempts to add a word in completing the utterance of the

primary speaker, as the example below,

A: John will likely be back in April.

B: Really.

A. Yeah, the government is reducing troops in the gulf.47

46 In Ibid. 47 Ibid. p. 7.

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Maynard has pointed out that the item such as „Really‟ is a

common backchannel form to request confirmation.48 However, the

intonation is important to produce backchannels. Stenstrom

describes that the backchannels can reflect empathy, enthusiasm,

and indignation, but they can also reflect a lack of interest,

indifference, and impatience.49

6. Key of Transcription

In conversation analysis study, transcription serve important role

because the transcript is a representation an event in conversation which is

constructed by the researcher.50 Transcription is not simply a

representation of talk, but an analytic tool which help the researcher to

notice the features of talk in conversation.51 The table below could explain

the trancription convention based on Liddicoat.

Table of transcription key

Key Explanations

[words] with Overlap; uttered simultaneously

alignment with part of ongoing talk

Words Stressed on the utterance

Full stop (.) Falling intonation; complete turn

Comma (,) Slight falling/rising intonation,

48 In Ibid. 49 Anna –Brita Stenstrom (1994), loc. cit. 50 Anthonny J Liddicoat (2007), op.cit, p. 13. 51 Ibid. p. 14.

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incomplete intonation

>words< Faster than surrounding talk

Slower than surrounding talk

Degree sign (°) Quite talk or whispering talk

(0,2) Pause less than a second, 2

millisecond. The millisecond is

located after comma, the second

is located before comma

word Falling intonation in utterance

within a turn

word Rising intonation in utterance

within a turn

Equal sign (=) Talk with no desirable interval

(reducing TRP) between

participants or pause between

utterance within a turn

CHAPTER III

DATA ANALYSIS / FINDINGS

A. The Data Description

This chapter contains several selected-data that will be analyzed in

this research. The data are collected from the beginning section until the

end of section transcript. The collected data in this research will be

categorized and tabulated based on the research questions in chapter 1.

The utterances from both participants are below:

Table of The Utterance and Backchannels between Participants

No Data Backchannels

1 Radcliffe: David should ask my dad if I Mm-hm

would [audition] =

Rowling: [mm-hm]

Radcliffe: = and the original deal was

that we‟d heard…

2 Rowling: I had written you know a Yeah

strong female charac[ter] who was

primarily =

Radcliffe: [yeah]

Rowling: = about brain.=

Radcliffe: = ye[ah]

23

24

Rowling: [and] that she chose to

become a nickel. =

Radcliffe: = ye[ah]

Rowling: [more] groom and

glamorouses

3 Radcliffe: You were around a lot at the Yeah

beginning and early on [very] very

involve=

Rowling: [yeah]

Radcliffe: = and as you kind of saw…

4 Radcliffe: The contact lenses there is Extreme reaction, yeah,

very small percentage of people you poor thing and I feel

apparently who have very uh (0,8) really bad

Rowling: ex[treme reaction]

Radcliffe: [extreme reac][tion] =

Rowling: [yeah]

Radcliffe: = to ehm [contact lenses] =

Rowling: [You poor thing]

Radcliffe: = and I was one of them. =

Rowling: = I feel really bad

5 Rowling: He was telling me things I Oh really? and that’s

needed to hear [sometimes] I‟m really amazing

like that. =

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Radcliffe: [oh really,]

Rowling: °Yeah°.=

Radcliffe: = That‟s amazing.=

Rowling: = Yeah I miss him.

6 Rowling: It was a relief to say right there And that’s wonderful

the films and I‟m over here with the

books and that‟s fine and I trust these

people and I did and I do, =

Radcliffe: = and that‟s wonder[ful]

Rowling: [a:nd] you

know I think and I have to say

that it was...

7 Radcliffe: >I can explain this to you in Yeah

two minutes but I don‟t know if that‟s

possible< because I remember I had to

re read = the end of seventh [at] fe:w

time =

Rowling: [yeah]

Radclifffe: = It‟s to: much the end of

seventh the epilo:gue,

Rowling:8 Rowling: I saw so clearly in my mind I Yeah

knew I could help I knew I genuinely

could help [and] I could help them =

26

Radcliffe: [yeah]

Rowlinh: Rowling: = to make it right for the

readers and I felt a huge uhm

protectiveness

9 Rowling: And just physically Hagrid That’s amazing

being so big and fatherly=and Harry

being lame in his arms so that‟s why we

were all was going. =

Radcliffe: = That‟s amazing.

10 Radcliffe: As the books when own,= Mm-hm

Rowling: = mm-hm. =

Radcliffe: =

actually there we:re> (0,5) suddenly was

getting a massive about our fan base as

well. =

Rowling: = mm-hm.

11 Radcliffe: It‟s almost become part of, The legend and yeah

(0,3)

Rowling: the legend. =

Radcliffe: = the legend of Harry [Potter]

you knew all of it.

Rowling: [yeah]

12 Radcliffe: I do I do sometimes think that There would be an

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you know a six hour audience and yeah

Harry potter film there would be, (0,2)

Rowling: there would be [an audience

for it,] =

Radcliffe: [there would

be an audience] yeah.

Rowling: = and they would still be

complaining that things were wr[o:ng] =

Radcliffe: [yeah]

Rowling: = and they would still want

director‟s cut. =

Radcliffe: = Yeah.

Rowling: = so so let‟s not even go down

that route

13 Rowling: There was always logic to the Yeah

magic euh however strange it became.=

Radcliffe: = yeah.

Rowling: = and I know it‟s intriguing to

go through the mouth

14 Rowling: So we had a bit of a Okay

°discussion about that°. =

Radcliffe: = okay,

Rowling: = sometimes I will dig my

28

heels in about the funniest things

B. The Data Analysis

In this section, those selected data which tabulated in the previous

section will be analysed in this research. There are 14 selected data which

taken from the transcript of conversation between J.K Rowling and Daniel

Radcliffe. The data will be analyzed one by one in order to answer the

research questions in chapter 1. The data can be analyzed as follows,

Datum 1

Radcliffe: David should ask my dad if I would [audition] and the

original deal was that we‟d heard…

Rowling: [mm-hm]

In this part, before identifying backchannels, it is really important

to determine the turn which occur in the conversation above, because

backchannels is not a turn. Based on the theory, datum 1 shows that there

is only one turn occur in the conversation and it belongs to Radcliffe.

Radcliffe‟s utterances David should ask my dad if I would an audition and

the original deal was that we’d heard is a turn which makes him as the

primary speaker. Besides, Rowling‟s utterance mm-hm produces when

Radcliffe still taking his floor is not a turn, it is overlap. Overlap often use

when the non-primary speaker tries to grab his/her floor in order to make

his/her as the primary speaker.

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However, in this case, overlap which occur in Rowling utterance is not seen as her way to grab the floor because she only produces simple utterance mm-hm as a feedback to what Radcliffe says. The type of signal which given by Rowling as a feedback to Radcliffe known as backchannels. One characteristic of backchannels is that they often uttered simultaneously with part of ongoing talk (overlap). The distinction between overlap and backchannels is that backchannels is not seen as a way to grab the speaker floor. Thus, because Rowling simple utterance is only a feedback to what Radcliffe says, then it is backchannels, not turn.

Furthermore, based on the context of the conversation, Rowling does backchannels as a signal to Radcliffe indicate that she is listening and allowing him to continue his turn. Schegloff mantain that backchannels functioned as a continuer whereby the hearer, by using backchannels cues, they are mandating the current speaker to continue speaking. Therefore, that backchannels functioned as continuer.

Datum 2

Rowling: I had written you know a strong

female charac[ter] who was primarily about brain.=

Radcliffe: [yeah] = ye[ah]

Rowling: [and] that

she chose to become a nickel. =

30

Radcliffe: = ye[ah]

Rowling: [more] groom and glamorouses.

Different with datum 1, datum 2 is more complex. Some mechanisms in conversation occur in the conversation above; they are turn, overlap, and backchannels. In the beginning of the transcript,

Rowling produces the utterance I had written you know a strong female character who was primarily about brain to take the floor. Meanwhile, when Rowling is still taking her turn, Radcliffe does overlap by producing the simple utterance yeah. It is seen neither as his way to grabs the turn nor to takes his own turn, but it is backchannels. In turn, there is transition relevance places. Transition relevance places (TRP) occur when the utterance have completion of grammatical, semantical, and intonational in order to make the speaker shift and to make the flow of the conversation.

In the case of Radcliffe utterance yeah, although Rowling utterance could be seen as grammatically and semantically complete, but it has an incomplete intonation because Rowling still continue her turn. On the other hand, Radcliffe simple utterance is not a way to grab the speakership because after it, Radcliffe do not continue speaking. Thus, those simple utterances is only serves as a feedback to Rowling; it is backchannels.

In addition, after Rowling finishes her first turn by making her utterance intonationally complete with falling intonation, Radcliffe produces his second yeah because TRP occur in Rowling utterance and

31

indicate that there is a speaker shift. At any TRP, there are two basic ways in which next speaker could gains the speakership, either the current speaker can select the next speaker or a next speaker may self-select.52 In the case of Radcliffe second yeah, it serves neither as the current speaker select the next speaker nor speaker self-select. Schegloff argues that not all verbalization serves as speaker self-select. Other forms of talk are designed spesifically to show that a participant is not taking the floor.

