By Michael Martin
The Magical World of The Dark Crystal
Back in 1982, no one had seen anything like it. A fantasy world of beautiful landscapes and amazing creatures brought to life with the talent and wonder that only Jim Henson could realize. A peaceful race of Mystics, an evil race of Skeksis, with an innocent race called Gelflings caught in-between. One magical object binds them all. This is the world of The Dark Crystal. Co-directed by Jim Henson and Frank Oz, The Dark Crystal featured fabulous designs by Brian Froud and groundbreaking puppeteering effects by the Jim Henson crew.
Jump To Section
- Netflix’s The Dark Crystal: Age of Resistance
- Using Puppets and Practical Effects
- Referencing the Original Film
- Bringing Fantasy Creatures to Life
- A True Visionary Returns
- Making the Gelflings
- Designing the Skeksis
- Creating a Mystical Experience
- Recreating Aughra
- Bringing Back Even More Creatures
- The Dark Crystal Enters the Digital Age
- The Dark Crystal: Age of Resistance
Netflix’s The Dark Crystal: Age of Resistance
Spring forward more than 35 years, and The Jim Henson Company has allied with Netflix to return to a time before the events portrayed in The Dark Crystal. The Dark Crystal: The Age of Resistance is a ten-episode prequel that expands on the worlds, creatures, and storylines featured in the original film.
Directed by Louis Leterrier (Clash of the Titans, The Incredible Hulk), the series features the voice talents of Taron Edgerton, Awkwafina, Eddie Izzard, Helena Bonham-Carter, Simon Pegg, Andy Samberg, Sigourney Weaver, and Mark Hamill. What a voice cast!
Creative Supervisor for Jim Henson’s Creature Shop, Peter "Pete" Brooke, led the massive creature build for the new series. Pete spoke with SWSCA about the challenges and rewards of the quest for The Dark Crystal: Age of Resistance.
Using Puppets and Practical Effects
Pete began working with Jim Henson's Creature Shop in 1988 as a sculptor. He says the original film was an inspiration and that he was thrilled when Netflix gave the go-ahead to explore the wider world of The Dark Crystal. Originally the new version had been pitched as an animation project. But Netflix thought the great thing about the 1982 movie was all of the puppets and practical effects, so they decided to go that way again for Age of Resistance. Pete remembers that decision being “…music to my ears…”
Referencing the Original Film
In the original Dark Crystal movie, Jim Henson and his crew pushed the then state-of-the-art with what could be achieved through practical effects and puppeteering. Hand and rod puppets, cable-controlled mechanisms pulling forms under foam latex skins, performers in costumes, and marionettes would all be used to realize the magical creatures such as the four-armed Mystics, skeletal Skeksis, and elf-like Gelflings.
(The cast of fantasy creatures who populated 1982's The Dark Crystal.)
The world of The Dark Crystal was populated by things never seen before; giraffe-like Landstriders, innocent Podlings, and giant land crabs called Garthim that would do the bidding of the Skeksis. When it came to the The Dark Crystal: Age of Resistance, Pete refers to the original Dark Crystal film and says, “…we were able to use all those tricks…”
Bringing Fantasy Creatures to Life
The artists at Jim Henson's Creature Shop would do the primary puppet build at their shop in Los Angeles and then move to the UK, where the show was shot. There, they would have a lengthy rehearsal period. The primary goal during this time period was to hone in on a puppeteering style “…that was subtle, nuanced and for all intents and purposes, as realistic as possible.” Pete says that it was “…Jim Henson’s goal in the original film, that the viewers would…not even be aware that you're watching puppets.” He says, “He wanted these things to exist as real creatures…albeit in a fantasy world.” “…he wanted it to look real.”
(L. to R. Puppeteers Helena Smee, Beccy Henderson, and Damian Farrell bring the Gelfling "Deet" to life on the set of The Dark Crystal: Age of Resistance. Image courtesy Netflix.)
