![]() ![]() ![]() ![]() Froud also met his wife, the American puppet builder Wendy Froud (then Wendy Midener), in Henson’s studios. They went on to collaborate on “The Dark Crystal” and “Labyrinth” (1986). Back in the 1970s, Jim Henson had admired Froud’s richly textured illustrations of woodland trolls and goblins (perhaps the soft, rounded faces struck a chord with the creator of the Muppets). Henson’s next call was to Brian Froud, a British artist who had been the conceptual designer on the original film. In short: Forget animation, bring back the puppets. So the two projects were combined into one live-action prequel TV series, to be made by Leterrier in “the most complicated way possible,” he said. “Everyone was scared of it,” said Leterrier.īut Netflix was interested, Henson said, because it was looking for something children and parents could watch together. Unsurprisingly, Hollywood studios didn’t fall over themselves to bankroll a cartoon about genocide and ecological catastrophe. They ended up with a two-pronged project: Leterrier, desperate to work with puppets, was to direct a live-action sequel for the big screen, while an animated television series was to tell the tale of how Thra’s peaceful, matriarchal civilization had crumbled in the first place, leaving behind the wasteland depicted in the film. “You had the sense that things were happening in other parts of the world which you didn’t see in the movie,” she continued, “and that you could go back in time many years.” Her father, she noted, had worked on developing the film for “an exceptionally long time, so the world had a reality and a mythology to it that were comparable to places like Middle-earth and Westeros.” ![]()
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