1 00:00:05,640 --> 00:00:12,430 [Music] 2 00:00:17,279 --> 00:00:22,300 You're him, aren't you? You're the 3 00:00:19,039 --> 00:00:24,760 goblin king. 4 00:00:22,300 --> 00:00:26,400 [Applause] 5 00:00:24,760 --> 00:00:29,010 [Music] 6 00:00:26,400 --> 00:00:29,630 Get me out of here. 7 00:00:29,010 --> 00:00:31,119 [Music] 8 00:00:29,630 --> 00:00:32,600 [Applause] 9 00:00:31,119 --> 00:00:35,600 I'm on the 10 00:00:32,600 --> 00:00:35,600 ground 11 00:00:36,820 --> 00:00:39,950 [Music] 12 00:00:42,760 --> 00:00:46,879 again. Get me out of 13 00:00:47,559 --> 00:00:53,079 here. I'm on the 14 00:00:50,520 --> 00:00:57,520 ground. Just 15 00:00:53,079 --> 00:00:59,240 the take me down. 16 00:00:57,520 --> 00:01:02,310 on the ground. 17 00:00:59,240 --> 00:01:02,310 [Applause] 18 00:01:03,120 --> 00:01:07,680 David Bowie and friends hard at work at 19 00:01:05,439 --> 00:01:08,720 2 a.m. in the Atlantic Studios, New York 20 00:01:07,680 --> 00:01:11,760 City. 21 00:01:08,720 --> 00:01:13,600 [Music] 22 00:01:11,760 --> 00:01:16,080 They're laying down a new Bowie 23 00:01:13,600 --> 00:01:18,159 composition, Underground, the title 24 00:01:16,080 --> 00:01:22,310 track for the latest Jim Hansen, George 25 00:01:18,159 --> 00:01:36,069 Lucas film adventure, Labyrinth. 26 00:01:22,310 --> 00:01:36,069 [Music] 27 00:01:39,680 --> 00:01:44,200 Is that the castle beyond the goblin 28 00:01:41,840 --> 00:01:47,720 city? Turn back, 29 00:01:44,200 --> 00:01:50,000 Sarah. Turn back before it's too late. I 30 00:01:47,720 --> 00:01:51,759 can't. Don't you understand that I 31 00:01:50,000 --> 00:01:54,000 can't? 32 00:01:51,759 --> 00:01:56,479 What a pity. 33 00:01:54,000 --> 00:01:59,200 It doesn't look that far. 34 00:01:56,479 --> 00:02:02,200 It's further than you think. Time is 35 00:01:59,200 --> 00:02:02,200 short. 36 00:02:05,520 --> 00:02:10,399 You have 13 hours in which to solve the 37 00:02:07,759 --> 00:02:13,879 labyrinth before your baby brother 38 00:02:10,399 --> 00:02:18,520 becomes one of us 39 00:02:13,879 --> 00:02:18,520 forever. Such a piss. 40 00:02:20,000 --> 00:02:26,509 The labyrinth. 41 00:02:22,690 --> 00:02:26,509 [Music] 42 00:02:27,760 --> 00:02:32,400 But to begin at the 43 00:02:29,959 --> 00:02:34,480 beginning, it was here at L Street 44 00:02:32,400 --> 00:02:36,319 Studios England that a journey through 45 00:02:34,480 --> 00:02:39,599 the labyrinth had begun some months 46 00:02:36,319 --> 00:02:42,080 earlier for director Jim Hansen. When we 47 00:02:39,599 --> 00:02:44,560 first started to write this film, we had 48 00:02:42,080 --> 00:02:46,560 this evil goblin king. And then 49 00:02:44,560 --> 00:02:50,000 somewhere quite early on, we said, "What 50 00:02:46,560 --> 00:02:52,959 if what if he were a a rock singer, a 51 00:02:50,000 --> 00:02:55,599 contemporary figure?" And uh and then we 52 00:02:52,959 --> 00:02:58,400 said who? And we said Michael Jackson 53 00:02:55,599 --> 00:03:00,480 staying David Boy. See I mean there only 54 00:02:58,400 --> 00:03:02,959 a few people that you would think of and 55 00:03:00,480 --> 00:03:05,519 David was immediately the one we wanted. 56 00:03:02,959 --> 00:03:08,959 He first brought me the concept on the 57 00:03:05,519 --> 00:03:11,519 1983 tour that I did in America um and 58 00:03:08,959 --> 00:03:14,400 asked me if I'd consider doing the part. 59 00:03:11,519 --> 00:03:17,159 and he showed me Brian Fra's artwork and 60 00:03:14,400 --> 00:03:19,519 he showed me a cop copy of The Dark 61 00:03:17,159 --> 00:03:21,120 Crystal which I found a fascinating 62 00:03:19,519 --> 00:03:23,360 piece of work and I could see the 63 00:03:21,120 --> 00:03:26,000 potentiality of making that kind of 64 00:03:23,360 --> 00:03:28,560 movie with humans with songs with a a 65 00:03:26,000 --> 00:03:30,720 more of a lighter comedy script. I said, 66 00:03:28,560 --> 00:03:32,560 you know, if you like the script on 67 00:03:30,720 --> 00:03:35,360 something like this, would you consider 68 00:03:32,560 --> 00:03:37,120 being uh Jarth and singing and writing 69 00:03:35,360 --> 00:03:38,560 the songs for him and so forth? And and 70 00:03:37,120 --> 00:03:43,159 David liked the whole thing from the 71 00:03:38,560 --> 00:03:43,159 beginning. What's the word on uh David? 72 00:03:43,200 --> 00:03:48,480 He's not going to be every age group 73 00:03:45,680 --> 00:03:52,040 really has a whole thing about David and 74 00:03:48,480 --> 00:03:54,239 he himself is a very normal 75 00:03:52,040 --> 00:03:57,280 well-grounded straightforward person 76 00:03:54,239 --> 00:03:59,319 that is absolutely professional. And if 77 00:03:57,280 --> 00:04:01,560 he says hoodoo 78 00:03:59,319 --> 00:04:05,280 and you 79 00:04:01,560 --> 00:04:08,720 do the page, it's sometimes better just 80 00:04:05,280 --> 00:04:11,599 to make the jump look not like jump as 81 00:04:08,720 --> 00:04:13,280 opposed to, you know what I mean? Cheed 82 00:04:11,599 --> 00:04:15,200 out. So you can place it. You can place 83 00:04:13,280 --> 00:04:17,359 it. We brought in Charles Auggins to 84 00:04:15,200 --> 00:04:20,479 choreograph a couple of the numbers and 85 00:04:17,359 --> 00:04:23,840 he worked with David on dance magic. 86 00:04:20,479 --> 00:04:27,120 Get there. What we wanted was that very 87 00:04:23,840 --> 00:04:29,280 vibrant dynamic sort of black movement. 88 00:04:27,120 --> 00:04:31,360 It's what Charles does all the time. 89 00:04:29,280 --> 00:04:33,440 Jump. You know what I mean? Then they 90 00:04:31,360 --> 00:04:36,320 can start to think, right? Just like 91 00:04:33,440 --> 00:04:38,880 that. And then Yeah. Then you know, and 92 00:04:36,320 --> 00:04:41,040 then when you then you won't have 93 00:04:38,880 --> 00:04:46,639 Okay. 94 00:04:41,040 --> 00:04:48,800 And action. One, two, three, four. Jarth 95 00:04:46,639 --> 00:04:50,560 is the goblin king. one feels that he's 96 00:04:48,800 --> 00:04:52,080 rather reluctantly inherited the 97 00:04:50,560 --> 00:04:54,560 position of being goblin king as though 98 00:04:52,080 --> 00:04:57,280 he really would like to be I don't know 99 00:04:54,560 --> 00:04:59,520 down in Soho or something but he's not 100 00:04:57,280 --> 00:05:01,600 his his thing in life is to be goblin 101 00:04:59,520 --> 00:05:04,240 king and he runs the whole place as well 102 00:05:01,600 --> 00:05:08,680 as he can and he's kind of spoiled gets 103 00:05:04,240 --> 00:05:08,680 everything his own way he's a big kid 104 00:05:10,080 --> 00:05:14,560 what has happened is that the goblins 105 00:05:12,160 --> 00:05:16,720 without his command have just gone off 106 00:05:14,560 --> 00:05:17,680 and taken another baby brother from 107 00:05:16,720 --> 00:05:19,120 another 108 00:05:17,680 --> 00:05:20,880 And he's got to sort out the whole 109 00:05:19,120 --> 00:05:23,039 situation. You remind me of a babe. What 110 00:05:20,880 --> 00:05:26,000 babe? Babe with the power. What power? 111 00:05:23,039 --> 00:05:28,570 Power of voodoo. Voodoo. You do what? 112 00:05:26,000 --> 00:05:31,820 Remind me of the babe. 113 00:05:28,570 --> 00:05:31,820 [Applause] 114 00:05:36,150 --> 00:05:41,680 [Laughter] 115 00:05:39,440 --> 00:05:44,240 Jim gave me a complete free hand. 116 00:05:41,680 --> 00:05:46,479 Allowed me to say what I wanted and 117 00:05:44,240 --> 00:05:48,960 write the things that I wanted. Dance 118 00:05:46,479 --> 00:05:52,639 magic gave me a bit of a problem. It's a 119 00:05:48,960 --> 00:05:54,120 song for the goblin king and the baby. 120 00:05:52,639 --> 00:05:59,680 I saw my 121 00:05:54,120 --> 00:06:01,680 baby crying hard as babe could cry. What 122 00:05:59,680 --> 00:06:07,479 could I do? 123 00:06:01,680 --> 00:06:10,680 My baby's love had gone and left my baby 124 00:06:07,479 --> 00:06:17,960 blue. Nobody 125 00:06:10,680 --> 00:06:17,960 knew what kind of magic spell to use. 126 00:06:18,080 --> 00:06:22,039 Oh, puppy dog. 127 00:06:24,639 --> 00:06:29,319 in the recording studio. The baby I 128 00:06:26,400 --> 00:06:33,039 picked, one of the backing singers, uh, 129 00:06:29,319 --> 00:06:35,319 Diva, had this cute little baby, 130 00:06:33,039 --> 00:06:37,759 um, who couldn't put two gurgles 131 00:06:35,319 --> 00:06:39,199 together and it wouldn't work for me. I 132 00:06:37,759 --> 00:06:40,960 mean, it just it wouldn't go. I kicked 133 00:06:39,199 --> 00:06:42,960 it. I did everything to make it scream, 134 00:06:40,960 --> 00:06:44,720 but it wouldn't it was going to it 135 00:06:42,960 --> 00:06:46,319 really buttoned its lips. So, I ended up 136 00:06:44,720 --> 00:06:47,560 doing the gurgles. So, I'm the baby on 137 00:06:46,319 --> 00:06:49,600 that track as 138 00:06:47,560 --> 00:06:52,000 well. I thought, what the hell? I've 139 00:06:49,600 --> 00:06:53,440 done laughing gnome. I might as well cut 140 00:06:52,000 --> 00:06:55,440 all the way. We're back. I never thought 141 00:06:53,440 --> 00:06:58,720 in 20 years I'd come back to working 142 00:06:55,440 --> 00:07:03,440 with moans. 