#neil sterenberg

[haveyouseenthisseries-poll]

[silkayyyyy]

AHAHAJAJWKEHEJEK I MET NEIL !!!!!/ I MET H.IM..OOOUHMYGOD HE WAS SO NICE

[scientistservant]

Neil Sterenberg is a gem, bless him. So happy he got to voice the Scroll-Keeper!

[brian-in-finance]

Instagram

Video 📹 clip from YouTube

Remember… a major part of what makes Tavra stand out is the combination of Neil Sterenberg’s sublime puppetry, giving her such stillness, coupled with Caitríona’s silky smooth voice. — James, The Dark Crystal Project

[ivorys-back]

What do you think?

✨️

They're my voice claims for the ocs in my villainous au.

And I also took that opportunity to give a VA headcanon for Jeretik and Hagenti

Do you like it?

I like it! But I'm curious...what made you choose Tony Stark and Loki for Jeretik and Hagenti's voices? No disrespect, but to me, they just sound like their Skeksis counterparts (Neil Sterenberg and Mark Hamil).

[troutpopulation]

:D!!

[themusicsweetly]

The Dark Crystal: Age of Resistance     P r i n c e s s  T a v r a     [Voice] Caitriona Balfe     [Puppeteer] Neil Sterenberg

I am the Princess Tavra sent by the All-Maudra herself to return this criminal to the city of Ha’rar!

[feusus]

I ship Rian and Neil Sterenberg, his puppeteer.

[timeagainreviews]

The Great Con-Junction

For a place like the world-famous Elstree Studios in London, history is made on the regular. Movies like "Who Framed Roger Rabbit," "Hot Fuzz," and even "Star Wars" have all been captured to celluloid moving at twenty-four frames per second. However, it was a lesser-known, though no less ambitious film that had eager fans lining up around the block on a mild February morning nearly forty years later. The film I speak of is none other than Jim Henson's 1982 cult-classic "The Dark Crystal." Myself and at least 200 other attendees were gathered for the first official Dark Crystal convention, celebrating both the film and the Netflix series. Taking place at the very studio where the movie was filmed, Thames Con's "The Great Con-Junction," was also the biggest reunion of the original cast and crew since the film's release. Once again, history was being made at Elstree Studios.

Upon learning of the convention I was filled with both desire and regret. Desire to go, and regret that I most likely wouldn’t be able. I live in Glasgow which is 6.5 hours away from London by car, and I don’t drive. On top of that, I hadn’t any money saved for such an occasion. But through the generosity of several friends, my mother, and my boyfriend willing to drive me there, the impossible was suddenly very tangible. With only twenty days until the convention, I was one of the lucky few able to attend this momentous affair.

It may seem odd that such a niche convention could draw someone from as far away as Glasgow, and in some cases the US and Australia. But if you’ve ever been to a Star Trek or My Little Pony convention, you may have some idea as to the sort of passion we’re dealing with. For many, Dark Crystal isn’t merely a great creative property, it’s life-changing. As a child, Jim Henson’s work left an indelible mark upon my soul. Projects like "Fraggle Rock," "Storyteller," and "The Flintstones," inspired creativity in me and filled me with the desire to one day work for the Jim Henson Company. Sadly, years of adulting did their best to dull that flame to a mere ember. However, after last year’s premiere of "The Dark Crystal: Age of Resistance," that ember grew into a roiling fire.

For the past month, I’ve been a ball of excited energy leading up to the convention. I’ve immersed myself in all things Jim Henson. Whether it be rewatching the Netflix series for the umpteenth time, revisiting Labyrinth, or reading JM Lee’s YA Dark Crystal novels, it’s been all I could do not to crack up. In the final week leading up to the event, I directed this nervous excitement into creating a cosplay as the Crystal of Truth, wrapped in black chains and metal claws. When the day finally arrived and I found myself waiting in line with other excited fans decked out in purple, or cosplaying as Deet or Rian, I knew I was with my people. The air was abuzz with excitement as we were slowly ushered into the building.