Continuers, such as yes, mm-hm, uh-huh produced during an extended turn do not taking up the speakership at this point.53 Radcliffe second utterance occurs without no gap and overlap because he produces it immediately when Rowling finishes her turn. Although he does so, his utterance could not see as taking his floor because it is only simple utterance indicate that he gives Rowling attention to the discussion. In sum, because Radcliffe second utterances yeah do not serve both as turn and overlap, then it is backchannels.

Furthermore, Rowling continues the floor early in Radcliffe ongoing talk by producing and that she chose to become a nickel, which is known as overlap. Rowling continues her early floor with the word and simultaneously with Radcliffe utterance yeah. Obviously, Rowling utterance is overlap because it is her way to grab her floor back and it proved by her following utterance that she chose to become a nickel.

Therefore, those utterances serves both as turn and overlap.

52 Anthonny J Liddicoat (2007), p. 67. 53 Ibid.

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Radcliffe produces his third yeah immediately when Rowling finishes her turn because her utterance have gramatically and semantically complete, and falling intonation. Radcliffe third yeah serves similarly with his second one. He produces it as a response to what Rowling is talking about; it serves as backchannels. In addition, Rowling third floor utterance more groom and glamorouses serve similarly with her second one. He produces it with overlap to take her turn back.

On the other hand, to determine the function of backchannels, it is important to give attention about the context of the conversation, because backchannels yeah is thought to serve several functions, it generally functioned either as showing understanding content or give an agreement about what the speaker says. In this case, based on understanding of the context of their conversation, both of them are discussing about Hermione

Granger as supporting actress in Harry Potter film. Meanwhile, three backchannels yeah which produced by Radcliffe is to respond a judgmental utterance produced by Rowling a strong female character who was primarily about brain and that she chose to become a nickel more groom and glamorouses. Thus, that backchannels is functioned as an agreement. Because when the speaker produces a question, question like utterance or statement which is tend to be an opinion, then backchannels which produced by listener is functioned as an agreement.

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Datum 3

Radcliffe: You were around a lot at the beginning and early on

[very] very involve and as you kind of saw…

Rowling: [yeah]

In datum 3, there is only one both backchannels and turn which occur in the conversation. Radcliffe takes the floor by producing the utterance you were around a lot at the beginning and early on very very involve and as you kind of saw..., but when his utterance has not finish,

Rowling does the simple utterance yeah simultaneously with part of

Radcliffe ongoing talk which is known as overlap. Mostly, people do overlap to grab the speakership from the current speaker and make s/he as the primary speaker. However, in this case, Rowling‟s overlap could not see as grab the floor because she only produces a simple utterance in order to respond Radcliffe utterance. Thus, her simple utterance yeah does not belong to turn taking strategy, it belongs to backchannels. The distinction between overlap and backchannels which produce with overlap is that backchannels do not purloin the speaker shift. Therefore, after Rowling produces yeah does not make her as the primary speaker immadiately.

Meanwhile, in this case, by understanding the context of their conversation, although Radcliffe utterance you were around a lot at the beginning and early on very very involve and as you kind of saw... does not provide new information for Rowling as the listener, it does not mean

34

that backchannels yeah which produced by Rowling is functioned as an agreement. The context of their conversation is that both of them are discussing about the process of making Harry Potter film; how much

Rowling involves during the process of making the film, so Radcliffe produces you were around a lot at the beginning and early on vey very involve and as you kind of saw, and Rowling produces backchannels yeah indicates that she understands what Radcliffe talking about. Thus, because they are sharing the same knowledge, the function of backchannels yeah which produced by Rowling is as the display of understanding content, not as an agreement.

Datum 4

Radcliffe: The contact lenses there is very small percentage of

people apparently who have very uh (0,8)

Rowling: ex[treme reaction]

Radcliffe: [extreme reac][tion] = to ehm [contact lenses] =

Rowling: [yeah] [You poor thing]

Radcliffe: = and I was one of them. =

Rowling: = I feel really bad

35

The transcription above shows that there are several overlap occur in the conversation. Overlap is related to features of the turn taking system which means that people do overlap to grab the speaker floor. In contrast, if people do overlap in order to respond about what speaker says and do not aimed to grab the floor, then the overlap belongs to backchannels.

Furthermore, the transcription above shows that Radcliffe takes his turn by producing the contact lenses there is very small percentage of people apparently who have very. There is short pause less than a second occur in

Radcliffe utterance. Radcliffe short pause do not indicate the speaker shift because there is no TRP. Radcliffe utterance have an incomplete grammatical, semantical, and intonational.

However, in order to maintain the flow of the conversation,

Rowling as the listener needs to give a response to occupy Radcliffe short pause so that the attributable silence which interpreted as significant could not happened. Therefore, Rowling produces the utterance extreme reaction as verbal fillers to occupy the short pause. Those verbal fillers do not serve either as overlap or turn, but it is backchannels. White claims that backchannels cues tend mostly to occupy short pauses, usually less than a second.54 The argument that Rowling extreme reaction is backchannels supported by one of backchannels functions which serve as sentence completion. In the context of the conversation, Radcliffe produces short pause because it seems like he forgets about the words that he wants to say

54 Ron White (1997), op. cit. p. 314.

36

and because Rowling knows the context of the discussion, she produces extreme reaction to complete Radcliffe utterance and to occupy the short pauses.

In addition, Radcliffe continue his turn immadiately while Rowling still speaking. Radcliffe produces extreme reaction with overlap in order to grab the floor back. It proved by his following utterance to ehm contact lenses and I was one of them. In this case, those Radcliffe utterances serve as turn. He grabs his floor back by producing the forgotten utterance extreme reaction from his previous utterance. Meanwhile, Rowling does two overlaps yeah and you poor thing simultaneously with Radcliffe utterance extreme reaction and contact lenses, but this overlap serve only as a reaction to what Radcliffe says rather than to grab the floor. Then, the overlap belongs to backchannels. Each backchannels produced by

Rowling functioned as continuers and support/empathy.

The other backchannels which occur in the conversation comes from Rowling utterance I feel really bad. She produces it with no gap and overlap. She decreases TRP, the beat of silence which is the normal value of the transition space is not present. Although she does so, those utterances do not serve as turn because Rowling produces it in order to give a support and empathy to Radcliffe bad experience about the contact lenses.

37

Datum 5

Rowling: He was telling me things I needed to hear [sometimes] I‟m

really liked that.

Radcliffe: [oh really,]

Rowling: °Yeah°.=

Radcliffe: = That‟s amazing.=

Rowling: = Yeah I miss him.

Datum 5 contains that Rowling takes the first floor with the utterance he was telling me thing I needed to hear sometimes I’m really like that. Meanwhile, Radcliffe produces oh really with slight rising intonation when Rowling still taking the turn, known as overlap. In this datum, overlap does not see as grabs the floor or purloin the speaker shift.

Radcliffe only produces it to react toward Rowling utterance, functioned as request for information. Therefore, for those reason, oh really produced by Radcliffe serve as backchannels. In addition, Rowling utterance yeah is not backchannels, it is turn. Those utterances rather provide as an answer of oh really from Radcliffe than a feedback of it. Radcliffe continues the conversation by producing his second backchannels that’s amazing.

Radcliffe produces it without no gap and overlap because he does it immadiately when Rowling‟s talk stops. Although he does so, it does not mean that he takes the floor. Rowling choose no one as the next speaker, then Radcliffe select his self as the speaker. However, not all verbalization

38

serve as speaker self-select. Radcliffe utterance rather provide as his strong emotional response to a statement produced by Rowling than as a turn.

Furthermore, Rowling takes the floor through speaker self-select.

She produces yeah I miss him immadiately when possible completion occur in Radcliffe utterance. In this case, those utterance serve as turn, not backchannels, because from the beginning of the discussion, the only one who gain the speakership is Rowling and backchannels only belong to listener who does not take up the speakership. In sum, it is no way for backchannels occur over backchannels.

Datum 6

Rowling: It was a relief to say right there the films and I‟m over here

with the books and that‟s fine and I trust these people and I did and I

do,=

Radcliffe: = and that‟s wonder[ful]

Rowling: [a:nd] you know I think and I have to

say that it was….

In datum 6, Rowling takes up the speakership by producing the utterance It was a relief to say right there the films and I’m over here with the books and that’s fine and I trust these people and I did and I do,.

Those utterances could be seen both grammatically and semantically complete, but the intonation is incomplete because she produces the last

39

utterance with slight falling intonation which indicate that she wants to continue her floor. However, Radcliffe produces the utterance and that’s wonderful in possible comnpletion of Rowling‟s utterance without no gap and overlap. He produces it immadiately when Rowling talk stop. In this case, Radcliffe utterance could not see as turn because he produces it in order to make a signal of complex transaction that Rowling delivers in her talk. It happened because as the listener, Radcliffe has to gives a cue which indicates that he is following and not objecting to what Rowling says. In conversation analysis study, it is known as backchannels.

Backchannels is a signal given by listener toward the speaker utterance.

Backchannels do not legitimate the speakership or floor because it does not purloin the speaker shift. It has been proven that after Radcliffe produces and that’s wonderful, it does not make him as the primary sepaker because Rowling continues her utterance by grabbing the floor back (overlap) by producing the utterance and you know I think and I have to say that it was. Rowling produces her beginning utterance and simultaneously with Radcliffe ongoing talk. Thus, it is a kind of turn which she gains through overlap.

