The Verge: Just because there are puppets involved doesn’t mean The Dark Crystal: Age of Resistance is for little kids. “It’s not like they call it The Light Crystal,” executive producer Javier Grillo-Marxuach joked with The Verge on the eve of the premiere of the Netflix series, which serves as a prequel to the cult-favorite 1982 fantasy drama.
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3 comments:
I actually started watching this show the other day because it popped up in my suggested shows list. Watching TV and movies done with puppetry has always been a really strange experience for me, probably because puppetry and similar visual styles are created in the physical world but have distinctly otherworldly elements, and watching those blend can be disorienting. The puppeteers for "The Dark Crystal: Age of Resistance" do a great job at creating realistic movement, which is why I almost forgot at certain points that it wasn't simply a digital rendering and was in fact a recording of something happening in physical space. The way that the creators described the puppetry even reminded me quite a bit of how a stage crew operates, with gadgets and interchangeable roles so that the group functions as a cohesive body. I have enjoyed watching this show so far and hope that producers continue to create projects that allow for the type creativity that obviously grew throughout this project.
I absolutely love this work! This is a perfect blend of old craft and new technology. The way in which they are integrating puppetry with CGI is very impressive. Likewise with the way they utilized 3d printing to improve upon the way they have been making puppets for decades. It is a process that lends itself well to this work. It really serves to show how relevant puppetry can still be in our world today. There is no reason for all this new technology to replace it when they can coexist so beautifully. I love the fact that it was Netflix’s ideas to use the puppets. For a company that has been cranking out a lot of material recently and having pretty good success at it, it is nice to know that they can still slow down enough to appreciate the need and art of good craftsmanship like this. I can not wait to watch this show on Netflix! I guess I should watch the original as well to get the whole picture.
I would love to work on a puppet show or movie. Not only do I love puppets, but I also love the amount of creative collaboration that exists at all levels and in all directions on a show like this. It seems like they are, to a certain degree, existing with a very particular set of limitations. On the other hand, they are always trying to push the envelope and figure out what they can get away with. It kind of seems like developmental theatre in that sense; they know what they are trying to do, they know what they can do, but they are also always trying to figure out how to do what they think they can not do. I also appreciate the careful consideration described in this interview regarding the use of violence. I guess you have to do that when you are making a show targeted towards younger audience. In any case, I think we tend to see a lot of on-screen violence that does not serve the plot, and is just there to satisfy a kind of voyeurism.
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