The event hall at Elstree was decorated with posters of scenes from the movie along with mood lighting. Part of the ticket cost afforded each attendee a beautiful signed print by Brian Froud. A bar at the entrance was selling official Dark Crystal merch including the ThinkGeek Fizzgig puppet only available in the states. Right away I had blown most of my budget, but my new furry friend would agree I made the right choice! I’d been there not two minutes, and already my arms were full of swag. I took this opportunity to get my Fizzgig and a book signed by both Brian and Wendy Froud, who were very generously autographing people’s items for free.

Usually, conventions leave a bad taste in my mouth as they seem like supremely capitalist ventures. And while there were plenty of things to buy, the Frouds’ generosity set the real tone of the event. Not only were they generous with their autographs, but they were also incredibly generous with their time. It seemed as though every person that talked to them was given an opportunity to gush and share their personal stories. As I told them both how much their work meant to me, they were treating it as though it were the first time they had heard it that day. Brian even took the time to doodle a little Fizzgig and Skeksis for me alongside his whimsical signature. The impression they left me with is that they were both very genuine and down to earth people, and meeting them is something I will carry with me for the rest of my life.

One of the things Mr Froud shared with me was that in his experience, people’s reaction to the Dark Crystal is usually always something creative. People go off and make fan art, cosplays, puppets, or even their own artistic endeavours. You could see proof of this all around the room that day. I met a brilliant artist from Seattle named Nori (@noriretherford​​), who in exchange for doodles from attendees was giving beautiful prints of her fan art. I drew my best skekTek from memory and have the cutest depiction of Seladon, Tavra, and Brea playing as children to show for it. There were cosplays with humbling levels of detail and even the occasional puppets of people’s original characters. All around you, creativity was swirling, and people were passionately sharing their enthusiasm with one another.

These initial couple of hours were dedicated to meet and greets with the cast, crew, and fellow attendees. Everyone seemed just as interested to listen as they were to share. One attendee remarked to me how she had never before felt more encouraged to speak to strangers than she had at the convention. Even my boyfriend, who is generally shy, was coming out of his shell and joining in the conversations. I was also pleased that the convention was managed well enough that I didn’t spend my entire day waiting in line to meet someone while he was relegated to watching my things. I was actually able to share this experience with him as opposed to relaying it through dreamfasting later. This made meeting the guests less of a thing to check off a list, and more of an experience.

My only real qualm with the structure of the convention was the Skeksis tea which was offered as part of the ticket price. Since I was unaware that the guests would be available all day, I was a bit late to lunch meaning the banquet was completely picked over by the time we had gotten there. No amount of cute creative table displays or impressively crafted Nebrie cake could obscure the fact that we were forced to find our lunch at the McDonalds across the road. Furthermore, I was unaware that the lunch was buffet style, which meant that if someone wanted to be as gluttonous as skekAyuk, it would leave the rest of us hungry. We were not alone in this, as several others were left to look upon the empty tables with dismay. That being said, for a first-time convention, it’s impressive that so little went awry.

For me, the biggest highlight of the day was getting to actually see the Gelfling puppets along with their respective puppeteers. Both Beccy Henderson and Neil Sterenberg had Deet and Rian with them. I’m not ashamed to admit that I hugged Deet. Being able to see the detail of the puppets and feel the various textures employed by the brilliant fabricators at the Jim Henson Creature Workshop was mindblowing. Not to mention that both Beccy and Neil were just as generous with their time as the Frouds. Though I would have to say the most exciting puppet I met that day has to go to Hup, as Victor Yerrid was actually puppeteering him and speaking directly to attendees in Podling. Hearing Hup say my name and talk to me was overwhelmingly exciting! That man is a brilliant puppeteer.

Throughout the day there were also several panels with guests from both the TV show and the movie. It was fascinating to listen to each of them tell their stories. Whether it be anecdotes about Jim Henson or tales about trying to navigate hot costumes under studio lights, it was a treasure trove of information. Listening to these stories was a constant reminder of the sheer amount of history present in the room. Each one of these guests had their own incredible careers, and here they all were, ready to share their fantastic stories. Yet despite this being an intimate gathering of a small group of creatives reuniting after 38+ years, it never once felt like it was all about them. You didn’t feel like an interloper or an evesdropper. We were all part of this wonderful experience together.