Moreover, backchannels produced by Radcliffe that’s wonderful is a kind of his empathic response to a statement produced by Rowling, which indicate more than simple continuer, understanding or support.

Radcliffe does that backchannels as a compliment to Rowling because he amazed by what Rowling thinks. Therefore, Radcliffe‟s backchannels

40

that’s wonderful is functioned as strong emotional response. Besides, several types of backchannels which have the same function are wow, great, and amazing.

Datum 7

Radcliffe: >I can explain this to you in two minutes but I don‟t know

if that‟s possible< because I remember I had to re read=the end of

seventh [at] fe:w time it‟s to: much the end of seventh the epilo:gue,

Rowling: [yeah]

In the beginning of the transcription, Radcliffe takes up his floor by producing a complex utterance. He produces the talk which is noticeably faster than his surrounding talk indicated by (>words<). On the other side,

Rowling produces simple utterance yeah simultaneously with Radcliffe ongoing talk, which is known as overlap. Overlap is a way for listener to grab the turn from the current speaker. Furthermore, if the aim of overlap is to grab the floor, then it relates to turn taking strategy. Nevertheless, yeah produced by Rowling do not serve as her way to grab the turn because after Rowling produces it, Radcliffe still taking up the speakership. Therefore, in this case, those overlap belong to backchannels.

Rowling produces backchannels as a response to the issue of the discussion delivered by Radcliffe.

In addition, as the important mechanism in conversation, backchannels have some functions; for what purpose the listener do

41

backchannels. The function of backchannels is really related to the context of the conversation. However, by understanding the context of the conversation, backchannels yeah used by Rowling functioned only as continuers. Rowling produces it in order to give a signal that she is listening and allowing Radcliffe to keep talking.

Datum 8

Rowling: I saw so clearly in my mind I knew I could help I knew I

genuinely could help [and] I could help them to make it right for the

readers =

Radcliffe: [yeah]

Rowling: = and I felt a huge uhm protectiveness

The conversation above consists only one both turn and backchannels. Rowling takes up her turn by producing long utterance which is the complex one. On the other hand, Radcliffe producing simple utterance yeah while Rowling still taking up the floor. Those utterance produces simultaneously with Rowling ongoing talk, so overlap occur in this case. Nonetheless, this overlap does not belong to turn taking strategy, but it belongs to backchannels. Radcliffe produces yeah in order to give a reaction of the complex utterance delivered by Rowling. During a conversation, speakers, within an extended turn, still expect that their conversational partners are listening. Stenstrom also argues that

42

backchannels as a means of helping the complex transaction. Therefore, yeah produced by Radcliffe could not see as turn, but backchannels.

Furthermore, Radcliffe produces backchannels yeah to respond

Rowling opinion about helping the readers of Harry potter book.

Backchannels which produced by listener toward the speaker judgment could be seen as an agreement, which is more than simple continuers.

Thus, Radcliffe backchannels yeah functioned as an agreement.

Datum 9

Rowling: And just physically Hagrid being so big and fatherly=and

Harry being lame in his arms so that‟s why we were all was going. =

Radcliffe: = That‟s amazing.

Similar with the previous datum, this datum only contain one both turn and backchannels. The turn is belong to Rowling, and backchannels belong to Radcliffe. Rowling takes up the speakership by producing long utterance. Her utterances have grammatically, semantically, and intonationally completes. She finishes her utterance with falling intonation on the word going. Those three characteristics of turn could legitimate that the current speaker‟s floor is finished. In addition, Radcliffe produces the simple utterance in possible completion or TRP. He produces it immadiately when possible completion occur in Rowling‟s utterance.

Radcliffe produces that’s amazing without no gap and overlap to reduce

43

the possible completion. Nevertheless, as long as the listener whose utterance roles as a signal to what speaker is talking about, then it is not turn, but backchannels. Thus, that’s amazing produced by Radcliffe is backchannels.

Moreover, Stenstrom maintain that a listener is not allowed to remain passive, nor allowed to provide silent feedback. Hence, Radcliffe produces that utterance to show to Rowling as the speaker that he still has an interest to what Rowling says. Based on Maynard described about the functions of backchannels, that’s amazing is a backchannels which serve to show an empathy or strong emotional response which is more than as a continuers or agreement. In sum, if the listener produces backchannels such as wow, great, amazing, fantastic, etc, they are probably functioned as strong emotional response.

Datum 10

Radcliffe: As the books when own, =

Rowling: = mm-hm.

Radcliffe: = (0,5)

suddenly was getting a massive about our fan base as well. =

Rowling: = mm-hm.

The conversation between Radcliffe and Rowling above shows that the flow is very goes well because the absence of overlap. In the beginning of the discussion, Radcliffe takes up the speakership by producing a

44

compound sentence ended with slight falling intonation which indicates that his floor has not finished yet. However, Rowling produces simple utterance not to taking up her turn but only make a feedback which indicates that she is listening and encouraging Radcliffe to keep talking.

Thus, Rowling simple utterance mm-hm is backchannels. The one who produces backchannels in conversation do not legitimate him/her as the primary speaker, s/he does not taking up the speakership at that moment. It proved by the continuity of Radcliffe‟s turn by his following utterance

(0,5) suddenly was getting a massive about our fan base as well.

Moreover, both of them are very well maintaining the flow of their conversation. The transition between turns at talk is done smoothly.

Nevertheless, in this case, it is necessary to understand that the turn is only belong to Radcliffe as the primary speaker. Any utterance produced by

Rowling as the listener considered not as turn, but backchannels. Although

Rowling produces her two utterances without no gap and overlap and within TRP, but it is only serve as a response which functioned as continuer to what Radcliffe says. According to Hatch, during conversations, even when it is not our turn at talk, we may nod or make noises like umhhmm, uhhuh, yeah, yerright – backchannels feedback that

45

encourages the speaker to continue. These signals do not take the turn

away from the speaker.55

Datum 11

Radcliffe: It‟s almost become part of, (0,3)

Rowling: the legend. =

Radcliffe: = the legend of Harry [Potter] you knew all of it.

Rowling: [yeah]

In datum 11, Radcliffe begins the discussion by taking up the floor.

There is a short pause occur in Radcliffe utterance less than a second. It is

a normal value in conversation. The short pause probably occurs because

he is thinking about the word that he wants to deliver in order to complete

his utterance. However, to avoid a long pause in Radcliffe utterance,

Rowling produces a word as verbal fillers. Verbal fillers aimed to occupy

the short pause. It is not a kind of turn because Rowling does not taking up

the speakership at that moment, but it is backchannels. Rowling produces

those utterances not only as verbal fillers, but also as a sentence

completion. She delivers the word the legend to complete Radcliffe

utterance because she knows about the context of the discussion. It proved

by Radcliffe following utterance the legend of Harry Potter you knew all

of it in his own turn. The legend word which delivered by Rowling is the

55 Evelyn Hatch, Discourse and English Education 1st ed, (Cambridge: Cambridge University, 1992), p. 15.

46

exact word that Radcliffe means. That is why Radcliffe produces it in the beginning of his following utterance.

Furthermore, Rowling produces her second backchannels in this conversation. She produces it simultaneously with Radcliffe ongoing talk.

The utterance yeah produced by Rowling indicates that she is following and encouraging Radcliffe to go on. Rowling produces backchannels with overlap, but it is not seen as grabbing the floor, it is only a response. In sum, in this conversation, both of them have a good role as the speaker and hearer. Radcliffe does the utterance to takes up the speakership as the primary speaker, and Rowling does backchannels to give a feedback as the listener.

Datum 12

Radcliffe: I do I do sometimes think that you know

make> a six hour Harry potter film there would be, (0,2)

Rowling: there would be [an audience for it,] =

Radcliffe: [there would be an audience] = yeah =

Rowling: = and they would still be complaining that

things were wr[o:ng] and they would still want director‟s cut. =

Radcliffe: [yeah] =Yeah.

Rowling: = so so let‟s not even go down that route

47

Datum 12 contains several turn, overlap, and backchannels. In the beginning of the conversation, Radcliffe takes up the speakership and there is a short pause less than a second in his utterance. Radcliffe delivers the utterance by producing the word be with slight falling intonation. The slight falling intonation which followed by a short pause, however, lead

Rowling as the listener to takes up the turn because she knows the context of the discussion. In the previous cases of the data in this research, the listener who produces the utterance to fill the short pause serves as backchannels. Nonetheless, in this datum, the utterance aimed rather to take the turn than to fill the short pause. Then it is turn, not backchannels.

Rowling produces the utterance there would be an audience for it to take up the speakership from Radcliffe as the current speaker. Rowling gain the speakership through speaker self-select. The proof of this argument is that the one who take up the speakership till the end of the discussion is

Rowling. Thus, there would be an audience for it is turn, not backchannels.

Moreover, after the speaker change, Radcliffe as the listener gives a feedback of his agreement by producing two utterances there would be an audience simultaneously while Rowling utter an audience for it and yeah in TRP. Those two utterances could not see as a turn because Rowling still taking up the speakership. Hence, those two utterances belong to backchannels. The reason that those utterances are only as backchannels supported by the continuity of Rowling‟s turn as the primary speaker, she

48

produces and they would still be complaining that things were wr[o:ng] and they would still want director’s cut through the TRP.