143 00:06:58,720 --> 00:07:07,919 Janice Chambers was a a very very big 144 00:07:03,440 --> 00:07:12,319 puppet scene. There were 48 puppets on 145 00:07:07,919 --> 00:07:15,599 that set and 50 probably 52 53 146 00:07:12,319 --> 00:07:18,880 puppeteers working at one time. It's one 147 00:07:15,599 --> 00:07:21,120 room packed with puppets. It was quite a 148 00:07:18,880 --> 00:07:22,720 feat actually getting that scene done. 149 00:07:21,120 --> 00:07:25,280 It was great fun. 150 00:07:22,720 --> 00:07:27,280 But real crazy. Real crazy. We had so 151 00:07:25,280 --> 00:07:28,639 many people in it. When you get all the 152 00:07:27,280 --> 00:07:31,199 puppets out of that set, it just looks 153 00:07:28,639 --> 00:07:33,680 like Swiss cheese. You know, there's no 154 00:07:31,199 --> 00:07:35,039 set left. There's holes everywhere. 155 00:07:33,680 --> 00:07:36,840 People were walking around saying, "Any 156 00:07:35,039 --> 00:07:39,120 minute the set's going to fall 157 00:07:36,840 --> 00:07:41,120 down." In the planning, it was always 158 00:07:39,120 --> 00:07:44,720 supposed to be 20 characters in that 159 00:07:41,120 --> 00:07:46,639 scene, 20 puppets. Went on and looked at 160 00:07:44,720 --> 00:07:49,680 it and realized it needs a lot more than 161 00:07:46,639 --> 00:07:51,280 that. We had to run auditions the the 162 00:07:49,680 --> 00:07:53,440 week before. We had to find an 163 00:07:51,280 --> 00:07:55,840 additional 20 people, I think, to how 164 00:07:53,440 --> 00:08:00,000 many people we already had worked with. 165 00:07:55,840 --> 00:08:02,400 To add to all the mayhem, we had 8 to 12 166 00:08:00,000 --> 00:08:03,840 little people in costumes running 167 00:08:02,400 --> 00:08:06,080 around. And then at one point in the 168 00:08:03,840 --> 00:08:07,960 song, we actually put them all on flying 169 00:08:06,080 --> 00:08:10,800 rigs on wire 170 00:08:07,960 --> 00:08:12,840 harnesses and had them jumping up 8 ft 171 00:08:10,800 --> 00:08:16,240 in the 172 00:08:12,840 --> 00:08:18,080 air. It was just a crazy scene. Nobody 173 00:08:16,240 --> 00:08:20,240 was really told anything in particular 174 00:08:18,080 --> 00:08:22,319 to do, especially when the song wasn't 175 00:08:20,240 --> 00:08:25,360 going on. They were just told to be 176 00:08:22,319 --> 00:08:32,199 goblins. Dance magic dance. Dance magic 177 00:08:25,360 --> 00:08:32,199 dance. Dance magic dance on me. 178 00:08:32,240 --> 00:08:38,279 Jump magic jump. Jump. Magic jump. Magic 179 00:08:35,360 --> 00:08:40,770 jump. Jump. Magic jump. Magic jump on 180 00:08:38,279 --> 00:08:42,039 me. That baby 181 00:08:40,770 --> 00:08:46,399 [Music] 182 00:08:42,039 --> 00:08:47,640 dance magic dance. Dance magic dance 183 00:08:46,399 --> 00:08:49,880 magic 184 00:08:47,640 --> 00:08:53,320 dance magic 185 00:08:49,880 --> 00:08:57,320 dance magic jump jump magic 186 00:08:53,320 --> 00:08:57,320 jump mag 187 00:09:03,050 --> 00:09:08,959 [Applause] 188 00:09:05,440 --> 00:09:12,680 I was uh in in the very early stages Jim 189 00:09:08,959 --> 00:09:16,399 and I discussed what the film might be 190 00:09:12,680 --> 00:09:17,480 about and and um we decided it'll be 191 00:09:16,399 --> 00:09:20,880 about 192 00:09:17,480 --> 00:09:23,360 goblins. From there I started to create 193 00:09:20,880 --> 00:09:27,760 pictures and drawings and setting a feel 194 00:09:23,360 --> 00:09:30,240 and a mood for the film. And I filled 195 00:09:27,760 --> 00:09:35,480 sketchbook upon sketchbook just doodling 196 00:09:30,240 --> 00:09:35,480 in corners and creating these creatures. 197 00:09:43,519 --> 00:09:47,200 I sat at my desk with Brian's drawings 198 00:09:45,519 --> 00:09:49,040 stacked on one side of the desk and 199 00:09:47,200 --> 00:09:51,040 writing away sort of to see what would 200 00:09:49,040 --> 00:09:52,880 happen. And every time I came to a new 201 00:09:51,040 --> 00:09:54,240 scene and I needed another something to 202 00:09:52,880 --> 00:09:56,000 happen, I looked through Brian's 203 00:09:54,240 --> 00:09:58,480 drawings and found a character who was 204 00:09:56,000 --> 00:09:59,920 kind of speaking to me already. And 205 00:09:58,480 --> 00:10:02,560 suddenly there was the scene. It was 206 00:09:59,920 --> 00:10:04,000 wonderful. It was um it was a strange 207 00:10:02,560 --> 00:10:05,920 way of collaborating because although 208 00:10:04,000 --> 00:10:07,600 Brian and I never sat down and worked 209 00:10:05,920 --> 00:10:09,680 together, it felt that that's what we 210 00:10:07,600 --> 00:10:13,040 were doing the whole time. I never like 211 00:10:09,680 --> 00:10:16,959 to create fully finished designs because 212 00:10:13,040 --> 00:10:20,079 that I feel that pins you down too much. 213 00:10:16,959 --> 00:10:22,480 We have a workshop in which we use many 214 00:10:20,079 --> 00:10:25,279 different talents to develop these 215 00:10:22,480 --> 00:10:26,519 creatures that involve a lot of 216 00:10:25,279 --> 00:10:29,760 technical 217 00:10:26,519 --> 00:10:34,800 processes and I like the characters to 218 00:10:29,760 --> 00:10:38,160 emerge slowly. I feel that my role is to 219 00:10:34,800 --> 00:10:41,040 nurture that to bring out the different 220 00:10:38,160 --> 00:10:44,640 qualities that are happening. Maybe just 221 00:10:41,040 --> 00:10:48,360 latch on to the happy accidents and push 222 00:10:44,640 --> 00:10:48,360 those a bit further. 223 00:10:48,560 --> 00:10:52,000 Working with Brian, it becomes more of a 224 00:10:50,320 --> 00:10:54,320 creative dialogue than than sort of 225 00:10:52,000 --> 00:10:56,959 being given a design and said make this. 226 00:10:54,320 --> 00:10:59,519 We have the incredible freedom of range 227 00:10:56,959 --> 00:11:01,839 of uh of creative expression to uh 228 00:10:59,519 --> 00:11:04,160 pursue something ourselves and Brian 229 00:11:01,839 --> 00:11:06,240 incorporates it with his designs comes 230 00:11:04,160 --> 00:11:07,920 back to us. Something else is done to 231 00:11:06,240 --> 00:11:10,320 it. It goes back to him and so it 232 00:11:07,920 --> 00:11:12,800 becomes quite literally a dialogue of 233 00:11:10,320 --> 00:11:14,079 creative intensity. There's no firm 234 00:11:12,800 --> 00:11:16,240 directive. The whole thing sort of 235 00:11:14,079 --> 00:11:20,760 evolves in a in a wonderful provocative 236 00:11:16,240 --> 00:11:20,760 and very satisfying kind of way. 237 00:11:21,839 --> 00:11:26,399 Well, these are an organic stuff called 238 00:11:23,680 --> 00:11:30,240 lychen or lichen, which in real fact is 239 00:11:26,399 --> 00:11:32,480 very, very small. But, uh, Brian, the 240 00:11:30,240 --> 00:11:34,240 conceptual artist, wanted eyeballs on 241 00:11:32,480 --> 00:11:37,040 the end of each one of these little 242 00:11:34,240 --> 00:11:38,959 things, and they have to follow Sarah. 243 00:11:37,040 --> 00:11:42,320 Sarah's the little girl in the story 244 00:11:38,959 --> 00:11:46,240 that as she walks by. So I had to invent 245 00:11:42,320 --> 00:11:49,839 a cabling system that would uh control 246 00:11:46,240 --> 00:11:52,240 all the eyeballs and uh slightly 247 00:11:49,839 --> 00:11:55,079 separately too so that I've got five 248 00:11:52,240 --> 00:11:57,680 separate circuits to control about 30 249 00:11:55,079 --> 00:12:00,480 eyeballs. So they start off in one place 250 00:11:57,680 --> 00:12:02,399 and then as they're shifted they all 251 00:12:00,480 --> 00:12:05,399 move over to follow Sarah in a different 252 00:12:02,399 --> 00:12:05,399 direction. 253 00:12:10,959 --> 00:12:16,279 Can you see that, Ron? Can you see that? 254 00:12:18,880 --> 00:12:22,959 No, she her face is right about here. 255 00:12:21,440 --> 00:12:25,200 So, he wants to be able to look from her 256 00:12:22,959 --> 00:12:28,839 to him. 257 00:12:25,200 --> 00:12:28,839 Say something, worm. 258 00:12:32,480 --> 00:12:39,600 Is the big worm have a mouth that red? 259 00:12:36,639 --> 00:12:40,880 I don't know. Uhhuh. Okay. Yeah, that's 260 00:12:39,600 --> 00:12:45,600 probably pretty good. Then that one has 261 00:12:40,880 --> 00:12:49,839 just come on there behind you. You got a 262 00:12:45,600 --> 00:12:53,839 chip down on the other one. 263 00:12:49,839 --> 00:12:56,320 There is on rehearsal bell. 264 00:12:53,839 --> 00:12:58,480 Okay. Jos, when you're casting a part 265 00:12:56,320 --> 00:13:00,880 like Sarah, which is the part in the 266 00:12:58,480 --> 00:13:03,680 film, you hope someone walks in the door 267 00:13:00,880 --> 00:13:05,279 and is the right person. And when Jenny 268 00:13:03,680 --> 00:13:08,720 walked in, she was the right person. And 269 00:13:05,279 --> 00:13:08,720 it was one of those great little 270 00:13:09,560 --> 00:13:15,200 moments. She did a wonderful reading and 271 00:13:12,480 --> 00:13:17,120 she's a bright, intelligent actress who 272 00:13:15,200 --> 00:13:19,130 takes direction well and everything was 273 00:13:17,120 --> 00:13:22,269 just right. 