How did the dark crystal: age of resistance begin as a 2 "labyrinth

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The original series of 10 episodes Netflix The dark crystal: the age of the resistance, 37 years after the original film, is a breathtaking, magnificent and terrifying comeback in the world of Thra. When three Gelfling – Rian (expressed by Taron Egerton), Brea (expressed by Anya Taylor-Joy) and Deet (expressed Nathalie Emmanuel– discover the awful secret behind the power of the Skeksis, the fires of rebellion come on and an epic battle for the planet begins.

Collider recently had the opportunity to sit down with show creators / co-executive producers Jeffrey Addis and Will Matthews, as well as writer / co-executive producer Javier Grillo-Marxuach, to talk about the approach of the series as a fantasy story for everyone and not only for children, how it comes from the desire to launch an idea for Labyrinth 2, expand the story for a season of 10 episodes and beyond, need to prepare all these scripts before shooting, how work with puppets has an impact on the set, pairing actors with the performance of the character of appropriate puppets, working with a collaborative filmmaker as Louis Leterrier (who directed all the episodes), how long they could see all that, and what puppet they would like to take home.

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Image via Netflix

collider: I am very happy that this TV series exists and that it still has the dark and scary tone of the film.

JAVIER GRILLO-MARXUACH: One of our slogans was: "No children without fear." We embraced the darkness.

JEFFREY ADDIS: We certainly talk a lot about the darkness and the darkness ahead. We were very conscious not to do this randomly. We must always have a reason for history, but if there was one, we would go there. We were not afraid of it.

GRILLO-MARXUACH: We have never considered this as a children's show. I think because the puppets are in and the Jim Henson Company has done so much work in this space, people assume it's a children's show, but it's a fantastic dream for everyone. That said, I think Jim Henson held children a lot more in esteem than many other people who make children's television. He knew that children were tough and resilient, and if you showed them darkness, they could take it and treat it positively. That's what you see in the movie, and I think that was our idea. Everyone says how terrifying the film is, and it's true, but we never thought, "OK, we're going to be terrifying, to be terrifying."

And there is something really magical to do to see the real puppets.

GRILLO-MARXUACH: Walking on the set of The Dark Crystal, Jeff was already there for months because he was the producer / screenwriter of the set, but Will and I went there a good three months production and they filmed the movie Crystal . Room and banquet Skeksis. If you were allowed to visit all the the force awakens and say, "Oh, I'm in the middle of the Falcon. It's exciting? But then, Han Solo enters the room. He is 70 years old and white-haired, which is a bit weird. "When you enter the Crystal Chamber, the Skeksis are exactly the same. It's literally as if you're going on screen, Purple rose from Cairo style, in 1982, and it's amazing. You have literally entered your childhood.

ADDIS: We have built so many corridors that you could get lost.

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Image via Netflix

After spending time on a plateau like this, how do you return to a normal life?

ADDIS: You can not wait to get back to normal life because you do not see the sun while you're there. We shot everything inside. We took an outside shot, without a plate or a background, when we went to the parking lot to burn a puppet. It was our only outside. Everything else was inside. So when you come out, you get the impression of "What is the real world?", But you are also grateful to see the sun.

GRILLO-MARXUACH: What is amazing is that when you look at these sets and the rest of the series, you see artisans working at the forefront of their talent. There were people who worked on the show, who built puppets and a wardrobe and wigs in the original. All these people have all this experience and the artists we have received are of such a class and quality. Hand-painted decorations are present on the set. It's a technology that is not used much in Hollywood. Now you only have to display a green screen, but we had things like that. It was like entering an era of film production that no longer exists, and that allows you to appreciate the know-how and commitment of artists. When you say, "How would you get back to normal life?", It can be difficult because normal life is not as well done as these sets.

Jeff and Will, you came to this through Labyrinth 2which is a bit unusual for a trip. How did you come to the origin with an idea of Labyrinth 2?

ADDIS: That's what we do for fun. Will and I have been writing together for 10 years, and since he was not drinking, I introduced him to the alcohol and strange puppet films of the 80s. We sat for pleasure and told stories about things we loved. It was an exercise for us. So we were literally sitting in a bar having a drink and talking about how you would do Labyrinth 2, just after [David] Bowie is deceased That's why it was in the Zeitgeist. So we came up with something we liked and thought about, "Let's call Henson Society," and that led to that, which is so crazy.

Have you been surprised to call them and ask them to say, "That does not interest us, but we have it."

ADDIS: Oh yes! It was a dream idea, to launch[notreidéepour[ourideafor[notreidéepour[ourideaforLabyrinth 2]there and see what happens. But to bring them back and say, "What about The dark crystal?, "Was amazing, so we jumped on it.

WILL MATTHEWS: Our first meeting was with Lisa Henson, in her office on the Henson lot. You just try to keep it cool and keep fit, but you look at all the toys and everything else and you say, "This is where kids have dreams!"