In addition, Radcliffe produces the other feedbacks of his agreement; backchannels. Those feedbacks are yeah which produced twice in his utterance. His first backchannels occur simultaneously with Rowling ongoing talk in order to give a signal after the complex utterance which delivered by Rowling. His second backchannels occur within TRP, he produces it without any gap to reduce the possible completion. The argument that those utterances belong to backchannels supported by

Rowling following utterance to continues her floor. In sum, this conversation consists of four both turn and backchannels.

Datum 13

Rowling: There was always logic to the magic euh however strange

it became.=

Radcliffe: = yeah.

Rowling: = and I know it‟s intriguing to go through the mouth

The conversation above shows that the speakership belongs to

Rowling. She produces the utterance to take up the floor. Meanwhile,

Radcliffe produces the simple utterance yeah in possible completion when

Rowling utterance has grammatically, semantically, and intonationally complete. Radcliffe produces the utterance without any gaps, he talks

49

immadiately when Rowling talks stop. Nonetheless, those utterances could not see as turn which he gains from the speaker self-select. Radcliffe delivers his utterance to give a response as an agreement toward an opinion made by Rowling as the primary speaker. The response such as those utterances which given by Radcliffe as the listener in order to make a contribution in their conversation. Thus, Radcliffe simple utterance yeah is not turn, it is backchannels. The difference between backchannels and turn is that backchannels do not make any changes in speakership. This argument supported by the continuity of Rowling‟s turn as the primary speaker. She continues her previous utterance by producing and I know it’s intriguing to go through the mouth.

Datum 14

Rowling: So we had a bit of a °discussion about that°. =

Radcliffe: = okay, =

Rowling: = sometimes I will dig my heels in about the funniest things

In this part, the conversation consists two turns and one backchannels. In the beginning of the conversation, Rowling takes up the floor by producing the utterance which grammatically, semantically, and intonationally complete. Those three characteristics could legitimate that her floor finished and the next speaker could take the speakership.

50

Radcliffe produces the simple utterance okay in possible completion but he reduces TRP to deliver the utterance without any gap and overlap.

Although he does so, Radcliffe utterance could not see as turn because after he produces it, Rowling continues the floor as the primary speaker.

However, not all verbalization serve as turn through speaker self-select.

Simple utterance such as yes, mm hm, uh huh produced by listener as a response to what speaker says is not taking up the speakership. Hence,

Radcliffe continuers okay is not considered as turn, but it is backchannels.

He takes his role as the listener by giving response to the issue of the discussion and allowing Rowling to continue the floor.

CHAPTER IV

CONCLUSION AND SUGGESTION

A. Conclusions

Based on the research problems in the first chapter and the research

findings of the data description and analyses in the third chapter, the

conclusion can be seen as follows

Dealing with the first question of the research problems about how

backchannels works in conversation between Daniel Radcliffe and J.K

Rowling, there are several ways used by both participants to do this signal.

Mostly, they do it in any possible completion or TRP when the utterance

produced by primary speaker have grammatically, semantically, and

intonationally complete. They produce backchannels both with overlap

and without any gap in order to reduce transition relevance place.

Furthermore, the analysis shows that before determining backchannels, it

is really important to separate the utterance which role as turn and overlap,

because backchannels is not kind of turn and not a way used by non-

primary speaker to grab the turn (overlap). The utterance could be more

important to be separated because turn could be as simple as backchannels.

However, backchannels must not be confused with turn. Any utterances

produced by non-primary speaker either within the TRP or overlap, as

long as it is only serve as a signal to what speaker says, then it must be

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backchannels. Moreover, any utterances either simple or complex which produced by the primary speaker to take the speakership, then it must be turn. In sum, backchannels only belong to non-primary speaker, and turn only belong the primary speaker. Therefore, it is no way for backchannels occur over backchannels.

In addition, dealing with the second question of the research problems, the results are, mostly, those backchannels that they used during the conversation functioned as continuers, agreement, and understanding content. Those functions could only be determined by understanding the context of the conversation because there is no legitimation that one form of backchannels only serves as one function. That is why the functions of backchannels is really related to the context in it used for.

In sum, the use of backchannels during a conversation is really important because it indicates that the non-primary speaker is listening or understanding about what primary speaker says. On the other hand, the absence of backchannels during a conversation make it seems to be awkward and not going well. Therefore, backchannels help the participants both primary and non-primary speaker to know the response and feedback during a conversation.

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B. Suggestions

There are so many linguistic phenomenons around us in our daily

life. The writer hopes that this research could give a contribution in

conversation analysis study and the next researcher whose interest in

conversation analysis study as the main issue. However, conversation

analysis is always interesting to be the issue of research because it happens

in everyday activities. There are so many various problems that the next

researchers could be explored in it.

BIBLIOGRAPHY

Books:

Hatch, Evelyn. Dioscourse and English Education. Cambridge: Cambridge University, 1992. Geaney, Declan. Discourse Analysis and Related Topics for Teachers of English As A Second Langauge 1st ed. Praha: Karolinum, 1996. Lerner, Gene H. Conversation Analysis: Studies from The First Generation. Philadelphia: John Benjamins Publishing, 2004. Liddicoat, Anthonny J. An Introduction to Conversation Analysis. New York: Continuum, 2007. Mey, Jacob L. Pragmatics: An Introduction 2nd ed. Malden: Blackwell Publishing, 2001. Pridham, Francesca. The Language of Conversation. New York: Routledge, 2001. Stenstrom, Anna- Brita. An Introduction to Spoken Interaction. London and New York: Longman, 1994. Tottie, Gunnel. Conversational Style in British and American English: The Case of Backchannels. New York: Longman, 1991. Trudgill, Peter. Sociolinguistic: An Introduction. New York: Pinguin Book, 1974. Wales, Katie. A dictionary of Stylistics 2nd ed. Harlow: Pearson Education Limited, 2001. Yule, George. Pragmatics. New York: Oxford University Press, 1996.

Journals:

Charles Goodwin & John Heritage. Conversation Analysis Vol. 19. Los Angeles: Annual Reviews Inc, 1990. Cutrone, Pino. Thre Backchannels Norms of Native English Speakers: A Target for Japanese L2 English Learners. Language Studies Working Papers Vol. 2, 2010.

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Givon, T. Conversation: Cognitive, Communicative and Social Perspectives Vol. 34. Philadelphia: John Benjamins Publishing V, 1997. Karin Aijmer & Anna- Brita Stenstrom. Approaches To Spoken Interaction. Journal of Pragmatics 37. 2005. Stenstrom, Anna- Brita. Impromptu Speech: A symposium. Abo: Abo Akademis Kopieringscentrtal 1st ed, 1982. White, Ron. Backchannelling, repair, pausing, and Private Speech. Applied Linguistics Vol. 18. No. 3, 1997.

Websites: http://www.ew.com/article/2011/11/04/harry-potters-magical-extras accesed on January 25, 2105. http://www.hypable.com/j-k-rowling-discusses-why-harrys-eyes-didnt-have-to- be-green-cutting-a-scene-from-alfonsos-prisoner-script/ accesed on January 25, 2015. https://www.youtube.com/watch?v=7BdVHWz1DPU accesed on January 25, 2015.

APPENDICES

Transcript of Conversation between Daniel Radcliffe and J.K Rowling

Radcliffe: So, this is exciting

Rowling: Yes, it is.

Radcliffe: This is a chance to ask each other

Rowling: All the things we passed each other off camera but now do in fornt of camera

Radcliffe: But now do in front of camera. And I‟m gonna try to be much more profound insightful I ever have before on camera

Rowling: Go for it. Im looking for this

Radcliffe: Yeah I know this is my chance were realized that during interview its actually not the easy thing to do at all

Rowling: It‟s okay, we can swap I can interview you

Radcliffe: Yeah. It will be brilliant. So, I thought the beginning at the beginning, how involved were you in the casting process and how much do I have to thank you for

Rowling: I was involved not to the extent i was sitting in on in on auditions but they were keeping really fully informed as you know we found rupert name and they were perfect that was a done deal I still couldn't find you. Well you say how you were found, it was amazing really

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Radcliffe: It was a bizarre. originally what happened was that David Heyman knew my dad cause my dad had been a literary agent and my dad at work David's mum and so David should to ask my dad if I would audition and the original deal was the we'd heard was going to be to do six films and it was going to be done in America

Rowling: It should be done in America. no one ever told me that

Radcliffe: Maybe that's why I takes you prefer down some point all that is what I would agree to that and I'm not somebody who particularly believes in fate and destiny in all those things but my parents do and so the final straw was the fact that I was so I went to the theater to see production stones in his pockets and David Heyman and Steve clovis who adapted all but one of the books have to be sitting in the right front you and I was sat there for why is that man keep

Rowling: Staring at me. This is very creepy

Radcliffe: It was very creepy

Rowling: I need to find someone

Radcliffe: It was very odd and I remember at the interval, my mom my dad both looking kinda quite intense about something but you know as a kid you're being purposely kept out of the loop you know if your own good kinda thing and we went up the stairs and out the theater and into the pit behind a pillar . I seem to remember that it is absurd notion that David Haymes is gonna chase off and then there was some debate as to whether we would go back in and I said no

Rowling: Really?

