LICKSPITTLE: The extraction process is painstaking.
QUEEN INGRITH: Extraction...
...from what?
LICKSPITTLE: Tomb Bloom flowers.
They grow from a fairy's grave,
contain their very essence.
MICHELLE PFEIFFER: He is working feverishly
to gain his freedom back.
QUEEN INGRITH: Well...[LICKSPITTLE GASPS]
[STRAINING]
Does it work?
PFEIFFER: Which, of course, he is never going to get.
Poor darling.
WARWICK DAVIS: I played Lickspittle.
He's a really interesting little character.
He's been charged by the queen with coming up with a method
to kill fairies.
Finally.
Fear drives him to do this,
and also the promise that he will be free from his prison
in the bowels of the castle.
So, he has an affinity with the Moor Folk,
but at the same time despises it
because it's the reason that he's incarcerated
and having to do all these awful things.
Welcome to your new home.
DAVIS: But he doesn't know, you see, at that point
that he is one of them.
You really don't get to know him
till the very end.
Aurora, actually, reveals to Lickspittle himself
that he is a pixie.
She took your wings.
I believe this belongs to you.
DAVIS: So, Lickspittle's laboratory
is right down in the basement of the castle.
I knew that this lab had to feel
as if I was kind of somehow connected to it.
Everything that was put on that set, it's all there for a reason.
The main, sort of, focus of Lickspittle's world is his workbench.
The detail in the set was exquisite.
Lickspittle had to adapt the laboratory to suit him.
And so, therefore, this contraption he's created
that goes up to the height that he requires
and then also slides back and forth.
I thought it was gonna be a bit of movie magic
but it's just a guy called Terry
who is off the set somewhere winding a big handle.
[LAUGHS]
Nobody is allowed in here except me.
And I'm already here.
DAVIS: If you look more closely,
you start to notice jars around the room.
And in those jars are fairies.
Skeletons of fairies and...
The missing fairies.
DAVIS: I think the set really feels
like an extension of Lickspittle's character.
This is his world, his entire existence is in this one room.
When you're working on a character like Lickspittle,
you have to work with a much wider team.
It's not just you as the performer.
Having my silicon prosthetic make-up applied
took about 3.5 hours.
Then someone from Costume comes in and we put the costume on.
That takes about 30 minutes to put everything on there.
You know, it's a huge amount of people
but I'm the one with the responsibility of walking on to set
and delivering the performance.
And it's kind of doing all their hard work justice, really.
So, yeah. Team Lickspittle.
[CHUCKLES]
LICKSPITTLE: Tomb Bloom.
There's a question with the first Maleficent
that comes from everyone. "She's not just the darkest fairy.
"She also seems to be one of the largest fairies."
CONALL: Come.
JOLIE: "Well, if she's a fairy..."
Let me show you who we are.
JOLIE: "...where were her wings?"
But then, even creating the character, we'd think,
"Okay, well, she has these horns.
"What are these horns? What kind of horns?
"Are they Devil horns?"
We even thought she had hooves at one point.
"Did she have hair? Did she have feathers for hair?"
And so we tried to answer it,
but one of the things that was also always a question was,
"Okay, well, she's this part-winged, part-horned creature
"that's the size of a regular woman, but she's the only one.
"What is she?"
I'm convinced that the Dark Fey's not our name.
I'm convinced that that's what humans call us.
"All fairies represent nature, but the size of them," we wondered,
"a large fairy, what would their purpose be?"
And we kind of felt that they must travel and cross the oceans,
cross the continents.
They are the interconnected ones.
They're not divided by color.
They're not divided by continent or race.
If there is a grouping of them, it is their biomes.
CONALL: The tundra.
The forest.
The jungle.
The desert.
JOLIE: And it's really a beautiful way to break down the world.
In our minds, we think of Africa,
and we think of Asia, and we think of Europe.
And we have these ideas of how the world breaks down.
And all of the Dark Fey have returned to their place of origin
because, as the humans have gained power and weapons,
they have forced them out of their homes.
CONALL: We're all that remain.
Unseen here, far away from mankind.
JOLIE: It's a unique way to look at the world.
It was amazing the first day to step in
and see so many people from so many different backgrounds,
young and old, all together,
all representing slightly different biomes,
different backgrounds.
It was really very beautiful. It was very moving.
All the young people that see this film,
see, very quickly, this is about the environment.
The Fey are the natural world.
The humans, they feel threatened by those who are different,
but they also want what the Fey have.
They want the resources. They want the natural land.
They want to take it, and they want to do
what they want with it and not have to be considerate.
CONALL: Now, our only refuge is here...
in this cave.
Our nest of origin.
JOLIE: I think this film also really makes you think about that,
not that you should not touch nature,
but you have to find a balance as to how you touch it.
The biggest difference between the Dark Fey and the humans
is the Dark Fey take what they need, and the humans take what they want.
To all the Kingdoms far and wide, the king and queen invite you...
to attend the wedding...
of their son Philip to Aurora in three days' time.
All are welcome.
Huh?
It was just a very special moment and memory for me,
and also it felt like a true wedding.
Everybody was there.
The townspeople and the Moor Folk and the Dark Fey.
There were a lot of people invited to my wedding.
There were a lot of people there.
The wedding dress was so gorgeous.
Flowers were on the train and also on my sleeves,
and those were laser-cut feathers.
Tons of fabric. I mean, it was really long. I couldn't walk.