ADDIS: And then, this is the first time you enter the Shop of Creatures and you have this experience, which is upsetting. Then, this is the first time you see a built Skeksis, and the first time you see a Gelfling, and the first time you see a Fizzgig. Have you ever seen a hairless Fizzgig? It's terrifying!

GRILLO-MARXUACH: It's the title: "Have you ever seen a hairless Fizzgig?" Their experience is as if you were calling George Lucas and saying, "Hey, we want to redo Tucker, the man and his dream, "And they are like," Nah, but I have this thing called New hope. Do you want to do that again? "Like what?!?

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Image via Netflix

How did you get an idea for The dark crystal?

MATTHEWS: We went back to the bar and went back to work. Jeff and I stayed up all night and worked on our pitch for a feature film. And then, we went to see Lisa Henson and she said, "I'm so glad you're here to tell me your idea of ​​our previous TV show." And we said, "Yes, no problem. I have it. Let's go! "You have just met, talked about it and shared ideas. And then, you attend another meeting and the director / executive producer, Louis Leterrier, was at this meeting, and it went well. And then, a few weeks later, you present the whole series to Netflix and you're ready.

How much is all this at the height of this land?

ADDIS: Very close, in terms of markers. Very close, as far as the place where the flags go, along the journey. This show is about half of what we launched. There is a second period to wait, if we have the opportunity. You plant your flags and they are very close. We had the main characters, or at least their ideas. This is where Javi [Grillo-Marxuach] and the writers' room has arrived and we have started to clarify everything, because there is a lot of space between these holes. You have a 25-minute presentation, but we have a 10-hour show. So there is a lot of story to tell, and it leads you in surprising directions. Seladon was not a character who was an integral part of the field. It came from Louis and from the writers' room, which gave life to this character and brought it back to life. This is a much larger and more complex part of the series than we originally imagined. At the same time, there are moments that just come out of the original height. It's amazing.

Jeff and Will, how did you come to work with Javier Grillo-Marxuach and did you find a rhythm together while you were working on it?

MATTHEWS: It was brutal because Javi is so mean.

GRILLO-MARXUACH: And it's clear that we do not get along and have nothing in common. I am a screamer and I like to create problems that I am the only one to be able to solve. No, we'll hear right away. We are all birds of a feather. We are cut in a similar fabric and we like very much the same things.

MATTHEWS: Jeff and I set up the series, wrote the pilot, did the test and got the green light, but then they called us and said, "You've never been in a room before, nobody headed a room before So now we will call on someone to help you. And often, this help can go wrong. But Javi had written this essay on the laws of showrunning, which I read every year, and it just would not have worked better. It's really a testimony of Javi.

GRILLO-MARXUACH: And you guys. We had a great time. At the end of the day, when you watch the series, one of the many things I'm proud of is that when you look at the screenplay, we ended the season together. They had written the pilot, but we broke the season together and we rewritten together. We have worked with all the writers on their stories and our fingerprints, as a group, are everywhere. It's so rare that you have this kind of simpatico with other writers and that same sense of mission. This is good.

ADDIS: There are lines and things we do not remember who wrote. Louie was also in the writers' room for a good part. It was very collaborative. We had our director in the room with us. When we might start down the road, Louie, who is very kind and magnanimous, would say softly, "I do not know how to do that. I do not know how to shoot that. Can we find another way?

GRILLO-MARXUACH: There was also this time when we went: "Yes, write what you want. And then, at the first, you can see what I did with it. Feature filmmakers tend to have a big shadow because they've worked at that level and they're famous for making the kind of movies that Louie did. So, [Jeff and Will] Their experience scared me, but I feared, "Oh, my god, I'm going to work with this huge director of feature film. What will this power dynamics look like? Louie is the showrunner of this show's record and has directed each episode. For me, one of the most beautiful surprises was to arrive and find that Louie was such a generous, collaborative and kind guy. He literally gave me the shirt on his back someday.

MATTHEWS: It's happened. Javi told him, "Hey, I love your jacket." And Louie said, "Here, take it." Then I said: "Louie, I love your car" and I have not had anything!

GRILLO-MARXUACH: That's what we hope to bring to our projects. Apart from that, if there is, because I think we could do it. The dark crystal for a long time. I hope that there will be more. Jim Henson's philosophy is about unity and collaboration. We like to say that working at the Jim Henson Company is a team sport. We all get there because we want to pay homage to Jim Henson's legacy. We must all come together and find common ground, the object of the series. It is also the object of the process of creating the series. It was beautiful because most of the egos were checked at the door.

ADDIS: This process extends from end to end, going through production and post-production. There are many things you can do with post puppets before we invite actors. We could change and find things, find new moments and find bobs of things to assemble. I do not think there's one scene we shot, it's not in the show. That's how we did it. The same unique vision is that we would add some scenes if we needed a little more or a little more there, but I really do not think we shot a scene that is not in the show.

MATTHEWS: And with that level of efficiency, it's still the longest shoot in Netflix history. Puppets are very slow and very expensive.

GRILLO-MARXUACH: And they are very capricious. Sometimes their ears fell. They were like, "No, my latex is itchy!"

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