Radcliffe: I was really enjoy and so we were back in and then the next day they kind of moment that's when I will maybe it is the goats or trying to tell us something you know

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Rowling: But there were a lot of strange coincidences and then they called me and said we think we found in and then the first time I ever saw you was on screen in my sitting at home

Radcliffe: Really?

Rowling: And saw the video of you and the curious thing is an unlikely I don't believe in waiting to see which is a day I think and I saw you on them audition tape names I had I don't think I've ever read that I found incredibly moving and at that point I didn't have a son

Radcliffe: All right

Rowling: And i phone David up and I said he said he's great he's fantastic and I did say to David it was like watching my son on screen cause after harry felt like feels this ghostly part of my life. to be honest, you and Rupert and Emma are all too good-looking you know the characters were geeky and you

Radcliffe: Did you know that was going to happen to you still think their might

Rowling: I'm not need it

Radcliffe: Yeah

Rowling: I did particularly when I, you know I was really lucky to speak emma first on the phone before I meet her because I fell absolutely in love with her she said to me free to discuss your case before got mike got to know this company I she said I 60 seconds at least without doing breath and I just said emma you are perfect and then I met her and she was very beautiful

Radcliffe: Yeah

Rowling: Which she still cause she is beautiful girl I just kinda had to go okay hey its film you know deal with it I'm going to still see my ugly duckling hermione in my mind

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Radcliffe: Do you think the anyway we push ourselves in the foot with things like that for then emma‟s revealing the fourth film which comes and says there is supposed to be in this transformation

Rowling: Well exactly

Radcliffe: And we'll look into which is already beautiful girl

Rowling: Yeah big deal not she's a beautiful girl in a beautiful dress

Radcliffe: Yes

Rowling: And putting air in fair isle sweaters in the first one didn't make correctly fine in the books he's ever ugly but it was a it was quite a big deal for me I had written you know a strong female character

Radcliffe: Yeah

Rowling: Who was primarily about brain

Radcliffe: Yeah

Rowling: And that she chose to become a nickel

Radcliffe: Yeah

Rowling: More groom and glamorouses as you know as its a certain point in our lives but I accepted emma is a great actress and I loved her as a person

Radcliffe: Yeah

Rowling: And I felt there were so many connections between her and hermione that did it matter that she's beautiful girl

Radcliffe: But it was interesting you mention about the audition cause I was given a copy of my audition where I was it turns out to not know the new pandemic could render this but the turns out that we did audition together once that there was going the screen test where they'll test it is all the same time and I get to test

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chris colombus his voice off-camera and I just remembered, God he was brilliant. He was amazing with us. I don't think anybody else could have got the enthusiasm of those

Rowling: He was just nicest guy in the world

Radcliffe: Nicest guy

Rowling: And real family man

Radcliffe: Oh yeah

Rowling: And I remember meeting and him being, I dont know where is not the right word but obviously this is the person who's gonna be taking my baby and same effort when I met Steve clovis

Radcliffe: Yeah

Rowling: The same I absolutely adore as well but you know first time you meet these people he was just such a nice guy and the relief both that my book would be in safe hand between honestly that you were gonna be in safe hands as well

Radcliffe: In England is different than in America, in America they first and foremost as a star and then as a child was actually use between his kid first and then act a second

Rowling: Do you think you had any idea that young of what you were really taking on

Radcliffe: Not really because I hadn't I wasn't even then fully aware of that scale of the phenomena. I have the first to read to me by my dad who is any did a great basilisk voice

Rowling: Did he?

Radcliffe: Hmm yeah fantastic. I did actually suggested chris colombus my dad is completely mortified by but now I was, no I don't think I could have ever had any

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even now I don't actually think I have an understanding of how far reaches because it is a case is not being able to see the wood for the trees you know is its I'm so much in the middle of it the actual can see how far out it stretches

Rowling: I had exactly the same experience although I think for a while I deliberately kept myself insulated from it I didn't want to think about it and when people would give me statistics

Radcliffe: Yeah

Rowling: So many books sold or so many and territories covered

Radcliffe: Yeah

Rowling: And you just you just think I just want to be in my desk

Radcliffe: Yeah

Rowling: I don't and you know, again, people what you think come you need to see the royalty checks coming in I'm sure you noticed this

Radcliffe: Yes

Rowling: Yes absolutely I knew it was there was a scare in pressure and sometimes a weirdness about you know this and I know this when people obsessional about something on the outer fringes you will have, you know strange things going on you maybe don't think focus too much, you just want to write your books

Radcliffe: As you say you've just don't want to be in my crafting us at least in with the rest the crew, you know

Rowling: I know. Its weird see you couldn't come because I can remember the first Premier I knew you were shaking

Radcliffe: Am I?

Rowling: Yeah you were

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Radcliffe: Yeah

Rowling: But it was I don't think any of us knew what to expect lie

Radcliffe: I don't think because we because on Potter is a very insular world

Rowling: Yeah of course

Radcliffe: In the film so you just basically you know you going to work everyday, this is big room of fans around studios we are the only film at least

Rowling: Yeah

Radcliffe: Normally to have interaction between different crews and things

Rowling: You feel very safe, doesnt it? I was felt that

Radcliffe: Yeah

Rowling: Felt like family when you have one elses names

Radcliffe: What was lovely for us, and I think I speak for everyone on set. You were around a lot at the beginning and early on

Rowling: Yeah

Radcliffe: And as you kind of saw that we weren‟t going massively off script you backed off

Rowling: Completely right, early on

Radcliffe: Was that hard?

Rowling: No, its easy

Radcliffe: Okay

Rowling: And it was a relief

Radcliffe: Right

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Rowling: I was around a lot early on. I wanted the Great Hall to look right, I wanted Diagon Alley to look right. There were details that I saw so clearly in my mind. I knew I could help. I knew I could genuinely help

Radcliffe: Yeah

Rowling: And make it right for the readers. I felt a huge protectiveness

Radcliffe: Yeah

Rowling: And loyalty to the readership

Radcliffe: Yeah

Rowling: Once I knew it was running, it was fine it was a relief to say right there the films and I'm over here with the books and that's fine and I trust these people and i did and I do

Radcliffe: And that‟s wonderful

Rowling: You know I have to say, inevitably you have to depart from the strict storyline of the books. The books are simply too long to make into very faithful films. I could think of many places it works just beautifully. It didn‟t have to be a word for word transcription.

Radcliffe: But I do sometimes think if we did make a six-hour Harry Potter film they would be

Rowling: They would be an audience

Radcliffe: They would be an audience. yeah

Rowling: And they would still be complaining that there were things that were wrong and they would want the director's cut.

Radcliffe: Yeah yeah

Rowling: So let's not even go down that route

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Radcliffe: Is there anything – talking about things being cut out – is there anything we‟ve cut that you were upset about? And is there anything we put in that weren‟t in the book that you thought were great? Because I remember with Alfonso and the Dementors

Rowling: No, I was remember exactly what it was with Alfonso

Radcliffe: Yeah

Rowling: First of all, on the Dementor point I thought he did those beautifully. I loved the fact that they created the visceral dislike for the Dementors. I love what he did for the Dementors. What it was, there was something in the script. Alfonso really wanted to get music into the film

Radcliffe: Right

Rowling: He put the choir in, which I loved. But at one point he had this bizarre scene where Flitwick was conducting and there were miniature people in an orchestra inside something. And I just, you see, this is my geekiness, I said to him, “But why?” I know it‟s visually exciting

Radcliffe: Yeah

Rowling: But part of what fans enjoyed about the literary world is there was a logic that underpinned it. There was always logic to the magic no matter however strange it became

Radcliffe: Yeah

Rowling: I know it‟s intriguing to go through the mouth of whatever it was and see these little people, but why? Why have they done it?

Radcliffe: Yes

Rowling: For you to film it that's just what it feels like

Radcliffe: Yeah that‟s interesting

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Rowling: You know normally with the magic that there's points so we had a bit discussion about that

Radcliffe: Okay

Rowling: Sometimes I‟d dig my heels in about the funniest things. I‟d say, “Yeah change the costume. Yeah it can happen in that city instead of that city. And all of a sudden, I‟d say, „But they wouldn‟t do that spell. Why would they do that there? So I think sometimes I confused people. But I also remember, right back at the beginning when you were cast I remember David Heyman calling me up and saying, “We‟ve tried green contact lenses. We can digitally alter his eye color in post production. How important is it that his eyes are green?”

Radcliffe: That I will thank you for

Rowling: And I said, um, “The only really important thing is that his eyes look like his mother‟s eyes. So if you‟re casting Lily, there needs to be a resemblance, but they don‟t absolutely have to be green.” “Oh thank Christ,” he said. Were the lenses that awful?

Radcliffe: Yeah, the contact lenses there is small percentage of people apparently who have a very

Rowling: Extreme reaction

Radcliffe: Extreme reaction

Rowling: Yeah

Radcliffe: To contact lenses and I was one of them

Rowling: You poor thing I feel really bad

Radcliffe: No, don‟t worry It‟s ten years ago, its really fine.

Rowling: Do you were good?

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Radcliffe: Aayeahh, I‟m overed now. Cause also the other things that we didn't think was a particularly good sign early on is that the green eyes went down so badly but then I came up In this terrible spots after about a week and you know, then Emma think I did get bad acne but I was eleven I told

Rowling: Teen doesnt look like you had a bad acne? Was that gerat make up?

