My name is real Italian, and I am the director of the Crystal Age of Resistance.

I'm Lisa Henson.

I'm the executive producer of Age of Resistance, and we're going to do a one seed breakdown of the carriage chase in Episode five.

Theo.

It's good to see you.

No way wanted to go back to the world of the dark crystal.

For many years it's been so important to me to kind of get back to this really rich fantasy world that my father created with Frank Oz on with Brian fraud.

They created a world that was bigger than ever made it into that film.

So we just thought there were more stories to tell and a broader canvas to see.

And it's just been a has been a big passion project for me.

All these shots.

Actually, I went on Internet and found all these shots for Cabe drone shots, and we just purchased them.

So, you know, there's a lot of people that just shut stuff on drones, and we just added the carriage three suns in the sky.

But all these shots, every single one of our aerial shot, these amateurs shut found on Internet.

And then we purchased them.

And people are like I see reactions like Oh my God, I remember shooting this thing and nights on throttle People are really excited about the idea of being part of dark Restore Kil Fling are in danger.

Rien must confess to murder of mirror, stand with sticks and silence, Whispers of rebellion.

The Chamberlain He's a well known character from the original movie, and he was a sneaky trader is kind of Machiavellian characters.

So he's captured Ri An is planning to take him back to the castle, make him falsely confessed to a murder.

And of course, Rien doesn't wanna participate in that.

Your source.

You live only a few time the choices pets or enemies choose wisely.

You can see Reince Aly being worn down by a chamberlain who uses every tick tick just to get the truth out of hand.

Gravity's gravity so you can't young puppet hair.

If the hair goes down, you can reverse it.

So you have actually puppeteer upside down.

So we built a platform where our puppet here waas laying on for hours at a time.

It's very uncomfortable with these upside down, so you have to make all the blood is going down.

Gourgeon is a remarkably heavy puppet.

Yeah, that's actually on stage.

This is a green screen behind a blue screen Onda.

We just added the background, but everything in this picture is really way.

Everything is the most complicated shot of the of the show because puppets really can grab anything or pick up or drop or do anything.

So it would be a waste of time to have our massive crew shoot that.

So we had a little cleanup unit that we called Shadow the Shadow Unit, which follow this.

And we just said, All right, I just need, you know, the two hands to grab each other, and you know that will take you half of hate to shoot that stuff inside.

It is so important because the really are indicating all the details.

Nothing, especially in very detail action sequences when there's a lot of stuff happening personally, is good particular time and see what people are doing.

But also he helps change the size of the shots because you don't want to do just massive white shots all the time.

It gets boring, and it's nice to just go a little tighter.

Go punch here and go for just a micro macro stuff.

Just it makes it a little bit more than I'm making more exciting puppets.

No legs here he has like so what we had.

We had a stun Reon.

She was a head to toe Reon to duel these wide shots of him.

But I didn't want to go see g for this to make it as real as possible.

So all these shots when you see his legs, it's all real puppets you just erased possibly a puppeteer of cable or Rod just to make it work much smoother.

It's completely different from the original movie.

He's the use of CG to accentuate some features of our puppets.

The tongues on the sketch sees that something.

Actually I wanted you dreamed and I dream them will give you five shot.

You did some 100.

So this is the kind of shot it was designed for for sure, right in the mouth of a typical shut Obviously the tongue BCG But you have to redesign.

You have to recreate the entire mouth CG you know, to put the tongue in So there's some Speedo sometime and then the tongue.

That actually is very funny and everything else he's I everything else.

He's absolutely, really.

I think one of the things that make action sequences great is when they're shut dirty.

You know, I love having stuff hit the lands, Whether it's debris or light, it makes all the effect tight together.

So the death that feels more real, everything is more real.

So you'll see, is lots of specks of dirt stuff hitting the land's being pushed smudging.

The lands you have to understand is that you have your puppeteer basically in green right here and inside the mouth of the head in the mouth of this puppet.

That was Dave Chapman playing girl.

Jin's actually right here looking at the monitor off frame, and he's dressed in green with a great green hoodie.

It's extremely hot.

The other guys were hiding, and that blade is actually CG.

That's a good example off how we raise the puppeteers wait, using digital technology to put stuff together.

But all these lands flares were flares that we shot against a black background on all lenses, and we added onto our picture on a sequence like this we were using so many assistant puppeteers, I think I've concluded that we used pretty much every puppeteer in England, at least for a couple days.

I don't think anybody's ever tried to do actually like this with this'll was all you and I know why you a thief with a typical sort of like a long lands rack focusing from one character to the next.