It was puppeteer Louise Gold’s remarks to the crowd about this that really put into words what we were all thinking. Through stifled tears, she remarked that she had initially come to see all of her old friends, but had found herself equally enriched by meeting the fans. Seeing all of us come together and sharing our stories was as inspiring to her as it was for us. Hearing her impassioned words moved quite a few of us to tears, myself included. She was easily one of my favourite people I met yesterday, and not just because she was so wonderfully extra. Her words spoke the same truth as Brian Froud's- what has resulted from this fandom is something creative. The Dark Crystal hasn’t simply entertained, it has changed lives.

Of course, like any good convention, it wasn’t just the guests in the spotlight. The cosplay contest allowed for an opportunity for the fans to strut their stuff. Much like the ticket giveaway the organisers had done, they couldn’t decide on just one winner. There was so much goodwill and positivity flowing that honourable mentions were given prizes as well, and with good reason. There were so many incredible costumes that I doubt I could have picked the best of the lot. There were Gelflings, Skeksis, a Hup, and even an urRu! My favourite of the lot was a mother-daughter duo who went as Brea and Kira respectively. But that may just have to do with the fact that I’m a big Brea fan and her costume was incredible!

Were I to think of any one word to explain how I feel about being able to attend this convention it would be grateful. I left feeling rejuvinated. My boyfriend even commented that I was “glowing.” I wish everyone in the fandom could have the same experience. I’ve seen so many passionate fans online in the last day wishing they could have gone, and I very easily could have been one of them. It’s proof to me that this fandom has more to it than just a few people toiling away in their basements. There is a real desire for these types of events. It’s not hard to imagine people declaring their Gelfling clan like Harry Potter fans might declare themselves Hufflepuffs or Ravenclaws. (I’m totally a Vapran.) If you look online, you can see people’s OCs of both Gelfling and Skeksis. Even I’ve considered putting together my own Gelfling Gathering here in Glasgow. I’m hopeful that this is a sign of things to come, and that we won’t have to wait a thousand trine for the next Great Con-Junction.

[fandomsonmysleeve]

A lovely photo of Neil Sterenberg and Beccy Henderson (Rian and Deet’s puppeteers) together 💙💚

[silkayyyyy]

My roman empire is neil sterenberg's reaction to me showing him my dark crystal shelf, he kept zooming into different parts of it and went "look at all the stuff you've got!"

[jasoncaseyart]

Here we go!

Rian- ink with graphite shading

[sephirayne]

New behind the scenes video for The Dark Crystal : Age of Resistance. Jason Isaacs features along with the puppeteers, the crew and some of the other members of the voice cast.

Getting happy goosebumps from my childhood when I watch the new footage. I saw the original at the cinema when I was a child. Still is one of my favourite films to date. Can't wait for the new series.

Check out the behind the scenes video in the link.

[theworldofthedarkcrystal]

additional highlights from dark crystal con:

* helena smee said the lamp Mira picks up was suprisingly heavy, but she does feel that it gave the motion more reality and groundedness, because Mira (Helena) reacts to the weight naturally

* kat smee and helena smee are sisters!

* kat smee said she was performing a musician podling during the skeksis dining scenes (in which helena was playing the collector), and it was an incredible sight because since all puppeteers were under the table, in real time no puppeteer could be seen, so she was looking down at the balcony at a bunch of skeksis feasting!  she said it was quite a sight

* helena smee talked about having fun puppeteering SkekLach The Collector because she is a more socially uninhibited skeksis and can make more fun movements

* kat smee said everyone was always excited for days they would puppeteer podlings, as these smaller puppets were easier on the body to puppeteer.  Dzenpo!!!

* brian meehl (dying mystic master 1982 OG) said he had to re-record the audio for the dying UrSu speech many times over many months because of the constant script re-writes.

* Steven Garlick (Jen) and Lisa Maxwell (Kira) spoke of three overall read-throughs that occurred while recording their voiceovers - 1, in their natural english accents, a 2nd, in affected American accents (they were both very young and at the start of their careers, so apparently the american accents weren’t the best), and 3rd, a take that was somewhere in-between - this last one was the take that was kept.  