Radcliffe: That was great make up and it was brilliant cause we put the glasses on and eventually realized I was allergic to them that I allergic to harry potter glasses because I had these two rings of Whiteheads around my eyes and it took about a week to realize it was actually the glasses so we probably just disregard I remember my first day was quite scary cause I had I'll it on the call CNN just said me, Emma and Rupert and Robbie Coltrane clashing with leading the last seen the film but dropping

Rowling: That you were dropping on

Radcliffe: Yes that‟s wonderful

Rowling: David Heyman said to me if there's one actor that you really want for one of the pass and I said hagrid and i cant just kept saying I just kept saying it may they talked about other people yeah that was a bit of a deal breaker for me

Radcliffe: While wrong to believe the lattice and Alan Rickman

Rowling: Alan

Radcliffe: My relations with Alan since the fifth film has changed totally

Rowling: Has it?

Radcliffe: You know once cause on the fifth you must find him very very intimidating

Rowling: He is scary

Radcliffe: He is scary

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Rowling: He just scary

Radcliffe: Before we serve and then I wanted Equus and then a week but after dinner afterward and suddenly I found allice actually hillary really funny and self- deprecating I'm kinda wonderful company and all she was so supportive me whenever I was going on stage I want when he cut short his holiday and I think in Canada to come back early and see the show so he can told me about that he's amazing night he does things like that and but how much did he know originally because he was always been this thing and

Rowling: Yeah Alan remix enough and it's absolutely true I told him really early on that he and snape being in love with Lilly that's why he hated James that's why he projected his amounted dislike to Harry so he knew then I heard you told me

Radcliffe: Yeah

Rowling: That he'd been saying I don't know whether his mom unseen you told me that he said I just don't think snape would do that

Radcliffe: Yeah

Rowling: Give them what I know

Radcliffe: Yeah I do remember

Rowling: And I told Alan you really know now if the camera angles not good enough

Radcliffe: Yeah

Rowling: No, I really feel at this point snape would be center stage in the good life because of what I know so then do you remember we were talking about I said well “let's just pretend I told you know to stop” so anytime they try and make you

Radcliffe: Yeah

Rowling: Even go for it

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Radcliffe: Yeah they wanted to try me to get another day don't forget to do it together had to say about stuff cause I want to gome home early and I still want to know the crew process yet

Rowling: It was funny about something cause some telling things that people used to say to me “If you told the actrees”

Radcliffe: Yeah, I didn‟t want to know

Rowling: And you didn‟t want to know and I don't think really leave that but I think partly I know that you started winding people up and saying I have told you something

Radcliffe: Yes

Rowling: But that was on set I mean among the cast wasn‟t it?

Radcliffe: Yeah

Rowling: And then you got more than he bargained focus then you got a taste of what it's like to be meeting

Radcliffe: Yeah and tell everyone coming out. it was the one night you came so reckless was also that I some research on some owls and after it I remember I turned round to you and said

Rowling: Do I die. I got to ask

Radcliffe: “Go on, do I die and you very cryptically turned was suppose for a moment”

Rowling: And I saw you you mean yeah should mmm

Radcliffe: Yeah that's what I was kinda cassidy they have somebody was good

Rowling: I Neil my husband of to accept what the daniel asked you when you went into she asked if he's gonna die what did you tell them

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Radcliffe: I remember hearing store at one point about you know you killing of character becoming upset about it and would you not be able to talk to him about that kinda stuff

Rowling: I think I told him in advance Dumbledore that he didn't know that harry he was gonna make it

Radcliffe: Really?

Rowling: You really living with that it's funny cause Matthew I remember Sam Matthew the premier

Radcliffe: He is brilliant for me

Rowling: He is brilliant and there's another example you know the cast what we think is plain looking kato's grows up to be discussed rock called

Radcliffe: And also on the coolest myself working on site

Rowling: I met him at the premiere for half-blood Prince and I said this quite stuff level in and he went I no I don't know I tried lighting up a conversation

Radcliffe: In the books obviously it's how much was where your school days kind influential on the kind if that's

Rowling: No not at all I went in comprehensive

Radcliffe: Oooh okaaayy so these kids even spy to get off the boarding school

Rowling: Yeaah which was the very last thing I wanted to do yes certainly wasn't pro boarding school it simply logistics there is a there's a logic underpinning the world and if you are a parted society whose living in secret and you want to gather together a large number of your children and teach them potentially dangerous and explosive things that could expose the whole society you are going to do that in an isolated place and you probably are going to have to have been bought their

Radcliffe: Yeah

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Rowling: It was just logistics but of course there is an a heat there's an appeal to young people there was to me the idea of just being together with young people and being divested your parents

Radcliffe: Yeah

Rowling: I think that‟s quite appealing it's much more interesting to write about if you're talking about kids with case and the authority not been parental figures it just as much more on the way so that so that's why it was but it was no kind to them to recreate this 1940s boarding school in in the slightest I know this for a fact and I'm afraid people just have to take my word on this car after all have met thousands at the key to have if you've read these books children from virtually every walk of life would like to go to home

Radcliffe: Absolutely, I still would

Rowling: Well you know it's safe it's an exciting place it's spooky its mysterious the get rid of their parents get tough East everyday it‟s in some ways a fancy to dark fantasy because there are things that are frightening you could have quite a nice life focuses on she kept her head down

Radcliffe: And when friends with Harry Potter

Rowling: And when friends with Harry Potter

Radcliffe: Yeah

Rowling: Don't be friends with Harry

Radcliffe: Yeah because in a way wanna that because what I like about Harry's a character is that one thing marked him as to how so many his relationships and so many of his most looked in Palm's life have been to do with death and you know his face

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Rowling: Yeah absolutely it took an aura of doom yes and that of course that was quite deliberate and he's physically the prism through which I view death in all its many forms at lower cast

Radcliffe: Wow!

Rowling: Yes

Radcliffe: As the books when own

Rowling: Eh-hem

Radcliffe: And you realize that actually there were Suddenly was getting massive about our fan base as well

Rowling: Mm-hm

Radcliffe: Did you then realize you could geared more towards adults and show her concert hall where you always gonna confront kids kinda with that

Rowling: It's a very good question because clearly I never went into expected to pick up an adult and paste the way and when I did having said that I had said from the very first I said to my first day to Barry Cunningham I want to grow up and it will get darker and it will get scarier and I think you can see that happening right up to four I mean it. after four things very scary but I was knew they would because Voldemort comebacks

Radcliffe: Yeah

Rowling: Some season very nasty stuff happens so I really went without my pen took me and I at though it may sound to some people I never really considered my readership in that way I never sat down so I just wrote what I want to write to you things got darker and darker and darker you know

Radcliffe: Yeah so how much then

Rowling: Yes

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Radcliffe: Did you know from the beginning because it's almost become part of

Rowling: The legend

Radcliffe: The legend of harry potter you knew all of it

Rowling: Yes

Radcliffe: And as these things to the gap answer the last chapter went from being written to being written in a min safe an armed guard

Rowling: Always it was never enough well it was there was a degree of truth I had very early on but not the first day or anything probably within the first year writing I wrote a sketch what I thought the final chapter would be so that's true an and but it did change

Radcliffe: Okay

Rowling: Because at least one character was alive in that version at the character that subsequently I killed so you know there are a couple people

Radcliffe: Really, who?

Rowling: Lupin suppose to make it

Radcliffe: Oh really?

Rowling: I hate to killing him yeah well now if he's not i think is days was there ever a chance to one estimate because I was convinced 1938 to buy it eventually one of nearly enough I plan from the start that none of them would die then midway through which I think is a reflection of the fact that I wasn't in a very happy place I start to think might push wanna come up now she's fight yeah now you definitely can I think anymore

Radcliffe: Midway through the book or midway through to the series?

Rowling: Midway through the series yeah

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Radcliffe: Okay

Rowling: And I think in my absolute heart-to-heart I did seriously consider canning drawn

Radcliffe: Really?

Rowling: Anyway and I can tell you say some real relief to be able to talk about always come first

Radcliffe: It must be lovely

Rowling: It‟s lovely and the truth is I always knew and this is from really early on that I was working towards the point where hagrid carried Harry alive that supposed to be dead out the forest always I knew where we were always working towards a final battleof Hogwarts I knew that Harry would walk to his death I plans on the ghost for want of a better word

Radcliffe: Yeah

Rowling: Coming back that they would walk with him into the forest we would all believe he was walking to his death he would emerge in happy times so that's what always kept Hagrid safe because Hagrid actually being unnatural to kill in some ways but because I always cleave to this mental imager of Hagrid being the one carrying Harry out that was so perfect for me because it was Hagrid came to be mean to the worl and Hagrid who would bring back and and the onlookers would be he was dead you know and just the physically hagrid being so big and fatherly

Radcliffe: Yeah

Rowling: And Harry being lame in his arms so that's why we were was going

Radcliffe: That's amazing! it's interesting at something like that actually kept hagrid safe I like that phrase

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Rowling: Yeah that's I'm happy Hagrid never in danger and as I say lupin when I first created lupin I had no intention of killed him and then it was sweetie born in the fact lupin had to die which is awful

Radcliffe: Yeah that was horrible

Rowling: What do you alternately I mean in the final book you looking to war on you what's a perfect about war well one of the horrific things is leaving children fatherless mother and I just came to a point where I so I'm gonna have to show that again in the most powerful way showing that is to kill parents that we know and to leave another so another baby boys orphaned you know it happens in the first four and harry was that boy happens again but you know I gave him and harry got father and I you hear about in the epilogue and you know that he's alright

Radcliffe: Who's your favorite characters to writeful?