274 00:13:19,130 --> 00:13:22,269 [Music] 275 00:13:28,760 --> 00:13:32,760 A Hello 276 00:13:38,720 --> 00:13:43,760 Did you say hello? No, I said hello. But 277 00:13:41,519 --> 00:13:44,639 that's close enough. You don't find a 278 00:13:43,760 --> 00:13:47,200 chance to know the way through this 279 00:13:44,639 --> 00:13:48,959 labyrinth, do you? Oh, me? No, I'm just 280 00:13:47,200 --> 00:13:51,279 a worm. 281 00:13:48,959 --> 00:13:53,040 I have to solve this labyrinth. But 282 00:13:51,279 --> 00:13:55,600 there aren't any turns or any openings 283 00:13:53,040 --> 00:13:57,360 or anything. It just goes on and on. And 284 00:13:55,600 --> 00:13:59,120 Well, you ain't looking right. It's full 285 00:13:57,360 --> 00:14:01,040 of openings. It's just you ain't seeing 286 00:13:59,120 --> 00:14:02,639 them. Well, where are they? There's one 287 00:14:01,040 --> 00:14:05,199 just across there. It's right in front 288 00:14:02,639 --> 00:14:08,399 of you. 289 00:14:05,199 --> 00:14:11,199 No, there isn't. There isn't an opening. 290 00:14:08,399 --> 00:14:13,600 Of course, there is. You try walking 291 00:14:11,199 --> 00:14:15,760 through it, you'll see what I mean. 292 00:14:13,600 --> 00:14:18,320 What? Things are not always what they 293 00:14:15,760 --> 00:14:21,880 seem in this place. So, you can't take 294 00:14:18,320 --> 00:14:21,880 anything for granted. 295 00:14:26,800 --> 00:14:30,959 Hey, it hasn't been one of my 296 00:14:28,560 --> 00:14:34,000 aspirations to be an actress. I sort of 297 00:14:30,959 --> 00:14:35,279 wanted to be a vet or I wanted to be a 298 00:14:34,000 --> 00:14:36,800 carpenter or something. I didn't know 299 00:14:35,279 --> 00:14:40,079 what I wanted to be, but I never thought 300 00:14:36,800 --> 00:14:41,920 of being in films. So, I just really 301 00:14:40,079 --> 00:14:45,519 started with modeling because friends of 302 00:14:41,920 --> 00:14:48,160 my parents asked me if I wanted to. Then 303 00:14:45,519 --> 00:14:49,920 I started doing commercials. Then I went 304 00:14:48,160 --> 00:14:51,440 on a film audition which was for Once 305 00:14:49,920 --> 00:14:54,160 Upon a Time in America. I think it was 306 00:14:51,440 --> 00:14:56,560 my first one actually. I don't know. It 307 00:14:54,160 --> 00:14:58,800 just sort of happened. 308 00:14:56,560 --> 00:15:01,199 It comes down slowly into your hand and 309 00:14:58,800 --> 00:15:03,760 the moment it's coming in. I found I 310 00:15:01,199 --> 00:15:05,519 could talk very straight to her. We talk 311 00:15:03,760 --> 00:15:07,120 about her performance. I didn't have to 312 00:15:05,519 --> 00:15:08,800 tiptoe around her feelings or anything 313 00:15:07,120 --> 00:15:11,360 like that. She could talk, you know, 314 00:15:08,800 --> 00:15:14,560 just as an adult. 315 00:15:11,360 --> 00:15:17,519 Apart from being quite beautiful, she's 316 00:15:14,560 --> 00:15:20,079 a really good actress and she's a 317 00:15:17,519 --> 00:15:22,000 pleasure to work with. one forgets that 318 00:15:20,079 --> 00:15:23,320 she's just 14 years old and she's really 319 00:15:22,000 --> 00:15:27,000 very 320 00:15:23,320 --> 00:15:29,920 mature and it's a big strain a film like 321 00:15:27,000 --> 00:15:33,440 this and every day without foul she was 322 00:15:29,920 --> 00:15:41,639 on form and she's absolutely terrific. 323 00:15:33,440 --> 00:15:47,000 [Music] 324 00:15:41,639 --> 00:15:47,000 between you and thrill. 325 00:15:51,839 --> 00:15:55,440 Here's a picture that we've been working 326 00:15:53,440 --> 00:15:57,600 on and building the characters for about 327 00:15:55,440 --> 00:16:00,000 a year and a half before we begin 328 00:15:57,600 --> 00:16:02,639 shooting. But everything all comes 329 00:16:00,000 --> 00:16:04,959 together in the last couple of weeks. 330 00:16:02,639 --> 00:16:06,720 And then even if you have the characters 331 00:16:04,959 --> 00:16:09,120 together, puppeteers start working with 332 00:16:06,720 --> 00:16:10,160 them. They find problems or they try to 333 00:16:09,120 --> 00:16:12,240 figure out what they're going to do with 334 00:16:10,160 --> 00:16:15,279 these characters. So there's a a great 335 00:16:12,240 --> 00:16:17,199 deal of sort of lastm minute adjusting, 336 00:16:15,279 --> 00:16:19,680 figuring out what it's all going to be 337 00:16:17,199 --> 00:16:22,000 before you start to shoot it. Get used 338 00:16:19,680 --> 00:16:25,820 to this. 339 00:16:22,000 --> 00:16:28,929 Then you can take your act on the road. 340 00:16:25,820 --> 00:16:28,929 [Applause] 341 00:16:29,040 --> 00:16:32,199 a little bit looser. Let's Let's see the 342 00:16:30,320 --> 00:16:35,160 feet, too, I 343 00:16:32,199 --> 00:16:37,240 think. One foot is backwards. All 344 00:16:35,160 --> 00:16:42,639 right. And 345 00:16:37,240 --> 00:16:44,240 uh Okay, good. Hey, Rob. In fact, as you 346 00:16:42,639 --> 00:16:47,480 come down, we're getting too much of a 347 00:16:44,240 --> 00:16:47,480 head on. 348 00:16:47,880 --> 00:16:55,540 [Music] 349 00:16:52,570 --> 00:16:58,730 [Applause] 350 00:16:55,540 --> 00:16:58,730 [Music] 351 00:17:00,560 --> 00:17:03,680 One bunch of characters that Sarah meets 352 00:17:02,240 --> 00:17:06,079 in the labyrinth is called the fire 353 00:17:03,680 --> 00:17:07,439 gang. When we first came up with them, 354 00:17:06,079 --> 00:17:10,439 we didn't know how they were going to 355 00:17:07,439 --> 00:17:10,439 move. 356 00:17:11,039 --> 00:17:15,120 These came straight out of a drawing of 357 00:17:13,120 --> 00:17:15,799 Brian's. It was these characters going 358 00:17:15,120 --> 00:17:18,240 like 359 00:17:15,799 --> 00:17:21,520 this and they were obviously sort of 360 00:17:18,240 --> 00:17:23,679 very wild things, you know, and uh I 361 00:17:21,520 --> 00:17:25,760 kind of uh just imagined they came in at 362 00:17:23,679 --> 00:17:27,839 one point when uh she was really lost 363 00:17:25,760 --> 00:17:29,520 and they they came on really helpful 364 00:17:27,839 --> 00:17:32,919 things, you know, but she's not quite 365 00:17:29,520 --> 00:17:36,240 sure how wild they're going to 366 00:17:32,919 --> 00:17:38,000 get. And 367 00:17:36,240 --> 00:17:40,559 then they sing this song saying, "Lift 368 00:17:38,000 --> 00:17:42,160 your feet, lift your head." And I 369 00:17:40,559 --> 00:17:43,280 thought, "Oh, it' be a good idea if they 370 00:17:42,160 --> 00:17:44,960 lifted their heads up off their 371 00:17:43,280 --> 00:17:46,640 shoulders as they sang that." So then 372 00:17:44,960 --> 00:17:48,080 they went on singing a bit more. They 373 00:17:46,640 --> 00:17:49,840 the more they got into their song, they 374 00:17:48,080 --> 00:17:52,080 always ended up saying, "Ain't nobody as 375 00:17:49,840 --> 00:17:53,919 wild as me." Which this one would lift 376 00:17:52,080 --> 00:17:55,679 his head up and sort of roll it down his 377 00:17:53,919 --> 00:17:58,320 shoulders and start tossing it around 378 00:17:55,679 --> 00:18:00,640 and playing it like a basketball and 379 00:17:58,320 --> 00:18:03,679 lobbing it around. 380 00:18:00,640 --> 00:18:06,240 That was part of the original problem of 381 00:18:03,679 --> 00:18:08,640 how to do that, creating this whole 382 00:18:06,240 --> 00:18:10,559 thing that would come apart and be put 383 00:18:08,640 --> 00:18:13,960 together in different ways. Back then he 384 00:18:10,559 --> 00:18:17,520 pulls forward and then we go back. 385 00:18:13,960 --> 00:18:18,960 [Music] 386 00:18:17,520 --> 00:18:20,880 When we first came up with these 387 00:18:18,960 --> 00:18:23,919 characters, we didn't really know how 388 00:18:20,880 --> 00:18:26,720 they would move. We had to put a series 389 00:18:23,919 --> 00:18:28,320 of puppeteers working with them just to 390 00:18:26,720 --> 00:18:31,200 figure out how they would move, what 391 00:18:28,320 --> 00:18:33,120 they were capable of. 392 00:18:31,200 --> 00:18:36,080 We tried manipulating them in different 393 00:18:33,120 --> 00:18:38,559 ways. Uh attaching the feet to the 394 00:18:36,080 --> 00:18:41,440 puppeteers's feet, working the feet with 395 00:18:38,559 --> 00:18:43,360 rods, and we found each way of operating 396 00:18:41,440 --> 00:18:45,200 them would create different kinds of 397 00:18:43,360 --> 00:18:47,760 movement. Ah, the clap might be a 398 00:18:45,200 --> 00:18:49,600 problem. A lot of the decision was how 399 00:18:47,760 --> 00:18:51,440 were they supposed to move? And what we 400 00:18:49,600 --> 00:18:54,400 ended up with, of course, was a great 401 00:18:51,440 --> 00:18:56,799 combination. And so the rehearsals were 402 00:18:54,400 --> 00:18:58,799 quite useful because they discovered a 403 00:18:56,799 --> 00:19:00,490 lot of different configurations and 404 00:18:58,799 --> 00:19:08,910 movements. 405 00:19:00,490 --> 00:19:08,910 [Music] 406 00:19:10,240 --> 00:19:14,240 Oh yeah. Yeah. We we'll redistribute 407 00:19:12,240 --> 00:19:16,480 them. Obviously to shoot the fire gang 408 00:19:14,240 --> 00:19:19,200 we have to hide the puppeteers. So we 409 00:19:16,480 --> 00:19:20,960 had them all wearing black velvet. Now 410 00:19:19,200 --> 00:19:22,320 velvet is probably the blackest fabric 411 00:19:20,960 --> 00:19:24,640 that you can use. And so that's what 412 00:19:22,320 --> 00:19:26,880 they had to wear. 413 00:19:24,640 --> 00:19:28,960 The set itself had to also be covered 414 00:19:26,880 --> 00:19:31,120 with black. And we had to get rid of 415 00:19:28,960 --> 00:19:32,640 anything reflective, any any little 416 00:19:31,120 --> 00:19:35,799 white dots or anything like that would 417 00:19:32,640 --> 00:19:35,799 show up. 418 00:19:41,200 --> 00:19:44,200 2 419 00:19:48,620 --> 00:19:56,240 [Music] 420 00:19:54,640 --> 00:19:58,640 We shot the puppets first with a 421 00:19:56,240 --> 00:20:01,600 computerized camera and then we removed 422 00:19:58,640 --> 00:20:03,520 the black velvet and shot the background 423 00:20:01,600 --> 00:20:05,440 using the computer to make the camera 424 00:20:03,520 --> 00:20:07,760 move at exactly the same speed and so 425 00:20:05,440 --> 00:20:11,799 forth. And all of these elements were 426 00:20:07,760 --> 00:20:11,799 put together later in the laboratory. 