A True Visionary Returns
Brian Froud, the visionary designer of the 1982 film, would return to work on The Dark Crystal: Age of Resistance and bring along his artist son Toby Froud as well, providing new designs for the various races that would appear in the prequel.
(Legendary designer Brian Froud and his wife Wendy at the London Premiere of The Dark Crystal: Age of Resistance. Photo source WireImage.)
Pete smiles and says it was, “…a great thrill for me.” He goes on to say that how the puppets were built and operated for the prequel would also be very similar to how the original creatures were done.
Making the Gelflings
Like The Dark Crystal, the protagonists of The Dark Crystal: Age of Resistance would be members of an elf-like race called Gelflings. Since the series is a prequel, many more Gelfling puppets would be built for Age of Resistance than for the original movie.
(Design supervisor Toby Froud sculpts a Gelfling puppet. Image courtesy Netflix.)
The puppets would be constructed and operated in a similar manner to the originals, yet with many modern weight-saving features. Where the original puppets required four puppeteers, the new puppets for Age of Resistance would generally require only two performers.
(Tamara McKinnon-Miller and Toby Froud make wardrobe adjustments on a Gelfling puppet form.)
(The lead Gelflings of The Dark Crystal: Age of Resistance: Rian, Deet, and Brea.)
Pete emphasizes how important it was to keep the weight of the characters down. Instead of the heavy cables that were used in the 1980s, now eye, brow, and other facial movements would be controlled by lightweight remote-controlled servos mounted inside the puppet itself. An intutive joystick-type device would be used to control the eye blinks, eye movements, and other facial expressions.
One of the weight-reducing techniques that would be incorporated for The Dark Crystal: Age of Resistance was the use of foam latex for the puppet’s skins. Pete says they chose not to use silicone skins for the puppets because of the added weight. Tests were carried out on a Gelfling head with silicone and even with a head that small, “…you could feel the difference in weight.” He says the formulations for foam latex have gotten better over the years and that he loves it. “…in terms of repair, nothing beats it.”
(Anna McKindley tests the facial movements of a Gelfling puppet at Jim Henson's Creature Shop. Image courtesy Netflix.)
(Jim Henson's Creature Shop mechanical supervisor, John Criswell, checks Gelfling's facial movement functions. Image courtesy Netflix.)
Pete reveals that a lot of the internal mechanisms for the puppets were 3D Printed. There were many benefits to constructing them this way. As one example, Jim Henson's Creature Shop would design complicated hand mechanisms in the digital world, which then could easily be reproduced in a short period of time in lightweight plastic. “This meant the puppets remained lightweight.”
Designing the Skeksis
Pete tells SWSCA that the Skeksis were a gift to the creature makers. The originals had been designed by Brian Froud, and for Age of Resistance, he would design several new Skeksis characters.
(The sculpture for the "The Collector" Skeksis underway at Jim Henson's Creature Shop. Image courtesy Netflix.)
(Fitting an ornamental mask onto a Skeksis at Jim Henson's Creature Shop. Image courtesy Netflix.)
Pete shares that Froud revealed how the original Skeksis came to be and how their designs would inform how they were operated. During a workshop to explore the possibilities of the characters, Froud said he wanted them to be bigger while Jim Henson had envisioned the Skeksis as hand puppets. From that workshop came the larger Skeksis design we know today.
(The evil Skeksis return in The Dark Crystal: Age of Resistance. Image courtesy Netflix.)
Jim Henson's Creature Shop would recreate the original Skeksis characters plus several new ones. The new Skeksis would be constructed and performed much as the originals had been back in 1982.
As with the first film, two versions of the Skeksis puppets would be built; a full-size puppet with rudimentary animatronic functions in the head for the walk-around version, and a close-up version with a more fully mechanized head. Pete says, “…we felt there's no reason to change that approach.”
(The Dark Crystal: Age of Resistance director Louis Leterrier adjusts "The General" Skeksis between takes.)
Creating a Mystical Experience
In opposition to the evil, greed-driven Skeksis in the original The Dark Crystal film, the race of Mystics would also be constructed and performed much as the original puppets had. And that would mean that the four-armed Mystics would prove to be difficult characters for the performers to operate.