Rowling: Dumbledore

Radcliffe: Except dumbledore

Rowling: Oh well I loved writing from Ron I love writing dialogue I missed Dombledore the most because he came from a I was feel like he came from somewhere back here it felt quite automatic writing about Dumbledore its telling me things I needed to hear sometimes I really liked

Radcliffe: Oh really? That amazing!

Rowling: Yeah I missing him

Radcliffe: People watching this there is very cynical way to watch is when we talk about these characters if they're real people and people I think as need to understand that for you it's been pretty much twenty years for these character

Rowling: Yeah twenty years

Radcliffe: You know for me ten

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Rowling: Yeah

Radcliffe: As you know you do get not just attached to the accident is unlikely this notion of them

Rowling: Yeah absoultely

Radcliffe: As the principles are those character

Rowling: And very ongoing relationship with them and thinking about them as the real people and we just living with them that they're in your life there in your life the way real people are

Radcliffe: Well I was going to ask about I Thought that i have some duty on a or personal level as well because I've always have my own suspicions about this Dumbledore being gay

Rowling: Yeah go on

Radcliffe: Dumbledore being gay

Rowling: Yeah I find people's reaction to that really interesting and I'll tell you why

Radcliffe: Yeah

Rowling: I by the time I said that I have been working on these characters for seventeen years now not many writers have ever been with the same characters for that long

Radcliffe: No

Rowling: So I feel I can still speak for all of us who have

Radcliffe: Yeah

Rowling: To say it becomes a very intense experience and inevitably

Radcliffe: Yeah

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Rowling: You‟re gonna know things about characters and I'm charges in the plural that and I‟m not in some cases will be relevant your thinking here this is the moment that's becomes relevant and I will say that a show that for example Profesor McGonagel I think I thought in some point would become relevant that she'd had a love affair with a muggle that she talked is quite tortured past she ended up in this celibate elderly teacher never became relevant never happened and as time went on and I got to know Dumbledore and I and that this is before the publication philosopher stone sober their mind up at this point I've been with him for seven years I knew he was gay I just knew he was gay

Radcliffe: Okay

Rowling: And to me it was not a big deal this is a very old man who has a very terrible job to do and his gayness is not me it it's not really relevant very relevant to him as a character because I we saw him is very lonely character and I think that there is in fact to him to in seven because the relationship he has with Brindle Vault he fell very hard for this boy is mean of the trusting that this good-looking young man

Radcliffe: Yeah yeah

Rowling: When he shows up I don't you think it was it was perfect the Dumbledore who is always the great champion love Harry love will save us luck his one great experience if love was absolutely tragic

Radcliffe: Yes

Rowling: It was with someone who is dangerous and demonic

Radcliffe: Yeah

Rowling: And so you know and I'm created absolute havoc in the world and created havoc for him so that was my idea of Dumbledore tragic backstory now I liked leaving it open so that perhaps a more worldly reader would see that may

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have been in not relationship and perhaps a nine-year-old with think he made a great friend

Radcliffe: Yeah

Rowling: And he trusted him but in the context of how I was writing about the other words he's giving clearly he is his John the Baptist of Harry crises he's the nearly ran man the man nearly could have happened allies but he

Radcliffe: Yeah

Rowling: Was too power-hungry that was what was interesting to me about dumbledore so he's used in the book clearly he's a worldly wisdom and he teaches harry would he needs to teach harry because he recognizes harry is going to be the on whatever you like he is the most flawed one he was the nearly ran that to me was interesting

Radcliffe: Mm-hm

Rowling: Do you remember in the first draft of the script for the half-blood Prince

Radcliffe: Rights

Rowling: When Harry at the station and dumbledore comes to meet at the station

Radcliffe: Oh yes

Rowling: And in an early draft that script dumbledore said to Harry and he said I remember a young woman wish eyes to Flushing whatever

Radcliffe: Yes

Rowling: Raven haired and I read this I scribbled on my copy script Steve Dumbledore is gay, shoved at the table so that line that's why not line didn't make the film

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Radcliffe: Okay it's interesting actually when you if you start to think for a moment not about these characters being characters but if you think about the characters the lives he carries actually have within the books

Rowling: Mm-hm

Radcliffe: And the fact that to a certain level because they exists in the collective consciousness of the generation they do exist

Rowling: Yaa

Radcliffe: Because I always think that's what a wonderful things about Potter and the Potter fan base is that where is if you think about the other big costume wearing all that kind of stuff that goes with his things as Star Wars and Star Trek

Rowling: Yeah

Radcliffe: But what's interesting is that potter because it started off as a literary thing

Rowling: Mm-hm

Radcliffe: Has come to create a generation have the same kind mentality but with appetite for reading and literature which is kind of amazing

Rowling: It was wonderful it was just the most wonderful thing and at the last Premier cause im not meeting readers in vast numbers at the moment

Radcliffe: Yeah

Rowling: Because I'm you know finished the books

Radcliffe: Yeah

Rowling: And so to meet them again through the film's its really great

Radcliffe: Yeah

Rowling: I can‟t deny that its lovely its very lovely

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Radcliffe: Before the book single picked up

Rowling: Yeah

Radcliffe: Until you know sitting this hotel room

Rowling: Yes yes

Radcliffe: What is surreal kind of bizzare I mean for me the last premier it was mental

Rowling: I felt more extreme than any of them

Radcliffe: Yeah

Rowling: I think I was in place full of security in that I felt that the books are finished so the excitement already

Radcliffe: Drawful

Rowling: Yeah

Radcliffe: It was I ever because I got out and it was like aircraft engines wasn't it scary with more people there I felt like because there's just one moment where I look down over one side and there was just these hundreds much people the surging forward less

Rowling: Yeah

Radcliffe: And old drenched

Rowling: Yeah

Radcliffe: And if there's ever been a moment when I could have absolutely just formed dictatorship

Rowling: Exactly right

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Radcliffe: I could dissent will march on the palace

Rowling: Exactly

Radcliffe: and That would have joined me

Rowling: It's scary and I think I've had that feeling in fact the that the reading that I did to some and Phoenix which was the alcohol and there is graphics behind me its like Nurenberg who designed this yeah you get these moments when you think right harry potter fans

Radcliffe: The only thing you can do

Rowling: Yes

Radcliffe: Is laugh at it

Rowling: Yeah

Radcliffe: And it‟s hilarious and it‟s so funny

Rowling: Yeah

Radcliffe: I mean is bizarre when somebody tries to differences that we would you know what somebody once tried to jump into the front seat in the car with us to somebody tried to follow as in after you've got two reactions to that situation you cannot be terrified and thank appearing in trying to my car or think that's hilarious distrusting I'm fine now that i'm safe in its all that's quite funny but below those those photos see this is thing I always get a lot less annoyed by then whoever I'm out with

Rowling: Yeah but thats just also drove me

Radcliffe: Yeah

Rowling: When spooky thing happen to me it's much easier when you're the target I think to think you know happen is fine was people around you completely freaked out seeing you must you must never be alone in a car again

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Radcliffe: Yeah exactly

Rowling: But did you because you've been subject to his so the internet rooms and stuff the crazy stuff that comes with it does not make you laugh?

Radcliffe: I‟ve got a kind of top at least top four I think

Rowling: Oooh tell me tell me

Radcliffe: The stories I was getting SAS guards to my dogs

Rowling: Well its best time really How many dogs that you got?

Radcliffe: Two my dogs are quite famous. My dogs get as many present as I do

Rowling: I have no Idea

Radcliffe: I was having for a while I was having a special a brewed in a monastery in Belgium Belgian monks

Rowling: Just for you?

Radcliffe: Yeah, I think about I'm eight-inches' in about six weeks or something

Rowling: That would be extremely worrying

Radcliffe: Which is anybody he means we can tell on my feet and has not happened and one of my favorite ones was room I was gonna be having a statue made of myself for my living room I think they'll see think I live so fly some Roman Emperor one of my favorite moments but in a bizarre way because you know how when you such as up offend some people you know you must be doing something right well that was my favorite my favorite photos from Potter was I think you made the cover a flat the times or something a problem Big Poppa newspaper and it was a up huge bonfire

Rowling: Oh God yeah

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Radcliffe: Out because some states in America I think and it was somebody throw it was five from the calendar and through smiling was rude to concise being tossed into the flames it was one other I was and it was more the boy the images high voice from

Rowling: It's that much funnier that it was Rupert

Radcliffe: Yeah it was just a retard does that bother you or you think

Rowling: No it never bothered me because I felt that the creek that those particular criticism

Radcliffe: Yeah

Rowling: Said love to be misguided I have no check tool with those is kinda views so if they want to burn my books feel free

Radcliffe: Yeah

Rowling: Well you know even that didn't particularly bother me I you know I've I have occasion come face to face with people like that

Radcliffe: Really?

Rowling: Mean he can be quite aggressive

Radcliffe: Really?