427 00:20:12,860 --> 00:20:16,300 [Applause] 428 00:20:22,400 --> 00:20:28,960 So when things get too tough and your 429 00:20:25,760 --> 00:20:34,720 chin is dragging on the ground and even 430 00:20:28,960 --> 00:20:38,400 down looks up down looks up. Bad luck. 431 00:20:34,720 --> 00:20:39,679 We can show you a good time. 432 00:20:38,400 --> 00:20:42,320 The thing about puppets is they're 433 00:20:39,679 --> 00:20:44,400 really kind of liberating things. You 434 00:20:42,320 --> 00:20:46,080 can have extraordinary creatures doing 435 00:20:44,400 --> 00:20:47,600 anything you like. For example, I 436 00:20:46,080 --> 00:20:50,320 remember the first time I saw the Empire 437 00:20:47,600 --> 00:20:52,320 Strikes Back and I saw the Yoda. I 438 00:20:50,320 --> 00:20:53,760 thought, "What on earth is that? It must 439 00:20:52,320 --> 00:20:55,720 be a little man because he's wiggling 440 00:20:53,760 --> 00:20:57,919 his ears and his eyes move and 441 00:20:55,720 --> 00:20:59,600 everything." I just I came out of the 442 00:20:57,919 --> 00:21:01,360 theater cinema thinking, "How on earth 443 00:20:59,600 --> 00:21:03,310 did they do that?" Couldn't believe it 444 00:21:01,360 --> 00:21:06,520 was a 445 00:21:03,310 --> 00:21:09,120 [Music] 446 00:21:06,520 --> 00:21:11,440 puppet. Well, Hoggle is certainly the 447 00:21:09,120 --> 00:21:14,559 most complicated puppet creature we've 448 00:21:11,440 --> 00:21:18,240 ever built. It's the most technically uh 449 00:21:14,559 --> 00:21:21,280 elaborate face because we've we've put 450 00:21:18,240 --> 00:21:22,880 about 18 motors in there to control all 451 00:21:21,280 --> 00:21:25,360 the different portions of the face with 452 00:21:22,880 --> 00:21:27,760 these 18 motors and four people 453 00:21:25,360 --> 00:21:30,000 operating that from outside by radio 454 00:21:27,760 --> 00:21:31,120 control creates enormous problems in 455 00:21:30,000 --> 00:21:34,320 just trying to figure out how to make 456 00:21:31,120 --> 00:21:35,559 that into one expression. 457 00:21:34,320 --> 00:21:38,000 The Hoggle 458 00:21:35,559 --> 00:21:40,159 crew are five performers. Five 459 00:21:38,000 --> 00:21:43,000 performers. One of which is really an 460 00:21:40,159 --> 00:21:45,440 actress Sherry. She's inside the 461 00:21:43,000 --> 00:21:47,760 costume. She does the whole all the body 462 00:21:45,440 --> 00:21:51,120 movement and her head is inside the 463 00:21:47,760 --> 00:21:53,120 head. However, the jaw is not connected 464 00:21:51,120 --> 00:21:55,280 to her jaw. Nothing that the face is 465 00:21:53,120 --> 00:21:57,919 doing has any connection with what she's 466 00:21:55,280 --> 00:22:00,080 doing with her face. The other four 467 00:21:57,919 --> 00:22:02,559 members of the crew are all radio crew, 468 00:22:00,080 --> 00:22:05,280 myself included. A head doesn't just 469 00:22:02,559 --> 00:22:07,039 speak. It it moves while it speaks. and 470 00:22:05,280 --> 00:22:09,360 and the body has to have the right 471 00:22:07,039 --> 00:22:11,520 attitude, the right breathing and the 472 00:22:09,360 --> 00:22:14,000 right, you know, stance, body position 473 00:22:11,520 --> 00:22:17,360 and stuff like that. So, it was it was 474 00:22:14,000 --> 00:22:19,840 very important to really act out and 475 00:22:17,360 --> 00:22:21,440 know what transitions were going on. Um, 476 00:22:19,840 --> 00:22:25,840 just as much as the people doing the 477 00:22:21,440 --> 00:22:28,320 head, you monster. I breathe as fast as 478 00:22:25,840 --> 00:22:32,320 I can spray. Five performers trying to 479 00:22:28,320 --> 00:22:37,200 get one character out of one puppet is a 480 00:22:32,320 --> 00:22:39,840 very tough thing. That makes it worse. 481 00:22:37,200 --> 00:22:42,480 That makes it basically what it takes is 482 00:22:39,840 --> 00:22:43,919 a lot of rehearsing and getting to know 483 00:22:42,480 --> 00:22:46,640 each other. Getting to know each other's 484 00:22:43,919 --> 00:22:48,880 timing so that when I go, you know, 485 00:22:46,640 --> 00:22:50,960 something like that, the eyes go, you 486 00:22:48,880 --> 00:22:52,559 know, and Sherry goes and, you know, 487 00:22:50,960 --> 00:22:54,559 everybody does it at the same time and 488 00:22:52,559 --> 00:22:56,320 they all know that it's going to come 489 00:22:54,559 --> 00:22:57,919 and they know exactly what it's going to 490 00:22:56,320 --> 00:23:00,200 sound like and all that. That took a lot 491 00:22:57,919 --> 00:23:06,240 of rehearsal, ain't 492 00:23:00,200 --> 00:23:09,200 it? Now, I do that. Would you go left or 493 00:23:06,240 --> 00:23:12,159 right? 494 00:23:09,200 --> 00:23:15,440 We both stayed open to him. 495 00:23:12,159 --> 00:23:18,080 It's Hog and don't because he was the 496 00:23:15,440 --> 00:23:19,919 most complicated character. We were 497 00:23:18,080 --> 00:23:21,840 trying to do more with him and he had to 498 00:23:19,919 --> 00:23:25,440 be virtually the second lead in the 499 00:23:21,840 --> 00:23:27,679 film. His hands were always a problem 500 00:23:25,440 --> 00:23:29,280 because Shie has very small hands and we 501 00:23:27,679 --> 00:23:31,520 had to build these sort of large hands 502 00:23:29,280 --> 00:23:34,159 over her. Vera, do we have the little 503 00:23:31,520 --> 00:23:36,720 hanky? Yeah. Oh, great. Wonderful. Let's 504 00:23:34,159 --> 00:23:39,960 see what you can do. Can you get that? 505 00:23:36,720 --> 00:23:39,960 It's tough. 506 00:23:41,440 --> 00:23:46,320 Almost. How long is this movie going to 507 00:23:43,360 --> 00:23:49,039 be? 508 00:23:46,320 --> 00:23:54,799 Okay, now here we go. 509 00:23:49,039 --> 00:23:57,440 Two of them. Oh, all right. Great. 510 00:23:54,799 --> 00:23:59,039 Tell you what. You give me the bracelet 511 00:23:57,440 --> 00:24:00,480 and I'll show you the way out of the 512 00:23:59,039 --> 00:24:02,640 labyrinth. You were going to do that 513 00:24:00,480 --> 00:24:04,960 anyway. Yes. Well, that's what would 514 00:24:02,640 --> 00:24:08,080 make it a particularly nice gesture on 515 00:24:04,960 --> 00:24:09,679 your part. No. I I'll tell you what. If 516 00:24:08,080 --> 00:24:11,039 you won't take me to the center, take me 517 00:24:09,679 --> 00:24:16,279 as far as you can, and then I'll do it 518 00:24:11,039 --> 00:24:16,279 on my own. What needs that anyway? 519 00:24:17,559 --> 00:24:23,600 Plastic. Now, don't promise nothing, but 520 00:24:20,480 --> 00:24:26,000 uh I'll take you as far as I can. Then 521 00:24:23,600 --> 00:24:28,520 you're on your own, right? 522 00:24:26,000 --> 00:24:30,679 Right. 523 00:24:28,520 --> 00:24:33,120 Right. 524 00:24:30,679 --> 00:24:35,120 Plastic. I can't bring myself to call 525 00:24:33,120 --> 00:24:36,960 them puppets because I don't feel what 526 00:24:35,120 --> 00:24:38,559 Jim Henson does is puppetry. I mean, 527 00:24:36,960 --> 00:24:40,640 it's I don't know what there's no name 528 00:24:38,559 --> 00:24:43,360 for it. It's just sort of some other 529 00:24:40,640 --> 00:24:44,640 kind of magic really. Um, but I suppose 530 00:24:43,360 --> 00:24:47,440 we we're going to call it puppetry, so 531 00:24:44,640 --> 00:24:49,600 I'll call it puppets then. Um, I mean, 532 00:24:47,440 --> 00:24:52,320 Jim's things, I mean, they're just so uh 533 00:24:49,600 --> 00:24:54,080 they can do anything. For a graphic 534 00:24:52,320 --> 00:24:56,320 artist, creating a two-dimensional 535 00:24:54,080 --> 00:24:58,000 optical illusion is difficult enough. 536 00:24:56,320 --> 00:24:59,679 But creating an optical illusion in 537 00:24:58,000 --> 00:25:03,400 three dimensions was a real challenge 538 00:24:59,679 --> 00:25:05,840 for our production designer Elliot 539 00:25:03,400 --> 00:25:07,440 Scott. Scotty designed it so there's 540 00:25:05,840 --> 00:25:09,679 nothing that tells you what's up or 541 00:25:07,440 --> 00:25:11,520 down. And everything intercuts. In other 542 00:25:09,679 --> 00:25:13,279 words, it's all lit so that there's no 543 00:25:11,520 --> 00:25:15,279 giveaway as to what's top and what's 544 00:25:13,279 --> 00:25:16,640 bottom. This means that you can never 545 00:25:15,279 --> 00:25:19,640 orient yourself to what you're looking 546 00:25:16,640 --> 00:25:19,640 at. 547 00:25:20,559 --> 00:25:28,279 be nice if you could wait a little bit 548 00:25:23,200 --> 00:25:28,279 longer cuz I'd love the picture clear. 549 00:25:32,000 --> 00:25:36,559 You know, the middle point of my cut 550 00:25:33,200 --> 00:25:40,080 should be on things. There you go. Five. 551 00:25:36,559 --> 00:25:45,559 Five points. Take four. 552 00:25:40,080 --> 00:25:45,559 You turn my world. You precious 553 00:25:48,000 --> 00:25:50,400 near 554 00:25:52,279 --> 00:25:57,760 exhaust everything. 