And actually, it's It's quit big distance, You know, it was like a big rack focus just to go from one to the next, you know, And that's a long, long nights.

I think it was like 300 millimeter, maybe with a doubler.

So that's 600 more fix of flares.

Long lands INGE adding some some bombs, camera bumps.

Just had a lot of life and no carry on.

There's something I love about this.

This shot is actually the sound Tim Nelson from Skywalker Sound without some designers and makes her I did this sort of like, Do you like train track?

Cannot like do you do and it's funny.

It's like a train sound, and I love it.

Plan is to unhook wheels because the wheels are sentient creatures called the Almighty's on way fell in love, and then design is they're really big.

They are the only creature that we don't have a puppet of it.

So when people are watching and they think, Oh, the normal legs might be CG they actually are CG in every shot because of the scale of them.

Also, Louis was he was operating an operating steady camp, so he was personally responsible for framing out the puppeteers head.

You had to think about that while you were shooting and directed.

Yeah, but then ultimately, we all work together because one thing that's different with an actor, an actor will never see a video monitor off their performance.

The puppeteer always check their performance and end the picture so they always They can always control wth e the image and work for the camera and work with the camera.

So it's like a nice dance.

We always dance around each other, and that's luxury, something that we added to what puppet movies and publisher that done before, like a lot of camera movements, were shaky and bumpy and kind of like, you know, lose just like it's just like I was bumped.

Actually was hitting my camera and I was asking people to hit me as I was operating, because that's the way you would show the letter count chases you getting bumped around.

You have a hard time operating.

That's what I wanted because what you don't understand.

We were on a green screen stage.

Nothing was moving was pretty simple, and we went shot by shot around the carriage, doing sequence by sequence.

I love watching the grip Hold on, Thio working convince because we were always shooting on platforms and Louis was up on the platform doing the Steadicam, and he had to be held.

Sometimes it's to make sure he didn't fall off the platform.

Not good.

Join the God, they said.

Nothing ever goes one of the cops.

So everything is anchored around Chamberlain Disposition Exposition.

But really, it's like a mix between Reince position and channel inspiration.

If friends on the left of the carriage, moving right to life any free and then moves to the other side of the carriage being left to right.

Nothing ese a machine, you straight lines, no straight line angles like we almost I don't think we have a single writing exactly so everything is is made by hand, even in the Scaccia swirled and everything is a dead creature.

So it's a little bit of a creature.

So it looks like a little head, you know, Dinosaur head at the front, you know, And that could have bean repurposed Frankenstein carcass of an animal that they at plasma to And it it becomes a machine.

It's nothing is something that the bill thing was really.

This is like somebody actually was.

Really?

Taylor was the feet on that shouting.

He's like he was very good that you can remember exactly who was doing the foot, because everybody has, like, a specialty.

Everybody's very skilled at something.

Everybody is like, you know, He had a great game way, saw this in dailies and it was just him surrounded by green.

I feel very emotional and then, with, like, not the background, filled it.

He was looking at his.

He was free.

You know the detail of these puppets.

At first I was actually mindful of not shooting the puppets too closely, you know, in extreme close up with extreme lighting on slow mo and everything.

And then the more I shut them realize that they were absolutely stunning and we went for tighter and tighter and tighter and closer and closer and closer, their eyes out so expressive.

I mean, let's think that's the beauty of, you know, the Henson puppets, everything.

You can just shoot them.

And you know, you have something amazing all the time inside of a washing machine.

That's me with a handheld camera rotating the camera.

Basically, yeah, exactly.

So I had my camera and I'm rotating it like I'm like, juggling it and then going It's just like the dirty or you should just of the better it is, that's That's what I learned when doing on my action movies.

Just basic.

Keep you.

If you If somebody throat goes down a hail, just throw the camera with them, you'll get something good out of it.

Israel's a real The camera movement is really the only thing that's none really are the alma leagues and then some of the debris.

But it's been pretty incredible shot to think this was done.

Riel.

They were static.

The camera was moving and re n on This thing was on a almost big Dolly train track.

A long train track that we were tracking with him on his train track, with people pushing aim and puppeteers on top of the train track.

We use a lot of that stuff.

It's kind of like sometimes you can move the stool to the piano and sometimes you have to move the piano to the studio.

I want that moment, that moment separation I wanted them to like look at each other and, like Holy Crap, did it like it's the first gift honest under golfing, they're fighting people.

They've never done this sort of big fights, especially these three.

Well, the whole Siri's is really about the girlfriend coming together and kind of swallowing their differences and actually working as a team.

And this scene is the one where they're most literally like coming together as a team, and they couldn't do it without each other.