Rowling: And I remember on one but one of my book tools we had we have to enclose please check your place at the Palms because there been a bomb threat yes so it was it was real and I look back on that I mean that that's largely died down but this certain states in America right up to be particularly welcome

Radcliffe: No

Rowling: And it is what it is you know

Radcliffe: Cause I remember when I was 11 I was I was that not a party just like

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Rowling: No no don't tell me something a few

Radcliffe: Who didn't go say but somebody you'd like them to mother if somebody who lived in a street you know was saying oh I'm not sure of time no shit kids to be able to tell the difference between black magic magic so what's the issueits a book

Rowling: You know I have a real issue with anyone trying to preach protect children from their own imaginations and I think that a lot of this goes on and if we cannot a acknowledging embrace the fact that we will have a certain degree of darkness within a some more than others perhaps and you know bring it into the light an examination

Radcliffe: Yeah

Rowling: Talk about it this part of the human condition then I think we will be living in quite dangerous and climate and I think I think that's much more damaging to children I'm on piano I think tricks and openness and 90s I think I had to write about sometimes it made me sad I remember I went back to my primary school and that a child have been excluded from the reading he was sitting alone cause his parents didn't want him subjected to my evil influence and I know that make me feel really sad

Radcliffe: The opportunities in this is afforded me people interview commonly asked question I get his people say do you think is gonna hold you back from you know doing other projects and things are actually the chances are it would become an actor I hadn't got this

Rowling: Thats so great to you mean you have said that to me before from my point that's the best thing I could hear

Radcliffe: Yeah

Rowling: You know that you feel that it's been a springboard rather than it's been a straitjacket

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Radcliffe: People would come never would have gotten a chance to reckless or anything like and that's the thing I think that anybody whose career was born out but has to remember that no matter what we do for the rest of our lives at the chances are they did they are things where with the opportunities we never would have had in first place if we hadn't got and we were involved in this extraordinary thing for 10 years a filming that was kinda unlike anything else that have been done just in terms of the amount of people that are there and continuity of everybody

Rowling: How you can feel when ends because it's been so stable hasn't it? always filming in the same place always saying people which is wonderful

Radcliffe: Which is wonderful but equally

Rowling: Does it feel strange that you know it's coming or do you not really focus on that?

Radcliffe: I've just recently we will started thinking about it more because you know it was a funny the the moment was actually I was and talking to Amanda Knight and lease it on and he do hair and makeup on that man is done my makeup every day for 10 years and and is amazing

Rowling: Do you remember when I came to visit the set and she painted you know you literally beaten up I watching you and Rupert what's happened to you you said well if you don't know

Radcliffe: Yeah

Rowling: Yes pretend yes

Radcliffe: I was always I thought I was already given you too fast it was excellen I was told them the other day and they were talking about another job that they might have lined up after

Rwoling: Yeah

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Radcliffe: And it was the first know if I actually wasn't sadness and it was jealousy I was jealous another actor was gonna get those two because the system I have for the on the ticket and seven fumbles she was on the second it's been in and out I saw and someone I've come to know very very well as well and so just fact that another act is gonna get

Rowling: I can‟t imagine

Radcliffe: It's very peculiar and cause you know I've work done away with withdrawn Potter in such a way that on eyelash a must-read closer to the crew that I do lot the cast

Rowling: Now I really understand I think a lot of people who as certain includes me before I became involved with these films but people wouldn't maybe understand just how important the crew are

Radcliffe: Yeah

Rowling: That everyday day in day out there the people saying I'm working with and joking with and I've come to understand that too

Radcliffe: Because I've kind of worked everything if that success on a film set kinda relies upon the ability to concentrate very intensely for virtual space of time

Rowling: Yeah exactly reverse of writing

Radcliffe: Rights yeah you have to learn to switch off in the moments that you can cause cant keep yourself at that level

Rowling: No

Radcliffe: And now my mom and my dad told me they did get lucky when they go somebody with the kind of boundless energy

Rowling: You do have and you always have had to use it was going so apparently even when you're quite small things like he will force presses ahead of everyone else

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Radcliffe: Yeah

Rowling: It was good it was great

Radcliffe: Which is why I don't think of it

Rowling: Yeah

Radcliff: Because I remember the first day we met I think was when you came in and all the kids with that's

Rowling: That‟s right yeah he showed my child then very young how to use it and I was always so love I was a real sore spot for Tom after and it was so ironic that we have this the so much body he's about the nicest we keep saying if on site for the fact is they are out there there we met there were never any props that whenever there was never any one objection they were all just nice people the tom such a sweetheart

Radcliffe: Tom he's the older than the rest of us as well

Rowling: Yes

Radcliffe: When he was young I had and had done a bit more work done

Rowling: Yeah quite yeah and in his demeanor offset that show and I think he's quite comfortable with being that was

Radclifee: Yeah

Rowling: But he is so sweet I do remember that day of you in the canteen looking around us

Radcliffe: It is amazing!

Rowling: I particular remember and definite place Shane has very physically from that day cause you really looks like I imagined

Radcliffe: Ooh really?

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Rowling: Yeah he was one of the ones

Radcliffe: The other person is definately to talk about this who I do think it sort of even though you notice what he does he's the unsung hero to this film Stewart Craig

Rowling: Oh god he is Genius!

Radcliffe: Yeah because the detail up everything that's because i think thats was allowed us to survive as a successful franchise cause you know could be sort of happens we start over the same time as a whole host another kids fantasy films as the stuff

Rowling: Sure!

Radcliffe: But the reason I think we've managed to do so well and sustain the story right to the end and keep people interested is largely down to I think the sets and the fact that detail goes into

Rowling: It‟s very real world

Radcliffe: Yeah

Rowling: Again as someone who's not you know being involved in the film business and and and came to it entirely new to you to walk into the Gryffindor common room pick up the comics read them its so real bso fabolous some fabulous kids to visit the setter blown away by itonly that they can walk into love these rooms in Table these things

Radcliffe: We've now lost gryffindor common room

Rowling: No, its gone

Radcliffe: I dont know

Rowling: It‟s my favorite set

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Radcliffe: I don't know where it is anymore but the thing is warned for me is a less constant thing because it changed after the second film is a different one than

Rowling: Oh okay

Radcliffe: And because Alfonso he said that he saw the other one to close to something like it was and he gave me a game stick

Rowling: Yeah

Radcliffe: But all shopping and shades with loans in a lost book

Rowling: I can explain if you done

Radcliffe: Can you please we are so struggling on the set because I remember I had to reread the end of seveth

Rowling: Yeah

Radcliffe: At few time its too much the end of seventh the epilogue

Rowling: The epilogue changed

Radcliffe: I like the epilogue but some people really have a problem with it

Rowling: Some people hate it

Radcliffe:Yeah

Rowling: A version of it what was literally written seventeen years previously to the book a version of it was wrong but as I said to you earlier you know some people were in there who didn't end up in final cuts and so on yes I wanted to give a snapshot I think what a lot of people felt about the tone of the epilogue was so this is it so it's over so he's not a hero anymore middle-age man it it felt like a letdown I have said this before for me absolute heroism is rebuilding after that kind of trauma

Radcliffe: Yeah

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Rowling: And I could think of nothing more noble than he's acting what Dumbledore preach but didn't live to see Dumbledore to preach these are the values issues through to survive, love those who live human bombs Harry‟s actually living in so always the guy to me who had thrust upon him he and that was supposed to be dismissed to go back and got chance to have stinker on the nuclear button this he had the chance to own this most powerful

Radcliffe: Yeah

Rowling: And he said no won that one

Radcliffe: Yeah

Rowling: Won that one I want may own and I wanna break the chain

Radcliffe: What was the moment like when you how solid is the end of writing the book I mean to you getting then is done or

Rowling: It felts really solid I mean I have getting to go through but it was after it was published that it really hit me now in some senses it was like knowing someone is going to die I had a long time to prepare I always said seven books that's it and that's what I plan from the beginning but even so it hit me like a train and on my birthday which is the same months publication which is the same as Harry‟s birthday

Radcliffe: Yeah

Rowling: I cried as if my mother died honestly

Radclifffe: Really?

Rowling: Yeeah it really hit me and my husband was like ”what's wrong what's wrong” and I just can't go there anymore and you know it been a place I could escape to for seventeen years and I knew the door closed but it was very cathartic and after that day was passed it became I became much lighter and I and there are

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were aspects you know of it they're deliberating I know I feel I've have done that job

Radcliffe: Yeah very well!

Rowling: Thank you, Dan. Yeah you know its done but yeah it was tough it was tough Im not gonna pretend it wasn‟t I cared so much about the characters I loved writing books most of the time I loved writing books

Radcliffe: Yes

Rowling: But you tell me how you're feeling about the end of it? I feel like a therapist

Radcliffe: It's gonna be very strange and very upsetting but it's the little things that you miss most and also is that the fact that you know working on the studio for one day and the next few months sit down from my camera and it'll be the last time that I filmed as he say will be liberating because I no longer have to you know

Rowling: Yeah

Radcliffe: When I guess intimations get amazing script for the next seven years you know but I'm very excited about the opportunity but it's also there's an awareness that it'll never be the same again it'll never have that spare time and also it's not just I mean I look at this more in terms for landmark in my teen birthday but there was this is me becoming an adult now this is that's me lies me leaving the nest now

Rowling: Yeah

Radcliffe: But now it's been a good ten years for me so thank you very much

Rowling: Oh Dan, it's good to hear