555 00:25:55,919 --> 00:26:01,840 It's a nice one. Let me do one just a 556 00:25:57,760 --> 00:26:02,640 touch slower on the Okay. 557 00:26:01,840 --> 00:26:07,080 All right. All right, let's take a 558 00:26:02,640 --> 00:26:07,080 moment to put on the zoom and do 559 00:26:08,880 --> 00:26:12,640 we very carefully storyboarded this 560 00:26:10,720 --> 00:26:14,159 whole sequence and followed it closer 561 00:26:12,640 --> 00:26:17,600 than we ever did anywhere else in the 562 00:26:14,159 --> 00:26:20,400 film because there were sequences in 563 00:26:17,600 --> 00:26:22,720 here where we wanted David to do things 564 00:26:20,400 --> 00:26:24,720 which couldn't you couldn't really do 565 00:26:22,720 --> 00:26:27,440 but by the addition of a mechanical 566 00:26:24,720 --> 00:26:29,120 effect uh we could actually make it look 567 00:26:27,440 --> 00:26:31,919 like David was actually doing all of 568 00:26:29,120 --> 00:26:33,200 this stuff and this worked because we 569 00:26:31,919 --> 00:26:35,039 were able to turn the camera in 570 00:26:33,200 --> 00:26:38,600 different angles because the set would 571 00:26:35,039 --> 00:26:38,600 allow us to do that. 572 00:26:39,360 --> 00:26:44,720 Playback. 573 00:26:41,600 --> 00:26:44,720 Ready and 574 00:26:45,190 --> 00:26:53,360 [Music] 575 00:26:49,640 --> 00:26:57,240 action. How you turned my world, you 576 00:26:53,360 --> 00:26:57,240 precious thing. 577 00:26:57,760 --> 00:27:02,120 You staring nearly exhaust 578 00:27:00,110 --> 00:27:08,400 [Music] 579 00:27:02,120 --> 00:27:08,400 me. Everything I've done, I've done for 580 00:27:09,080 --> 00:27:13,760 you. I move the stars for no 581 00:27:15,960 --> 00:27:21,460 one. You've run so long. You've run so 582 00:27:19,679 --> 00:27:25,210 far. 583 00:27:21,460 --> 00:27:25,210 [Music] 584 00:27:26,559 --> 00:27:30,720 Your eyes can be so 585 00:27:31,000 --> 00:27:50,799 cruel. Good. Good. 586 00:27:34,480 --> 00:27:52,720 [Music] 587 00:27:50,799 --> 00:27:54,559 I've known Michael Motion's work for 588 00:27:52,720 --> 00:27:57,120 several years and he does this 589 00:27:54,559 --> 00:27:59,440 incredible act and what he does is as 590 00:27:57,120 --> 00:28:02,640 close to real magic as anything that I 591 00:27:59,440 --> 00:28:04,960 really know. We had this design for what 592 00:28:02,640 --> 00:28:08,000 Jarth was and we wanted him to have 593 00:28:04,960 --> 00:28:09,679 certain kind of magical powers and 594 00:28:08,000 --> 00:28:11,200 something to express these magic powers. 595 00:28:09,679 --> 00:28:14,000 And so then we thought of the idea of 596 00:28:11,200 --> 00:28:16,320 using Michael to do that. I've brought 597 00:28:14,000 --> 00:28:19,520 you a gift. 598 00:28:16,320 --> 00:28:20,920 What is it? It's a crystal. 599 00:28:19,520 --> 00:28:24,529 Nothing more. 600 00:28:20,920 --> 00:28:24,529 [Music] 601 00:28:24,880 --> 00:28:28,039 Got it. 602 00:28:29,360 --> 00:28:34,480 For the occasions, we wanted to use 603 00:28:31,760 --> 00:28:37,360 Michael's right arm to be David's arm. 604 00:28:34,480 --> 00:28:39,039 We set it up with a standin for David so 605 00:28:37,360 --> 00:28:41,120 he could rehearse and rehearse and 606 00:28:39,039 --> 00:28:43,279 rehearse and try to get this move. We 607 00:28:41,120 --> 00:28:46,000 had to have Michael down behind David 608 00:28:43,279 --> 00:28:48,000 and he had to be leaning down so that he 609 00:28:46,000 --> 00:28:51,799 wouldn't be in the camera shot. He's now 610 00:28:48,000 --> 00:28:51,799 working totally blind. 611 00:28:51,840 --> 00:28:57,600 372 take six. When we shot that scene 612 00:28:54,960 --> 00:29:02,720 with David, he was incredibly patient. 613 00:28:57,600 --> 00:29:06,120 Action. Wait, I have a better plan. 614 00:29:02,720 --> 00:29:10,960 You going? Ready. 615 00:29:06,120 --> 00:29:12,480 Wait. I've got a much better plan. 616 00:29:10,960 --> 00:29:14,799 I don't know how many takes we did, but 617 00:29:12,480 --> 00:29:18,159 it was lots and lots. Wait, I have a 618 00:29:14,799 --> 00:29:18,159 much better plan. 619 00:29:19,440 --> 00:29:24,799 I had fun. It was Frank. It was very 620 00:29:21,880 --> 00:29:28,240 abusing. Um I don't think Michael 621 00:29:24,799 --> 00:29:32,080 Michael Motion the juggler had much fun. 622 00:29:28,240 --> 00:29:33,960 It was it's agonizing for him. 623 00:29:32,080 --> 00:29:36,240 Excuse me. 624 00:29:33,960 --> 00:29:38,880 Wait. I've got a much better plan. 625 00:29:36,240 --> 00:29:41,360 Hoggle. 626 00:29:38,880 --> 00:29:41,360 Give her 627 00:29:41,399 --> 00:29:47,679 this. What? What is it? 628 00:29:45,120 --> 00:29:49,760 It's a present. It ain't going to hurt 629 00:29:47,679 --> 00:29:51,679 the little lady, is it? Oh, now why the 630 00:29:49,760 --> 00:29:53,279 concern? 631 00:29:51,679 --> 00:29:55,360 I won't do nothing to harm her. Oh, 632 00:29:53,279 --> 00:29:57,200 come, come, come, hog brain. I'm 633 00:29:55,360 --> 00:30:00,320 surprised at you losing your head over a 634 00:29:57,200 --> 00:30:02,000 girl. I ain't lost my head. You don't 635 00:30:00,320 --> 00:30:05,120 think a young girl could ever like a 636 00:30:02,000 --> 00:30:08,679 repulsive little scab like you, do you? 637 00:30:05,120 --> 00:30:12,559 Well, she said we wen 638 00:30:08,679 --> 00:30:14,159 companions, friends. 639 00:30:12,559 --> 00:30:16,159 Don't matter. You'll give her that 640 00:30:14,159 --> 00:30:18,320 hoggle or I'll tip you straight into the 641 00:30:16,159 --> 00:30:22,159 bulb of eternal stench before you can 642 00:30:18,320 --> 00:30:22,159 blink. Yes, 643 00:30:32,120 --> 00:30:36,640 right. The whole trip through the 644 00:30:34,320 --> 00:30:38,640 labyrinth is like a voyage. And so to 645 00:30:36,640 --> 00:30:42,760 create the feeling of a voyage, you have 646 00:30:38,640 --> 00:30:42,760 to go through many different places. 647 00:30:49,970 --> 00:30:59,780 [Music] 648 00:31:01,279 --> 00:31:04,960 I think the film does have a lot of 649 00:31:02,880 --> 00:31:06,880 different looks and that's due to the 650 00:31:04,960 --> 00:31:10,090 combination of Elliot Scott's set 651 00:31:06,880 --> 00:31:13,260 designs and Alex Thompson's lighting. 652 00:31:10,090 --> 00:31:13,260 [Music] 653 00:31:14,240 --> 00:31:17,679 Can you line up the bolts? Just like 654 00:31:16,240 --> 00:31:19,760 straighten up the bolts. They're all 655 00:31:17,679 --> 00:31:23,250 over the place. Just going to do this, 656 00:31:19,760 --> 00:31:27,559 Dino. Thanks, 657 00:31:23,250 --> 00:31:27,559 [Music] 658 00:31:29,240 --> 00:31:34,080 Frank. One you can see there, Ash needs 659 00:31:31,840 --> 00:31:36,919 to go well over to the right. Ash, go 660 00:31:34,080 --> 00:31:40,080 and have a look. 661 00:31:36,919 --> 00:31:43,360 First, I want to see that. Okay, that's 662 00:31:40,080 --> 00:31:43,360 fine. It's good. 663 00:31:52,840 --> 00:31:56,159 Dean put it 664 00:32:00,919 --> 00:32:05,240 on even more. 665 00:32:10,320 --> 00:32:15,679 You ready? 666 00:32:12,000 --> 00:32:19,360 143. Take one. AandC cameras. 667 00:32:15,679 --> 00:32:19,360 3 2 1 668 00:32:19,720 --> 00:32:22,720 Action. 669 00:32:29,880 --> 00:32:36,279 Pluto. 670 00:32:32,279 --> 00:32:36,279 Pluto. Pluto. 671 00:32:39,120 --> 00:32:43,159 What's going on, Moto? 672 00:32:44,480 --> 00:32:48,799 I love working with puppets. In the 673 00:32:46,880 --> 00:32:50,320 beginning, it was hard because I don't 674 00:32:48,799 --> 00:32:52,000 know. It's just strange thinking about 675 00:32:50,320 --> 00:32:55,679 the fact that you really are talking to 676 00:32:52,000 --> 00:32:58,080 a puppet, but it completely wears away 677 00:32:55,679 --> 00:32:59,440 and you just I mean completely forget 678 00:32:58,080 --> 00:33:01,360 that they are puppets and that they're 679 00:32:59,440 --> 00:33:03,919 not just some kind of creatures or 680 00:33:01,360 --> 00:33:06,200 something which are real because they 681 00:33:03,919 --> 00:33:08,480 are so real. The puppeteers make them so 682 00:33:06,200 --> 00:33:12,760 lifelike and you can really learn to 683 00:33:08,480 --> 00:33:12,760 relate to to each one of them. 684 00:33:13,840 --> 00:33:18,399 Ludo is one of the biggest things we've 685 00:33:16,320 --> 00:33:21,679 ever made for a single person to 686 00:33:18,399 --> 00:33:23,760 operate. You're going to have to lead me 687 00:33:21,679 --> 00:33:26,880 out there. 688 00:33:23,760 --> 00:33:29,120 Is a very large figure and we had to 689 00:33:26,880 --> 00:33:31,919 make it as lightweight as possible and 690 00:33:29,120 --> 00:33:31,919 that was one of the big 691 00:33:33,960 --> 00:33:36,960 problems. 