* i mentioned to Tim Rose how much I like when SkekShod turns to tell SkekZok, “you should be emperor”, he turns, not the short way, which would have been away from the camera towards the SkekZok, but the long way, which is towards the camera towards the ritual master.  Tim Rose laughed and said “that would be because I couldn’t see where he was!!!”

these screenshots don’t do it justice - it’s a very funny dramatic turn.   possibly 270 degrees XD

* In a panel, when asked what additional stories he would like to tell in the Dark Crystal Universe, J M Lee said he would like to have a series about Tavra and Onica.   (here, here!)

* the costuming department worked in an odd space that had a disco ball.  eventually they figured out how to turn it on! (intel from the costuming panel)

* in a panel, Neil Sterenberg said he was very excited to say some of Rian’s speeches, because as a puppeteer mainly performing children’s cinema, he has never had an opportunity to say such dramatic speeches, and will never again have such an opportunity (his words), and it was great fun to plan how Rian was going to deliver those lines.

[ponapisach]

Śmierć w świecie Thra zerka łapczywie na każdego. To miejsce jak każde inne we wszechświecie i nikt nie ma prawa żyć wiecznie. Czyżby? Okrutny ród Skeksów znalazł sposób na przetrwanie. Posiedli tajemną wiedzę, jak dzięki kryształowi, który jest sercem tej krainy, wysysać życiodajną energię z Gelflingów. Do tej pory ściągali tylko lenno i trzymali u stóp całe rody elfopodobnej nacji. Teraz chcą sięgnąć po więcej. Każdy Gelfling może zostać przerobiony na flakonik z płynem, który da Skeksom nieśmiertelność. Okrutni imperatorzy rozpoczynają ekspansję, żądają dostarczania im tabunów niewolników, by przerobić ich na suplement swojej diety. Fabryka śmierci ruszyła pełną parą, ale jednocześnie odezwał się wśród uciśnionych buntowniczy głos kilku maluczkich, który rozniósł się echem po całym Thra. Nastał czas buntu.

Ciężko się zmierzyć z takim kultem. Ciemny kryształ Jima Hensona i Franka Oza z 1982 roku był pod wieloma względami wizjonerski i kompletny, a w nurcie dark fantasy nie miał konkurencji. To była wprawdzie produkcja przeznaczona dla widzów młodszych, ale przez mroczny koloryt zachwycali się nim i widzowie starsi. Seansowi towarzyszyła niesamowita atmosfera, świat wykreowany przez Hensona i ilustratora Briana Frouda (to w głównej mierze na podstawie jego rysunków powstało uniwersum) był ciekawy i intrygujący, w realizacji czuć było sztukę, a wiele elementów było kamieniami milowymi w aspekcie lalkarstwa wykorzystanego w przemyśle filmowym. To wszystko sprawiło, że Ciemny kryształ z lat 80. był dziełem wyjątkowym, dla kinematografii obrazem i przykładem odosobnionym. Nie powstało nic podobnego, a jeżeli już jakiś tytuł zbliżał się do jakości Ciemnego kryształu, to i tak pochodził od samego Jima Hensona (vide Labirynt).

Prequel wyprodukowany pod skrzydłami Netflixa to do tej pory najodważniejszy projekt firmy, potentata na rynku VOD. Fabularnie można wskazać inspiracje Tolkienem, bo i tu zawiązana drużyna musi dotrzeć do odległego celu. Nie jest to wszak Mordor, a zamek tyranów. Skala przedsięwzięcia, zaangażowani artyści, ale przede wszystkim decyzja względem stylizacji, która miała w bezpośredni sposób nawiązywać do filmu sprzed prawie 40 lat, wskazuje Netflix jako platformę, która nie obawia się podjąć ryzyka, a przecież inaczej niż ryzykiem nie można tego nazwać. W dobie, gdy tak łatwo wykreować alternatywne, fantastyczne światy dzięki CGI, twórcy Czasu buntu zdecydowali się wykorzystać tę samą technikę jakiej hołdowali Jim Henson, Frank Oz i inni artyści związani z produkcją z lat 80. To wspaniałe, że udało się "przepchnąć" wizjonerstwo, a efekty specjalne zostały wykorzystane, owszem, ale na zasadzie wspomagania, rozszerzenia możliwości i zwiększenia potencjału. Pod względem animatroniki i fachu lalkarza nie zmieniło się za dużo i tutaj stanowi tylko o wygranej ludzkiej kreatyw, tak i dzisiaj lalkarz musiał trzymać na wyciągniętej w górę ręce ważącą kilkanaście kilogramów kukiełkę Gelflinga. Tak samo dzisiaj trzeba było przygotować każdą roślinkę, dopieścić każdy element, ułożyć każdy pojedynczy kosmyk włosa na postaci, która pojawiała się na ekranie przez chwilę.

