![]() That was really great, to have a large team all focused on the same thing. What’s been great, filming it here in England, is that we had everybody in the same place, with all the workshops around the set. The English plasterers who worked on the sets were amazing. We had people in California, we had people over here. That’s a very good question, and I’m not totally sure of the answer! You have to throw a lot of people at something like this. It’s very hard to imagine that! But now we do, and we do use some green screen, which means we can hide the puppeteers, and we can actually go back to a purer form of puppetry that is much more dynamic than what we could do before. When we did The Dark Crystal, we didn’t have green screen. The CGI enhances various things where we need it. You’re working largely without CGI, aren’t you? That’s maybe a strange thing to say, given how strange the Skeksis look, but everything is really beautiful and some of it just takes your breath away when you see it because it’s real. It’s exciting again to be working with so many different talents, and then to bring it all together and see it on the screen, or to be on the set…It’s just gorgeous. In this one, we had to bring lots of people up to speed really quickly, and so that was a bit of a challenge at the beginning, but they just got it very quickly and worked so hard. They do certain things well, and other things they don’t do at all well, and also back then we had five years to do it, lots of leisure, and lots of people we had trained to understand the style, and in how to do things. We had the same difficulties as we did then in bringing puppets to life. How much of a technical challenge has this proved, almost forty years on? Has the process been any easier, or just a different type of difficult? The challenge is to recreate things that look exactly the same, plus new ones with new shapes and forms and details. (laughs) It’s a lot more of the usual, so to speak.
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