692 00:33:40,600 --> 00:33:45,679 About halfway through the build on that, 693 00:33:43,679 --> 00:33:47,120 you know, I was beginning to get worried 694 00:33:45,679 --> 00:33:49,200 and I said, "How much is this thing 695 00:33:47,120 --> 00:33:51,120 going to weigh when it's finished?" And 696 00:33:49,200 --> 00:33:52,399 they did a lot of calculations and they 697 00:33:51,120 --> 00:33:56,080 came back and they said, "Well, it looks 698 00:33:52,399 --> 00:33:58,240 like it'll beund and some pounds. Piece 699 00:33:56,080 --> 00:34:00,080 of cake." And I said, "That's really too 700 00:33:58,240 --> 00:34:01,519 much." So, they had to just start from 701 00:34:00,080 --> 00:34:03,519 the very beginning and just redo 702 00:34:01,519 --> 00:34:06,159 everything just to cut the weight down. 703 00:34:03,519 --> 00:34:11,560 The final weight is still well over 75 704 00:34:06,159 --> 00:34:11,560 lbs. Noodle friend. 705 00:34:13,919 --> 00:34:18,079 Well, I knew it would be too much for 706 00:34:15,679 --> 00:34:20,639 one person to operate all the time, and 707 00:34:18,079 --> 00:34:22,240 so we designed it for two guys to work 708 00:34:20,639 --> 00:34:24,240 interchangeably. 709 00:34:22,240 --> 00:34:26,560 Rob Mills and Ron Muick are just about 710 00:34:24,240 --> 00:34:29,399 the same size and shape physically. So, 711 00:34:26,560 --> 00:34:31,599 they were able to trade off in the 712 00:34:29,399 --> 00:34:33,760 party. As well as all the physical 713 00:34:31,599 --> 00:34:37,159 demands that this character put on them, 714 00:34:33,760 --> 00:34:39,800 they also had to give a performance. 715 00:34:37,159 --> 00:34:43,119 Good. Watch 716 00:34:39,800 --> 00:34:43,119 them. Step 717 00:34:44,040 --> 00:34:49,760 back. Very good, Sherry. Really? After 718 00:34:47,280 --> 00:34:52,960 working on the film Dark Crystal that 719 00:34:49,760 --> 00:34:55,679 was just pure puppets, Jim and I decided 720 00:34:52,960 --> 00:34:58,560 that we'd like to introduce a human 721 00:34:55,679 --> 00:35:01,480 element. We felt that a baby would be an 722 00:34:58,560 --> 00:35:04,079 ideal thing to play off against the the 723 00:35:01,480 --> 00:35:06,560 creatures. I sat down and started to 724 00:35:04,079 --> 00:35:09,280 paint this picture. About 6 months 725 00:35:06,560 --> 00:35:12,079 later, my son Toby was conceived. And 726 00:35:09,280 --> 00:35:14,480 the strange thing was that he turned out 727 00:35:12,079 --> 00:35:17,680 to look just like the baby that I'd 728 00:35:14,480 --> 00:35:19,680 drawn. And he was the baby that we used 729 00:35:17,680 --> 00:35:22,640 in the film. 730 00:35:19,680 --> 00:35:25,680 Hi. You know who's in the hall? Toby. 731 00:35:22,640 --> 00:35:28,680 Your mommy. Toby. Toby. 732 00:35:25,680 --> 00:35:28,680 Toby. 733 00:35:30,079 --> 00:35:38,599 Don't look at the light. Hi gay. 734 00:35:34,880 --> 00:35:38,599 Mike. Let's shoot it. 735 00:35:38,640 --> 00:35:42,760 Where you going? Am I 736 00:35:44,480 --> 00:35:49,240 Toby? Come on. Oh, Toby, come here. 737 00:35:46,320 --> 00:35:54,000 Toby, where are you? 738 00:35:49,240 --> 00:35:56,680 Oh, me. Ready, Toby? People say that you 739 00:35:54,000 --> 00:35:59,040 shouldn't work with babies, puppets, or 740 00:35:56,680 --> 00:36:01,119 animals. And of course, we work with 741 00:35:59,040 --> 00:36:03,040 puppets all the time. And I have worked 742 00:36:01,119 --> 00:36:04,400 with animals a little bit, but this is 743 00:36:03,040 --> 00:36:06,720 the very first time I've ever worked 744 00:36:04,400 --> 00:36:09,520 with a baby. So now I understand why 745 00:36:06,720 --> 00:36:12,000 people say that. So this is your big 746 00:36:09,520 --> 00:36:13,760 chance. So go for it. All right. Let it 747 00:36:12,000 --> 00:36:15,280 first in the eyes and then feel it with 748 00:36:13,760 --> 00:36:17,200 everything. 749 00:36:15,280 --> 00:36:18,240 But not the Yeah, I think he Yeah, you 750 00:36:17,200 --> 00:36:22,280 know, I think he can do that. He 751 00:36:18,240 --> 00:36:22,280 believes it. And project. 752 00:36:23,920 --> 00:36:27,520 It wasn't just a question of getting 753 00:36:25,359 --> 00:36:29,119 Toby to look in the right direction, but 754 00:36:27,520 --> 00:36:32,720 he also had to have the right expression 755 00:36:29,119 --> 00:36:36,320 on his face. And this was not easy. 756 00:36:32,720 --> 00:36:39,320 Okay. And action, Nick. And Carol, want 757 00:36:36,320 --> 00:36:39,320 you 758 00:36:42,480 --> 00:36:46,839 go to Carol. Okay, 759 00:36:47,380 --> 00:36:50,559 [Music] 760 00:36:50,960 --> 00:36:54,839 there he goes now. Wendy. 761 00:36:55,640 --> 00:37:00,359 Damn, he's Yeah. 762 00:37:00,960 --> 00:37:07,079 Okay. It's a complicated thing. And cut 763 00:37:04,320 --> 00:37:09,520 it. Working with a baby had its 764 00:37:07,079 --> 00:37:11,599 problems. But then I tried directing 765 00:37:09,520 --> 00:37:14,079 chickens. That's That's where I want 766 00:37:11,599 --> 00:37:16,320 them. But I only want I really only want 767 00:37:14,079 --> 00:37:18,560 one in the shot. 768 00:37:16,320 --> 00:37:20,320 Have you got that? 769 00:37:18,560 --> 00:37:24,599 Colin doesn't want it going down his 770 00:37:20,320 --> 00:37:24,599 back in the middle of the shot. 771 00:37:24,960 --> 00:37:28,400 Leave me a nice scrawny 772 00:37:28,839 --> 00:37:34,119 one. This is a great one. Who's left 773 00:37:31,119 --> 00:37:34,119 here? 774 00:37:39,280 --> 00:37:43,599 Just let this guy quiet down if you 775 00:37:41,200 --> 00:37:43,599 will. 776 00:37:50,170 --> 00:37:53,830 [Laughter] 777 00:37:55,760 --> 00:38:03,920 That chicken is not going to be a star. 778 00:38:00,400 --> 00:38:03,920 In 3 2 1 779 00:38:03,980 --> 00:38:08,860 [Music] 780 00:38:06,040 --> 00:38:12,909 action. 781 00:38:08,860 --> 00:38:12,909 [Music] 782 00:38:20,200 --> 00:38:26,160 Got it. Hold it. 783 00:38:24,079 --> 00:38:28,320 When we were planning the film and even 784 00:38:26,160 --> 00:38:30,079 casting it, it hadn't occurred to me 785 00:38:28,320 --> 00:38:32,079 that the film had any dangerous 786 00:38:30,079 --> 00:38:33,839 situations because everything is fairly 787 00:38:32,079 --> 00:38:35,440 normal. And it wasn't until we were 788 00:38:33,839 --> 00:38:37,839 actually shooting that I realized that 789 00:38:35,440 --> 00:38:40,640 there were scenes that were difficult 790 00:38:37,839 --> 00:38:43,040 and uncomfortable and not exactly 791 00:38:40,640 --> 00:38:45,200 dangerous, but slightly risky or they 792 00:38:43,040 --> 00:38:46,880 would feel dangerous. It wasn't until 793 00:38:45,200 --> 00:38:49,200 Jenny was doing these things that I 794 00:38:46,880 --> 00:38:50,880 realized how terrific she was. She's 795 00:38:49,200 --> 00:38:55,160 such a good support about all of this 796 00:38:50,880 --> 00:38:55,160 stuff and she's very brave. 797 00:38:57,440 --> 00:39:00,519 [Music] 798 00:39:02,640 --> 00:39:07,680 the shaft of hands. It's a slimy green 799 00:39:06,079 --> 00:39:09,599 substance and it has these hands 800 00:39:07,680 --> 00:39:11,520 sticking out from all over the place and 801 00:39:09,599 --> 00:39:13,680 tons and tons and tons of them and it's 802 00:39:11,520 --> 00:39:17,570 really high. It's about 40 ft or 803 00:39:13,680 --> 00:39:20,619 something. One drop. 804 00:39:17,570 --> 00:39:20,619 [Music] 805 00:39:22,320 --> 00:39:26,160 I suck. I had this idea of all these 806 00:39:24,079 --> 00:39:28,560 hands just sort of coming out. They all 807 00:39:26,160 --> 00:39:30,320 grab her. Um, I thought it sounds pretty 808 00:39:28,560 --> 00:39:32,480 spooky. And then I thought it would be 809 00:39:30,320 --> 00:39:34,560 very nice if the um hands started 810 00:39:32,480 --> 00:39:35,599 talking to her. I remember seeing people 811 00:39:34,560 --> 00:39:37,440 doing those things where they paint 812 00:39:35,599 --> 00:39:39,520 lipstick on their hand like that and 813 00:39:37,440 --> 00:39:40,640 then two eyes and then they and so I 814 00:39:39,520 --> 00:39:42,000 thought one of the hands gets some 815 00:39:40,640 --> 00:39:45,920 lipstick and does that and it starts 816 00:39:42,000 --> 00:39:47,440 talking to to um her and then I think um 817 00:39:45,920 --> 00:39:48,800 Jim liked the idea of the shaft of hands 818 00:39:47,440 --> 00:39:50,880 and he suggested that the hands actually 819 00:39:48,800 --> 00:39:53,520 should just form faces. probably can be 820 00:39:50,880 --> 00:39:55,920 done, but Jay, it's hard. And actually, 821 00:39:53,520 --> 00:39:57,359 one person doing 822 00:39:55,920 --> 00:39:58,960 Oh, both eyes doesn't work because you 823 00:39:57,359 --> 00:40:00,560 get the wrong side. Yeah, they're on the 824 00:39:58,960 --> 00:40:02,800 wrong side and they're they're shattered 825 00:40:00,560 --> 00:40:04,960 by your fingers. That's what I mean. I'm 826 00:40:02,800 --> 00:40:09,079 facing the wrong way. 827 00:40:04,960 --> 00:40:09,079 Do the mouth like this with me. 828 00:40:09,200 --> 00:40:12,599 If I'm leading, 829 00:40:13,760 --> 00:40:17,440 it's not terrible. 