(The UrRu (aka Mystic), known as "The Archer" as he appears in The Dark Crystal Age of Resistance. Image courtesy Netflix.)
The performer would be forced to assume an uncomfortable squatting position for the walking and full body shots of the creatures. Pete relates that Jim Henson had tried it once, and in spite of his many years of puppeteering experience, “…he lasted about five to 10 seconds…it's insane.” For close-ups, the Mystic faces would be puppeteered in a more traditional style, saving the performers' backs and legs.
Recreating Aughra
One of the iconic characters from The Dark Crystal in 1982 was the astronomer and sorceress Aughra. Pete says that everything about the Aughra character was, “…pitch perfect.” He goes on, “…the sculpture, the costume. And then of course, Frank’s performance.” Aughra was primarily performed in the original film by Frank Oz. To recreate the Aughra puppet, the artists at Jim Henson's Creature Shop would use reference material drawn from a pair of the original Aughra puppets that are currently on display in museums in Atlanta, Georgia, and Astoria, New York.
Pete says that they had to be careful not to add unnecessary weight to the large puppet head. Again, just like in the original movie, shots of Aughra walking were done using a performer inside a suit with a more articulated puppet used for close-ups.
(Pete Brooke with one of the Aughra puppets at Jim Henson's Creature Shop. Image source Heather Brooker.)
With the original puppet, facial movements were accomplished by cable control and Frank Oz’s hand. This time, the sorceress’ eye blinks and brows would be realized with servo controls. For the mouth, the artists at Jim Henson's Creature Shop would create something similar to a floating palette, where the teeth and the interior of the mouth would be separate from the puppet's lips. That way the upper lip could be moved independently.
(The Astronomer Aughra guides the Gelflings resistance against the Skeksis in The Dark Crystal: Age of Resistance. Image courtesy Netflix.)
Because of Aughra’s large head, a support backpack was manufactured that would help support the weight of the head but still allow the freedom of movement needed. The walk-around Aughra puppet would have foam fabricated parts covered in Lycra with weighted bags installed for her breasts, belly and hip areas. Instead of having mechanical hands like many of the other puppets on the show, Aughra’s hands would be brought to life by a puppeteer’s hands wearing gloves.
Bringing Back Even More Creatures
One of the few humorous characters in the original The Dark Crystal was the Muppet-like Fizzgig, a hyperactive ball of fur that would speed across the landscape in a rolling fashion. Dave Goelz (most famous for performing The Great Gonzo from The Muppets) was the original puppeteer for Fizzgig. Goelz would fly to the UK and repeat his performance duties on a new fluffy creature from the same species as Fizzgig. Pete says that was, “…a treat for us.”
(Veteran puppeteer Dave Goelz would return to puppeteer Baffi the Fizzgig. Image courtesy Netflix.)
The innocent Podlings would return, too. Much like in the film, they were primarily operated as hand puppets along with marionette versions.
(Warrick Brownlow-Pike performs a Podling on the set of The Dark Crystal: Age of Resistance. Image courtesy Netflix.)
Tall four-legged Landstriders would also make a return in The Dark Crystal: Age of Resistance. A full-size Landstrider was built, but primarily the Landstriders puppets were constructed from the belly up so that the Gelfling puppets could be shot riding on them. For full shots of the Landstriders running, CG creatures were used with the practical puppets being used for the close-ups.
Jim Henson's Creature Shop would also recreate the crab-like Garthim along with a large-scale spider called a Silk Spitter for The Dark Crystal: Age of Resistance.
Since the show was shot in the UK, 90% of the puppeteers were from England. Pete says that the UK puppeteers were great, turning in beautiful performances.
