The first “Dark Crystal,” the movie that came out in the ‘80s, also came from Henson’s vivid imagination. But this was much darker than the cheerful, singing neighbors who populated the sunniest street on earth. That one was a world where things were not always in the hero’s favor. It’s a world so beautifully textured and complex but also very gritty, perhaps a bit too much so for the core audience.
In an ambitious move, the production crew decided to keep computer graphics in more of a secondary, supportive position, opting to rely more on physical sets, animatronic and puppets. That is not to say that computer graphics has no part to play on the show. DNEG, the British special effects house behind such Hollywood movies as “Interstellar,” “The Dark Knight” and Netflix’s own “Altered Carbon,” did its own form of heavy lifting in expanding the world of the Dark Crystal.
“For me, it should always be its not just for the art department to work out, because maybe the VFX guys can do it better,” says Andy Hargreaves, the VFX Supervisor. “It’s not just for the VFX guys to do it, because actually if you build it, it would be better.” Brian Froud, the original conceptual designer of “Dark Crystal” once again returns to the fantastical world of Thra, bringing his unique, fantastical vision to bear. This time around, however, is extra special, for him as well as fans of the world of Jim Henson. His son, Toby Froud, who played the little baby brother in another Henson hit, Labyrinth, is now all grown up and a skilled puppeteer and creature fabricator in his own right.
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