830 00:40:15,760 --> 00:40:18,620 It certainly can be done. I think at 831 00:40:17,440 --> 00:40:21,520 some point 832 00:40:18,620 --> 00:40:23,440 [Music] 833 00:40:21,520 --> 00:40:25,839 all the puppeteers had to wear latex 834 00:40:23,440 --> 00:40:28,800 gloves designed to look like gnarled 835 00:40:25,839 --> 00:40:31,680 arthritic hands. We ended up making over 836 00:40:28,800 --> 00:40:33,280 a 100 pairs and the foam latex people 837 00:40:31,680 --> 00:40:35,280 were working day and night to get them 838 00:40:33,280 --> 00:40:37,200 all ready on time. If it's like that, 839 00:40:35,280 --> 00:40:42,359 the eyes are done by two people. See, 840 00:40:37,200 --> 00:40:42,359 I'm I'm the eye on this side. You see? 841 00:40:42,640 --> 00:40:47,280 Yes. Okay. So, there's an eye. There's 842 00:40:44,480 --> 00:40:49,599 there's a pair of eyes there, you know. 843 00:40:47,280 --> 00:40:51,359 Does this come with live focus or to me 844 00:40:49,599 --> 00:40:53,440 the easiest mouth is one person in front 845 00:40:51,359 --> 00:40:55,359 doing like that? You know, that's a very 846 00:40:53,440 --> 00:40:57,440 easy mouth. 847 00:40:55,359 --> 00:40:59,200 Yeah. Now, that I would particularly 848 00:40:57,440 --> 00:41:02,560 like with another fist in there to 849 00:40:59,200 --> 00:41:03,500 create a nose, you know. 850 00:41:02,560 --> 00:41:08,429 Like like 851 00:41:03,500 --> 00:41:08,429 [Music] 852 00:41:09,880 --> 00:41:23,460 so. All 853 00:41:11,760 --> 00:41:23,460 [Music] 854 00:41:26,400 --> 00:41:31,119 right. Those of you who haven't seen any 855 00:41:28,800 --> 00:41:36,319 of these faces before, 856 00:41:31,119 --> 00:41:38,319 uh, Brian, Mac, Ron, Cheryl, some of you 857 00:41:36,319 --> 00:41:40,720 all have tried this already. So, just 858 00:41:38,319 --> 00:41:41,960 show some of the faces and the way 859 00:41:40,720 --> 00:41:46,079 bodies 860 00:41:41,960 --> 00:41:49,960 orient which one was the smiling. Oh, 861 00:41:46,079 --> 00:41:49,960 that that was that. 862 00:41:50,440 --> 00:41:58,000 Yes. Yes. Which way? Come on. Which way 863 00:41:54,319 --> 00:41:59,520 would you like to go? Oh gosh. When 864 00:41:58,000 --> 00:42:01,599 you've had an idea which you thought was 865 00:41:59,520 --> 00:42:03,520 pretty good idea, um, and then you see 866 00:42:01,599 --> 00:42:04,960 it done and it's it's so much better 867 00:42:03,520 --> 00:42:06,640 than you ever imagined. It's sort of 868 00:42:04,960 --> 00:42:08,640 taken your original idea and sort of 869 00:42:06,640 --> 00:42:10,000 leapt a quantum leap. It was one of 870 00:42:08,640 --> 00:42:13,520 those magic moments I think when I 871 00:42:10,000 --> 00:42:16,560 actually saw it. Stop it. Help. What do 872 00:42:13,520 --> 00:42:19,520 you mean help? We are helping. We're 873 00:42:16,560 --> 00:42:23,119 helping hands. Well, then come on. Which 874 00:42:19,520 --> 00:42:26,079 way? Come on. We haven't got all day. 875 00:42:23,119 --> 00:42:30,240 Well, it's a big decision for her. Which 876 00:42:26,079 --> 00:42:32,880 way do you want to go? Well, since I'm 877 00:42:30,240 --> 00:42:37,680 pointed that way, I guess I'll go down. 878 00:42:32,880 --> 00:42:40,950 She goes down. She goes down. Was that 879 00:42:37,680 --> 00:42:52,850 wrong? Too late now. 880 00:42:40,950 --> 00:42:52,850 [Music] 881 00:42:52,960 --> 00:42:57,520 Well, the ballroom scene is Sarah's 882 00:42:55,079 --> 00:43:00,880 fantasy and so I wanted it to have sort 883 00:42:57,520 --> 00:43:02,880 of a dream translike quality and that's 884 00:43:00,880 --> 00:43:04,800 what I asked Cheryl McFadden to convey 885 00:43:02,880 --> 00:43:07,400 in the choreography. What has to happen 886 00:43:04,800 --> 00:43:09,680 is Douglas that you can't leave until 887 00:43:07,400 --> 00:43:13,359 Graham, you see him getting closer. 888 00:43:09,680 --> 00:43:17,200 Yeah, it was probably the most free time 889 00:43:13,359 --> 00:43:18,960 for me in terms of just exploring my own 890 00:43:17,200 --> 00:43:23,040 ideas and and working with people and 891 00:43:18,960 --> 00:43:24,110 trying to come up with a style for that 892 00:43:23,040 --> 00:43:30,669 sequence. 893 00:43:24,110 --> 00:43:30,669 [Music] 894 00:43:30,880 --> 00:43:34,800 This is just about the only crowd scene 895 00:43:32,800 --> 00:43:36,800 in the movie where they're only people. 896 00:43:34,800 --> 00:43:38,480 There are no puppets there. So, it was 897 00:43:36,800 --> 00:43:40,240 pretty straightforward to shoot and we 898 00:43:38,480 --> 00:43:41,319 all had a lot of fun doing it. Take it 899 00:43:40,240 --> 00:43:45,720 very 900 00:43:41,319 --> 00:43:45,720 slowly. A little bit more. 901 00:43:46,079 --> 00:43:49,920 I'm awful at ballroom dancing. I've 902 00:43:47,839 --> 00:43:52,240 never done it before. I've never been to 903 00:43:49,920 --> 00:43:53,359 a ball. So, I had to take lessons for 904 00:43:52,240 --> 00:43:55,040 that. 905 00:43:53,359 --> 00:43:57,280 I felt so strange because the rest of 906 00:43:55,040 --> 00:43:59,359 the people in the in the ballroom were 907 00:43:57,280 --> 00:44:01,280 all sort of professional dancers and 908 00:43:59,359 --> 00:44:05,560 everything and here I was this kid who's 909 00:44:01,280 --> 00:44:05,560 never danced before in her life. 910 00:44:06,960 --> 00:44:11,599 The ball really was meant to be within a 911 00:44:09,599 --> 00:44:13,359 bubble and we felt we really couldn't 912 00:44:11,599 --> 00:44:14,880 cope with just inside a bubble because 913 00:44:13,359 --> 00:44:16,319 how do you build inside of a bubble as 914 00:44:14,880 --> 00:44:18,960 it were practically? We got to be 915 00:44:16,319 --> 00:44:20,880 practical after all. So rather than 916 00:44:18,960 --> 00:44:24,000 build a straightforward ballroom, I 917 00:44:20,880 --> 00:44:26,000 tried to put together the essences of a 918 00:44:24,000 --> 00:44:27,359 ballroom. That's to say a ballroom to me 919 00:44:26,000 --> 00:44:30,560 means columns. And so we didn't have 920 00:44:27,359 --> 00:44:33,119 columns. We had huge caps. Uh it means 921 00:44:30,560 --> 00:44:34,800 chandeliers. So we devised masses of 922 00:44:33,119 --> 00:44:36,240 chandeliers. And there was mirrors. So 923 00:44:34,800 --> 00:44:38,079 you saw mirrors and reflections of 924 00:44:36,240 --> 00:44:40,079 mirrors in mirrors and things like that. 925 00:44:38,079 --> 00:44:43,839 And the the general costumes which Brian 926 00:44:40,079 --> 00:44:46,640 Fer designed were I would say vaguely 927 00:44:43,839 --> 00:44:48,880 18th century Venetian ball type things 928 00:44:46,640 --> 00:44:50,800 with distorted masks and things like 929 00:44:48,880 --> 00:44:53,119 that. And the people in the ballroom 930 00:44:50,800 --> 00:44:56,119 were meant to be vaguely depraved as it 931 00:44:53,119 --> 00:44:56,119 were. 932 00:44:58,880 --> 00:45:04,800 I found designing costumes for a bubble 933 00:45:02,240 --> 00:45:07,040 an interesting problem. And I decided 934 00:45:04,800 --> 00:45:10,160 that the bubble was actually like a 935 00:45:07,040 --> 00:45:13,520 marquee or a tent, that everybody was in 936 00:45:10,160 --> 00:45:17,040 fact at some sort of garden party, that 937 00:45:13,520 --> 00:45:20,240 they were the gentry dressing up and 938 00:45:17,040 --> 00:45:22,839 they were playing at being goblins. And 939 00:45:20,240 --> 00:45:24,720 I tried to reflect that in the masks I 940 00:45:22,839 --> 00:45:27,280 designed. Although they have this 941 00:45:24,720 --> 00:45:29,920 Venetian influence, they're actually 942 00:45:27,280 --> 00:45:32,640 supposed to be parodies of the goblins 943 00:45:29,920 --> 00:45:36,560 themselves. I wanted everything much 944 00:45:32,640 --> 00:45:37,640 larger than life as it was a fantasy. 945 00:45:36,560 --> 00:45:43,560 Turn 946 00:45:37,640 --> 00:45:43,560 over speed and play back. 947 00:45:46,900 --> 00:45:49,999 [Music] 948 00:46:00,079 --> 00:46:05,200 We were trying to create a kind of an 949 00:46:02,640 --> 00:46:08,480 adult world. You know, the cast is is 950 00:46:05,200 --> 00:46:10,319 are real people here. Sarah is still a 951 00:46:08,480 --> 00:46:12,960 child and she's walking into a very 952 00:46:10,319 --> 00:46:14,880 adult situation where she knows she's 953 00:46:12,960 --> 00:46:16,880 too young to be there. It's something 954 00:46:14,880 --> 00:46:18,359 that's attractive to her and it's also 955 00:46:16,880 --> 00:46:23,319 repellent. of 956 00:46:18,359 --> 00:46:28,079 love deep in your eyes and kind of held 957 00:46:23,319 --> 00:46:29,720 you open and close within your eyes. 958 00:46:28,079 --> 00:46:33,839 I'll place the 959 00:46:29,720 --> 00:46:33,839 sky within your 960 00:46:34,440 --> 00:46:43,440 eyes. There's such a fool heart beating 961 00:46:39,359 --> 00:46:46,599 so fast and such a move. 962 00:46:43,440 --> 00:46:49,160 The love that will last within your 963 00:46:46,599 --> 00:46:53,200 heart. I'll place the 964 00:46:49,160 --> 00:46:53,200 moon within your 965 00:46:54,200 --> 00:47:02,480 heart. As the pain sweeps through makes 966 00:46:57,920 --> 00:47:07,119 no sense for you. Everything has gone. 967 00:47:02,480 --> 00:47:07,119 Wasn't too much fun at 968 00:47:07,560 --> 00:47:13,079 all. But I'll be there for you. 969 00:47:13,440 --> 00:47:20,240 as the world. 