Poprawiło się wprawdzie kilka elementów (mimika sterowana pilotem), ale w zasadzie utrudniło to tylko pracę i zmuszało do jeszcze większej ekwilibrystyki na filmowym planie. Gdy przyjrzymy się pracy przy filmie i zainteresujemy się procesem twórczym, nie wypada Ciemnego kryształu: Czasu buntu ocenić negatywnie. Fakt, że całość jest mniej szorstka, chropawa, a i dark fantasy pasuje tu jakby mniej, nie ujmuje to w żaden sposób całości. Twórcy oddali hołd starym artystom, mistrzom w swoim fachu, oprawili całość w przecudnie skomponowane kadry. Za dziesięcioma odcinkami niesie się wprawdzie mniej emocji, a w historię nie mogłem się już tak zaangażować, chociaż ta wydaje się być wciąż uniwersalna. Bajkowość i magia Thra nie poruszyła mnie więc tak jak kiedyś, chociaż wciąż byłem pod wraże, jak wiele kryje się tu treści. Na przykład główny wątek przerażających Skeksów. To ród panicznie bojący się śmierci. Są gotowi do największych zbrodni włącznie z tymi, przy których jasne są analogie do aktów ludobójstwa. Okrutni, ale i groteskowi. Koncept tych postaci i dziś robi kolosalne wrażenie. Wciąż genialnie podłożone są głosy, chylić czoła należy przed charakteryzacją, scenografią, mimiką.

Fantastyczna jest więc wiara jaką obdarzyli pomysłodawców ludzie związani z produkcją i to, że dali im praktycznie wolną rękę względem artystycznych decyzji. Tylko przez to powstał obraz przełomowy dla telewizji, również pod względem wykorzystania budżetu. Owszem, będę wciąż narzekać, że całość nie porwała mnie tak jak pełnometrażowy film (być może serial okazał się za długim wyzwaniem dla narracji), a i mój wiek miał tu pewnie znaczenie. Nie napiszę jednak w tym przypadku, że w produkcji przydałoby się więcej pieniędzy. Tutaj nie można pod względem realizacji nic poprawić, dograć, zwiększyć rozmachu. Wszystko jest doskonale zainscenizowane, a brak jakichś epickich i pełnych akcji scen wpisanych jest przecież w zamysł pracy lalkarzy na planie. Nie można przecież oczekiwać scen bitewnych i starć na kilkadziesiąt postaci, gdy pod każdym bohaterem stoi jedna osoba (a w przypadku Skeksów są to dwie). Tytaniczna wręcz praca na planie opłaciła się i każda osoba związana z filmem powinna być dumna ze swego dzieła. To uhonorowanie pracy Jima Hensona, zwieńczenie i przedłużenie legendy. Potrafię w przypadku takich utworów przejść obok kilku nużących mnie fragmentów i docenić ogrom pracy jaki został włożony w przedsięwzięcie. Warto się tym delektować długimi tygodniami (ja tak robiłem i dawkowałem sobie odcinek raz na tydzień) i pochylić się nad całością dokładniej, przeczytać o kulisach powstania, wgryźć się w mitologię, a przede wszystkim odświeżyć Ciemny kryształ z 1982 roku.

[ele-nixu]

SkekOk “The Scroll-Keeper”

———————————————————————-

More Dark Crystal stuff here:

SkekGra “The Heretic”

SkekMal “The Hunter”

SkekSil “The Chamberlain”

SkekTeK “The Scientist”

SkekZok “The Ritual Master” 

UrVa “The Archer”