The Dark Crystal Enters the Digital Age
Back in 1982, something as simple as the idea of digital rod removal wasn’t even dreamed of. Now, for the production of The Dark Crystal: Age of Resistance, the digital world would open a whole new avenue for creature performance. Rod, wire rig, and puppeteer removal with CG would simply be another device in Jim Henson's Creature Shop’s toolkit. No longer would a puppet’s movements and performance be restricted to what could be hidden within its body or concealed beneath the set. As Pete says, performance was paramount. “…things like wire removal…things like that really help us…achieve the level of performance that we wanted.”
(Puppeteers in green are easily removed from the scene in post-production. Image courtesy Netflix.)
The Dark Crystal: Age of Resistance
A return to a magical world where practical effects and puppets hold sway instead of computer graphics. That is the world of The Dark Crystal: Age of Resistance. When asked what he would take away from his experience, not just on the new show, but from his history with Jim Henson's Creature Shop, Pete Brooke remembers the original The Dark Crystal as being one of the things that inspired him and made him want to get into this business in the first place. “It still holds up today.” He reflects on working at Jim Henson's Creature Shop when Jim was still around and calls it "a great opportunity." About The Dark Crystal: Age of Resistance, Pete says it was one of the best things that he’s ever worked on. "In this day and age where…something of this size, to approach it practically is almost unheard of…it was a real, real great thrill to be involved…”
Ten beautiful episodes await you, so go forth and binge-watch The Dark Crystal: Age of Resistance now on Netflix.
Creatures and Costumes Designed by Brian Froud
Puppets by Jim Henson's Creature Shop
Jim Henson's Creature Shop (US)
Peter Brooke - US Creative Supervisor
Toby Froud - Senior Costume and Creature Supervisor
Wendy Froud - Assistant Costume Designer
John Criswell - Animatronics Supervisor
COSTUME SUPERVISORS
- Jason Weber
- Julie Zobel
Whitney Hodack - Production Manager
Duke Cullen - Floor Manager
SCULPTORS
- Greg Aronowitz
- Mitch DeVane
- Greg Polutanovich
- Matt Rose
- Mike Rotella
- Miles Teves
- Saeko Yamazaki
PAINTERS
- Ben Adams
- Andrea Coleman
- Painters/Sculptors
- Robert Bennett
- Russ Lukich
- Chad Waters
MOLDERS
James McLoughlin - Lead Molder
- Steven Adkins
- Bianca Appice
- Blair Berens
- Federico Cervantes III
- Dan Driscoll
- Jessie Fohrman
- Tommy Hebert
- Tim Jarvis
- Regina Jiganti
- Justin McLoughlin
- Angelica Placido
- Gary Pawlowski
- Brian Rae
- Nick Reisinger
- Alynne 'Red 5' Schripsema
MECHANICS
- Michael Asanuma
- John Biggs
- Peter Chevako
- Wolfgang Criswell
- Bud McGrew
- Lauren Ostermiller
- Mike Poudrier
- Mike Scanlan
- Jordan Watts
FABRICATORS
- Jasper Anderson
- Matt Brooks
- Ralph Cordero
- Andrea Detwiler
- Melissa Doss Diwa
- Artie Esposito
- Fred Fraleigh
- Beth Hathaway
- Patrick Johnson
- Sean Johnson
- Tim Lagasse
- Amanda Maddock
- Bruce Mitchell
- Lex Rudd
- Alanna Suen
- Russ Walko
- Robin Walsh
ELECTRICIANS