970 00:47:16,800 --> 00:47:24,240 I loved shooting it myself. It was a fun 971 00:47:20,240 --> 00:47:24,240 kind of thing to to try to weave 972 00:47:27,160 --> 00:47:31,800 together. I think we got it. 973 00:47:41,140 --> 00:47:49,119 [Music] 974 00:47:46,960 --> 00:47:51,040 It seemed like right late in the story, 975 00:47:49,119 --> 00:47:53,280 what we wanted was for our heroes to 976 00:47:51,040 --> 00:47:54,720 come up against some huge obstacle, 977 00:47:53,280 --> 00:47:56,880 something worse than anything they'd 978 00:47:54,720 --> 00:47:59,119 encountered so far. And we came up with 979 00:47:56,880 --> 00:48:02,280 the idea of building the largest puppet 980 00:47:59,119 --> 00:48:05,520 we'd ever built. Jim asked 981 00:48:02,280 --> 00:48:09,520 us about last January. He said, "Uh, 982 00:48:05,520 --> 00:48:11,440 boys, I'd like a 15t high giant." So, oh 983 00:48:09,520 --> 00:48:13,520 yeah, very interesting. Lots of people 984 00:48:11,440 --> 00:48:15,520 have tried to make 15t giants that walk 985 00:48:13,520 --> 00:48:17,359 and throw their arms around. Haven't 986 00:48:15,520 --> 00:48:19,920 been very successful. So, it's a 987 00:48:17,359 --> 00:48:19,920 challenge, you 988 00:48:24,599 --> 00:48:29,599 know. So, we decided that we were going 989 00:48:27,839 --> 00:48:31,319 to make it and we went ahead and we made 990 00:48:29,599 --> 00:48:33,680 all the mechanics and everything worked 991 00:48:31,319 --> 00:48:37,200 wonderfully. when the body was produced 992 00:48:33,680 --> 00:48:40,000 in fiberglass, um, it just wouldn't work 993 00:48:37,200 --> 00:48:42,079 because the fiberglass wouldn't flex. 994 00:48:40,000 --> 00:48:45,359 Fortunately for us, we had our foam 995 00:48:42,079 --> 00:48:49,200 expert, David Chakori, and he developed 996 00:48:45,359 --> 00:48:51,520 a polyurethane foam for us with a skin, 997 00:48:49,200 --> 00:48:54,400 and the skin would flex without looking 998 00:48:51,520 --> 00:48:58,280 rubbery. It made the polyurethane foam 999 00:48:54,400 --> 00:48:58,280 look like steel armor. 1000 00:48:59,359 --> 00:49:04,079 He weighs I don't know how much. lots. 1001 00:49:02,079 --> 00:49:05,760 Uh, with all of the rig and all the 1002 00:49:04,079 --> 00:49:08,880 hydraulics, the thing has to be several 1003 00:49:05,760 --> 00:49:11,359 tons. And so, this was the largest, most 1004 00:49:08,880 --> 00:49:12,800 complicated thing we'd ever built. He 1005 00:49:11,359 --> 00:49:16,559 didn't have very long to build it. 1006 00:49:12,800 --> 00:49:18,720 Probably 2 to 3 months. 1007 00:49:16,559 --> 00:49:20,240 One man could operate the whole thing. 1008 00:49:18,720 --> 00:49:22,160 In the old days, we'd have probably had 1009 00:49:20,240 --> 00:49:24,880 five or six guys all at different levers 1010 00:49:22,160 --> 00:49:26,400 working hydraulics. One man operates a 1011 00:49:24,880 --> 00:49:28,480 whole of Humongous all by himself. He 1012 00:49:26,400 --> 00:49:30,160 makes it walk forward, makes its body 1013 00:49:28,480 --> 00:49:32,319 spin round, makes it bow down, and makes 1014 00:49:30,160 --> 00:49:35,040 its arms swing the ax. And that's all 1015 00:49:32,319 --> 00:49:35,040 done with servo 1016 00:49:36,200 --> 00:49:41,040 hydraulics. Every movement is arm makes. 1017 00:49:39,200 --> 00:49:43,359 The arms on Humongous make exactly the 1018 00:49:41,040 --> 00:49:46,800 same movement. When George first showed 1019 00:49:43,359 --> 00:49:49,520 me humongous in action, it was really an 1020 00:49:46,800 --> 00:49:51,599 amazing thing. To just stand there and 1021 00:49:49,520 --> 00:49:53,359 have this large thing walk towards you 1022 00:49:51,599 --> 00:49:55,710 is one of the most awesome sights in the 1023 00:49:53,359 --> 00:49:57,280 world. 1024 00:49:55,710 --> 00:50:02,720 [Music] 1025 00:49:57,280 --> 00:50:07,760 on the left. 1 2 3 4 5 6 7 Hulk. One, 1026 00:50:02,720 --> 00:50:12,559 two. Ready for the rope drop and drop. 1027 00:50:07,760 --> 00:50:14,640 Ready for the attack. And one, two, 1028 00:50:12,559 --> 00:50:16,839 three, and 1029 00:50:14,640 --> 00:50:19,280 a film like this sort of needs a major 1030 00:50:16,839 --> 00:50:21,520 climax. And one of the best major 1031 00:50:19,280 --> 00:50:23,359 climaxes is a battle scene. So, we 1032 00:50:21,520 --> 00:50:24,800 wanted to do a great battle scene. And 1033 00:50:23,359 --> 00:50:26,400 at the same time, we didn't want to end 1034 00:50:24,800 --> 00:50:28,240 up killing a lot of people. We didn't 1035 00:50:26,400 --> 00:50:29,839 want a big gory battle where people got, 1036 00:50:28,240 --> 00:50:32,240 you know, their heads chopped off and 1037 00:50:29,839 --> 00:50:34,960 things like that. Uh, so we were looking 1038 00:50:32,240 --> 00:50:37,359 for how can we have the fun of a battle 1039 00:50:34,960 --> 00:50:39,760 and make it fun without, you know, being 1040 00:50:37,359 --> 00:50:42,000 terribly violent and, uh, being the kind 1041 00:50:39,760 --> 00:50:46,520 of film that we didn't want to make. So, 1042 00:50:42,000 --> 00:50:46,520 uh, we decided to do a silly battle. 1043 00:50:46,960 --> 00:50:53,000 Yeah. So, not everything goes. Okay. So, 1044 00:50:49,760 --> 00:50:53,000 red light. 1045 00:50:57,200 --> 00:50:59,440 Stand 1046 00:51:02,599 --> 00:51:08,760 by in 3 2 1 1047 00:51:05,670 --> 00:51:08,760 [Music] 1048 00:51:08,870 --> 00:51:15,139 [Applause] 1049 00:51:12,040 --> 00:51:15,139 [Music] 1050 00:51:16,319 --> 00:51:21,000 requ this way. All right. Charge. 1051 00:51:27,810 --> 00:51:33,920 [Music] 1052 00:51:30,319 --> 00:51:39,049 We're going the wrong way. 1053 00:51:33,920 --> 00:51:39,049 [Applause] 1054 00:51:43,280 --> 00:51:47,920 If you don't turn around this second, I 1055 00:51:45,280 --> 00:51:50,319 will never feed you again. 1056 00:51:47,920 --> 00:51:53,280 [Music] 1057 00:51:50,319 --> 00:51:55,119 That's better. 1058 00:51:53,280 --> 00:51:58,599 Don't worry, Ambroious. I think we've 1059 00:51:55,119 --> 00:51:58,599 got them surrounded. 1060 00:52:00,430 --> 00:52:03,540 [Applause] 1061 00:52:13,450 --> 00:52:24,830 [Music] 1062 00:52:16,340 --> 00:52:24,830 [Applause] 1063 00:52:32,359 --> 00:52:38,040 Tell 3 2 1 action. 1064 00:52:40,400 --> 00:52:45,550 Where's Denimus? 1065 00:52:42,330 --> 00:52:45,550 [Applause] 1066 00:52:45,920 --> 00:52:49,800 I hit something. Yes. 1067 00:52:52,559 --> 00:52:56,359 You're all connected up now. 1068 00:52:56,720 --> 00:53:00,960 Let's clear the set. Unless you're a 1069 00:52:58,240 --> 00:53:02,240 goblin with a rock attached to you. 1070 00:53:00,960 --> 00:53:04,319 We're going to try rehearsal in the 1071 00:53:02,240 --> 00:53:07,920 right hand lane first. This lane I'm 1072 00:53:04,319 --> 00:53:10,920 pointing to. And three, two, one, 1073 00:53:07,920 --> 00:53:10,920 action. 1074 00:53:16,480 --> 00:53:23,159 Good. 1075 00:53:18,090 --> 00:53:23,159 [Music] 1076 00:53:23,599 --> 00:53:31,000 Steady 1077 00:53:25,800 --> 00:53:31,000 man. Steady man. Hold your ground. 1078 00:53:33,760 --> 00:53:40,040 Okay, I take it back. Run for your 1079 00:53:36,079 --> 00:53:40,040 lives. You can run. 1080 00:53:44,640 --> 00:53:50,480 It's all yours, right? 1081 00:53:47,319 --> 00:53:55,319 Forward. Stop 1082 00:53:50,480 --> 00:53:55,319 180°. Which way? Anyway, 1083 00:53:57,400 --> 00:54:05,480 [Music] 1084 00:54:00,240 --> 00:54:05,480 how's it going? Now you don't. 1085 00:54:13,650 --> 00:54:16,780 [Music] 1086 00:54:17,720 --> 00:54:23,319 [Applause] 1087 00:54:19,440 --> 00:54:23,319 Hey, no problem. 1088 00:54:27,760 --> 00:54:32,240 When I go see a film, when I leave the 1089 00:54:30,160 --> 00:54:34,400 theater, I like a few things. I I like 1090 00:54:32,240 --> 00:54:36,319 to be happier than I was when I went in. 1091 00:54:34,400 --> 00:54:38,640 I like a film to leave me with an up 1092 00:54:36,319 --> 00:54:40,319 feeling and I and I like a picture to 1093 00:54:38,640 --> 00:54:44,880 have a sense of substance. I like it to 1094 00:54:40,319 --> 00:54:47,599 be about about life, about uh about 1095 00:54:44,880 --> 00:54:48,800 things that matter to me. And so I think 1096 00:54:47,599 --> 00:54:52,000 that's what we were trying to do with 1097 00:54:48,800 --> 00:54:53,680 this film is trying to do a film that 1098 00:54:52,000 --> 00:54:56,839 would make a difference to you if you 1099 00:54:53,680 --> 00:54:56,839 saw it. 1100 00:55:02,690 --> 00:55:12,040 [Music] 1101 00:55:08,960 --> 00:55:16,240 No one can blame 1102 00:55:12,040 --> 00:55:16,240 you for walking 1103 00:55:16,359 --> 00:55:20,640 away for too much 1104 00:55:21,079 --> 00:55:25,040 protection. No love 1105 00:55:25,480 --> 00:55:30,319 injection. Life can't be easy. 1106 00:55:30,480 --> 00:55:38,119 It's not always 1107 00:55:34,119 --> 00:55:42,079 well. Don't tell me truth hurts, little 1108 00:55:38,119 --> 00:55:42,079 girl. Cuz it hurts like 1109 00:55:42,599 --> 00:55:47,920 hell. We're down in the underground. 1110 00:55:46,360 --> 00:55:52,280 [Music] 1111 00:55:47,920 --> 00:55:56,720 You'll find someone true. 1112 00:55:52,280 --> 00:56:02,420 Down in the underground. 1113 00:55:56,720 --> 00:56:04,520 A land of green of crystal the 1114 00:56:02,420 --> 00:56:09,040 [Applause] 1115 00:56:04,520 --> 00:56:09,040 moon. It's only 1116 00:56:09,160 --> 00:56:13,119 forever. Not long at 1117 00:56:13,480 --> 00:56:20,200 all. Lost and 1118 00:56:17,400 --> 00:56:24,200 lonely. That's 1119 00:56:20,200 --> 00:56:24,200 underground. Underground.