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View all. Sarah finally reaches a high ledge, and finds that Toby is sitting above a pit a long way below her. Closing her eyes, Sarah leaps from the edge to reach him.
Sarah descends slowly and lands on a platform that is suspended on mid-air, with pieces of rubble floating around her. Jareth approaches her from a shadowed alcove, and desperately attempts to distract her, telling her that he did everything she asked of him and saying he will give her everything she wants in exchange for her love, fear and obedience.
Sarah ignores him, and recites the speech from The Labyrinth , which she could not quite remember at the beginning of the film. Jareth holds out a crystal for her to take, but Sarah disregards it and tells Jareth "You have no power over me. Sarah finds herself transported back to the entrance hall of her house, just as the white barn owl flies from the window. Sarah runs back upstairs to check on Toby, and finds him sound asleep in his cot.
Returning to her room, Sarah starts to pack away some of her childish possessions, when her friends speak to her from the mirror of her vanity. They tell her she can call upon them if she ever needs them, and Sarah tells them that she will always need them. With that, her friends suddenly appear in her room along with other creatures from the Labyrinth, and they all celebrate Sarah's victory. Jareth is seen in his owl-form perched on a branch outside Sarah's window, peering inside.
The owl flies off as Sarah continues to have fun with her friends, heading towards the moon. The soundtrack to the film features both selections from the score by Trevor Jones and original songs by David Bowie. The film's signature song, Underground , was released as the lead single from the soundtrack and reached 21 on the U.
K singles chart. Magic Dance was the other single from the soundtrack, and was released as a 12" single in the U. S, Italian and Spanish markets. A range of merchandise has been produced to tie-in with the film, both at the time of its release in and in recent years. Merchandise to have been produced includes soft toys, activity books, puzzles and video games.
According to the film's conceptual designer Brian Froud, Labyrinth was first discussed between himself and director Jim Henson during a limousine ride on the way back from a special screening of their fantasy film The Dark Crystal. Both agreed to work on another project together, and Froud suggested that the film should feature goblins. On the same journey, Froud "pictured a baby surrounded by goblins" and this strong visual image - along with Froud's insight that goblins traditionally steal babies - provided the basis for the film's plot.
Froud produced a range of concept paintings and sketches that informed the overall look and feel of the finished film. Several of these feature a young girl journeying through the Labyrinth with Hoggle and other assorted goblins, and this girl appears to be an early version of Sarah.
Now I wanted to do a film with the characters having more personality, and interacting more. Labyrinth was being seriously discussed as early as March , when Henson held a meeting with Froud and children's author Dennis Lee. One of several ideas being discussed in the early stages of the film's development was that the lead character would be a King whose baby had been stolen and placed under an enchantment.
The protagonist went through several different incarnations before it was decided that she should be a teenage girl from contemporary America. According to Henson, Connelly "could act that kind of dawn-twilight time between childhood and womanhood.
The character of Jareth also underwent some significant developments during the early stages of pre-production. According to Henson he was originally meant to be another creature in the same vein as his subjects. Henson eventually decided he wanted a big, charismatic star to the play the Goblin King, and developed the role with David Bowie in mind.
Henson met David Bowie in the summer of to seek his involvement, as Bowie was in the U. S for his Serious Moonlight tour at the time. At one point Bowie lost interest in the project because he felt that a particular re-draft of the script lacked humor. While Terry Jones is credited with writing the screenplay the shooting script was actually a collaborative effort that featured contributions from Henson, George Lucas, Laura Phillips, Dennis Lee and Elaine May.
Jones himself has said that the finished film is very different from his version of the script. I always felt it fell between two stories, Jim wanted it to be one thing and I wanted it to be about something else.
An early version of the script attributed to Jones and Phillips varies in several notable ways from the shooting script. The early script has Jareth enter Sarah's house in the guise of Robin Zakar, the author of a play she is due to perform in. Sarah does not wish for her brother to be taken, and Jareth does not set an ultimatum until Sarah has already made some head-way through the Labyrinth.
The early script ends with Jareth transforming into a powerless, snivelling Goblin, an outcome that was ultimately abandoned in favour of that found in the finished film. After much tweaking and re-writing, the script was ready for filming.
The Jim Henson Creature Shop in London had been producing puppets and costumes for the film since , and filming finally started in April at Elstree Studios. The team that worked on Labyrinth was largely assembled from talent who had been involved in various other projects with the Jim Henson company. Members of Henson's family also worked on the production, including son Brian Henson and daughter Cheryl Henson.
Newcomers working on the production included puppeteer Anthony Asbury , who had previously worked on the satirical puppet show Spitting Image. Labyrinth took five months to film, and was a complicated shoot due to the myriad of puppets and animatronic creatures involved.
Each of the film's key puppets was operated by a small team of puppeteers, however the most complex puppet in the entire production was Hoggle. Shari Weiser was inside the costume, however Hoggle's face was entirely radio-controlled by Brian Henson and three other operators. Speaking in the Inside the Labyrinth documentary, Brian Henson explained that Weiser "does all the body movement and her head is inside the head. However, the jaw is not connected to her jaw.
Nothing that the face is doing has any connection with what she's doing with her face. The other four members of the crew are all radio crew, myself included. Basically what it takes is a lot of rehearsing and getting to know each other. One of the most complicated scenes to film was that where The Fire Gang harass Sarah. The scene was filmed against a black velvet screen, and the puppeteers wore black, costumes and face coverings when operating the creatures.
Each Firey was operated by three puppeteers, and all of them had to be highly co-ordinated in order to make the creatures move convincingly. After it was filmed, the footage of the Fireys was composited with the back-drop of a forest that was filmed separately. Jim Henson told Ecran Fantastique that he "Liked the rhythm of the sequence" and "strove to keep it in" despite issues with its visual effects becoming apparent in post-production.
At the early stages of filming, stars Connelly and Bowie found it difficult to interact naturally with the puppets they shared most of their scenes with.
And by the end of the film, It wasn't a challenge anymore. They were there, and they, were their characters. Jim Henson found working with the human actors in the production a pleasant change from the complex, puppet-orientated scenes he was used to working on, commenting that he loved filming the ballroom scene and found it "a fun kind of thing to try to weave together. Everywhere I looked, there were all these dancers, and the candles, and they were playing David Bowie's incredible music. It really felt like I was in a ballroom and not on a movie set.
The film required a series of vast set pieces, from the Shaft of Hands to the rambling, distorted Goblin City where the film's climatic battle takes place.
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