Anna McKindley - Lead Electrician
- Krista Andersen
- Jesse Finnell
- Kevin Nose
FOAM SEAMER/PATCHERS
- Alison Kellerman
- Mimi Palazon
- Emily Parks
- Amber Skowronski
Salvatore Salamone - Z-Brush Artist
HAIR TECHNICIANS
Anneliese Boise - Lead Hair Technician
- Sasha Camacho
- Analyn Cruz
- Lynne Watson
COSTUMERS
Liz Oliver - Textile Artist
- Tianna Atwood
- Kaitlyn Aylward
- Kerry Jo Bauer
- Maeve Callahan
- Katherine Chinn
- Kristin Dalleske
- Ruth Daughters
- Lisa Davis
- Robin Dufay
- Elsa Dye
- Jennifer Fournier
- Emily Gould
- Alyssa Haynie
- Kathryn Leppi
- Tamara McKinnon-Miller
- Becca Miller
- Ratna Pappert
- Wendy Polutanovich
- Sarah Skinner
- Mariana Vayanas
- Haley Who
- Kristen Willet
PRODUCTION ASSISTANTS
- Erin Donnelly
- Wes Humphrey
- Liz Martin
- Dacia Martinez
- Caitlin Mavromates
- Max Miller
Jeremy Nocon - Vice President of Business Development
Amy Smith - Creature Shop Production Manager
Keith Kelley - Accountant
Sean Hixson - Production Coordinator
Allison Sanders - Creative Assistant
Jim Henson's Creature Shop (US)
John Nolan - UK Creative Supervisor
Tom Blake - HOD Sculptor
Valentina Visintin - HOD Art Finishing
Martha Fein - HOD Prep Art Finishing
Robin Schoonraad - HOD Molder
Joe Scott - HOD Animatronics
HOD FABRICATORS
- Gemma De Vecchi
- Becky Johnson
Lisa Carracedo - HOD Fur/Hair
Vicky Stockwell - HOD Hair Tech
Fay Lumsdale - HOD Hair/Wigmaker
Reza Karim - HOD Foam
LEAD PUPPET WRANGLERS
- Alex 'Jürgen' Ferguson
- Scott Johnson
Charlie Bluett - Puppet Wrangler
SKEKSIS WRANGLERS
- Fiona Barnes
- Caz Gladwin
- Jessie Hinton
- Zosia Stella-Sawicka
John Lowrey - Lead Animatronics Wrangler
Gerard Moore - Animatronics Wrangler
WIG WRANGLERS
- Carla Ramsey
- Alison Tisson
SENIOR SCULPTORS
- Jethro Crabb
- David Darby
- Ivan Manzella
- James Matthews
- Martin Rezard
- Colin Shulver
SENIOR PAINTERS
- Patrick Carracedo Barbet
- Andy Garner
- Albert Seleznyov
SENIOR MOLDER/MODELLERS
- Louise Dupin
- Jamie Iovino
- Peter Tindall
Jocelyn Bennett-Snewin - Senior Molder
MOLDERS
- Leon Smikle
- Chaz Tycer
- Matt Wadge
Rebecca Lofvenmark - Mold Maker
SENIOR ANIMATRONIC MODEL DESIGNERS
- Adrian Parish
- Guy Stevens
ANIMATRONIC MODEL DESIGNERS
- Javier Coronilla
- Ed Dimbleby
- Karl Gallivan
- Adam Keenan
- Matthew MacMurray
- Simon Northcott
- Simon Williams
Robert Skidmore - Costume Supervisor
COSTUME ASSISTANTS
- Rosaria Hollywood
- Alice Smart
Helen Christie - Senior Costume Prop Modeller
Poppy Tshaya Kay - Costume Prop Modeller
Louise Sorrentino - Chief Textile Artist
Nicola Belton - Textile Artist
Jessica Scott-Reed - Assistant Textile Artist
SENIOR COSTUME CUTTERS
- Debbie Phipps
- Debbie Watson
COSTUME MAKERS
- Elisabet Berggren
- Kate Jeanne
- Vikki Medhurst
- Susan Smith
JUNIOR COSTUME MAKERS
- Alex Cox
- Sarah Mills
Alan Murphy - Senior Fabricator
Paul Vincett - Senior Fabricator/Wrangler
Becky Simm - Fabricator
Harriet Dyson - Fabrication Assistant
SENIOR FUR/HAIR TECHS
- Finola McLennan
- Faye Windridge
Marian de Graef - Wig Dresser
HAIR/MAKE-UP
- Elise Baker
- Laura Blount
- Holly Caddy
- Mariella Spoto
Kelly Poulter - Junior Stylist/Hairdresser
Gayle Cooper - Foam Finisher