I couldn't go anywhere without anybody holding it up for me.
A dream come true. Like, "I am wearing this."
"This is the Sleeping Beauty dress."
I never wanted to take it off.
And all of the hair and the makeup.
I had pink in my hair as well that we put in. A little knot.
She's a little punk, I guess.
She looks better in green.
Pink, you mean.
FANNING: I remember walking down the aisle
that first time with Angelina,
so it was very magical.
Then we had music playing, and Harris was standing there.
We finally get what we've always wanted,
which is to be married and united and to unite the kingdoms.
PRIEST: I pronounce you husband and wife.
[ALL CHEERING]You may kiss the bride.
[CHEERING CONTINUES]
I'll just remember that forever.
To Philip and Aurora, happy wedding.
Have a great time!
SPIRITUAL FEY: We, the Spiritual Feys, wish you
a wonderful, abundant, and healthy life.
Two kingdoms united at last.
We're all delighted. Delighted.
Really?CAMERAMAN: You have a message?
[SNIFFLES]
I can't speak.Oh, for God's sake.
I love all the rigs. I love all the stunts.
I love working with Simon Crane.
You blossom...
I love flying.
What's unusual about her character is that
each piece of her visual effect is also part of her character.
For me, it's the personality of the wings.
Her eyes flicker. Her wings bend a certain way
in response to different emotions and attitudes.
She will use the width of her wings,
and will use the way they rise above her to make her presence known.
MALEFICENT: Hmm.
JOLIE: Sometimes, they would show me a little pre-vis
of "what we think this is what your wings might be doing."
And then I'd say, "Oh, I think she's a little more shy there.
"I think she might cover herself more."
And then when you're flying, there's different types of flying.
So you study form first,
see what you want to get out of the sequence,
and then design the various ways that you're going to make them fly.
When we were researching methods of flying
for the way that a human would fly versus the way that a bird would fly,
we had to think about the types of performances
we were going to be trying to put forward in the movie.
It broke down also into an even deeper level on the story
because we have different biomes of Fey.
Say, like, the Forest Fey.
They would tend to be tree-dwelling.
They would be short in their flight,
and they would attack towards the ground.
The Desert Fey, we were trying to look at as long-range bird of prey,
and they would glide across the heat of the desert.
The Jungle Fey, which we were referencing
birds that would be within the jungle
that would have to be able to dive down and fly between vines, trees, roots.
And then the fourth one were the Arctic Fey,
they're living in a place which is cold by nature.
Their wings were shorter. They're more compact.
Their methodology of flying would be in short bursts
and short glides across the tundra.
Trying to research and build that mythology
was really, really helpful.
JOLIE: The only way to make a person fly is,
there have to be multiple ways to fly.
We did it with a combination of different things, tuning forks
and then real, practical, you know, flying with cables.
The tuning fork, you know, basically, two prongs.
They fit either side of your body,
and you can push someone backwards or forwards or side to side.
Really, you can get a 360-degree movement.
JOLIE: But you're clamped into it,
like you become a piece of the machine itself,
and you're working with the, what I think of as, puppet masters
because they're doing the up and the down and the spin,
but your body's dictating whether you're turning left or right,
and then they have to go with you,
and, sometimes, you all go on a cue, and, sometimes, it goes terribly wrong.
BROZENICH: When we shot the battle scenes,
there were a lot of singles and a lot of individual flying scenes,
but there were also a number of occasions
where they had upwards of four people flying at once.
CRANE: When you've got the combination of actors,
all had different characteristics, and you had to remember that,
even though we were flying them all in the same equipment.
BROZENICH: It's for us to take the material after it's done
and to try to choreograph the animation of the wings
to work with the body performance that we have.
That was a really important moment, I know, for Angelina,
and I know that she invested an enormous amount of time,
specifically to talk about the way her wings would perform.
But the final scene of the movie is that... In a lot of ways,
it echoes the final scene from the first movie.
The difference being now is that, it's not Maleficent flying on her own.
It's Maleficent flying with the next generation of Fey.
There's a young boy that she's flying next to
at the very end of the movie,
who was having such a good time,
and even though he was on blue screen stage,
surrounded by stunt people and cameramen,
you'd swear this kid was flying.
JEFF KIRSCHENBAUM: Not only is theMaleficent world
built practically,
it's augmented through visual effects.
You really feel like you're in the world,
and then the visual effects are enhancing that.
Oftentimes in moviemaking,
you'll make a patch of land about 20 feet by 20 feet,
and then you'll create everything else with visual effects.
ELLE FANNING: She has her wings the entire time.
They're all done with special effects.
So, if I was in a scene, we would have to always make room for the wings.
GARY BROZENICH: We needed to make sure
that we didn't have any of their wings inner penetrating,
so, if somebody was flying,
they had to have 10 foot of space either side of them.
In order to fit them into the frame,
we'd quite often have to stagger them.
FANNING: The production is just giant.
The technology has grown since the first film.
KIRSCHENBAUM: With the visual effects,
the level of detail and specificity of it,
it is just awesome.
You're able to get inside it
and really experience it in a way
that I don't think moviegoers have had an opportunity to.
[BELL TOLLING]
We've been worried about you, dear.
[GASPS]
AURORA: Your Majesty.
I couldn't find her.
My heart breaks for you.
What kind of parent abandons a child
in her time of need?
She has brought a cloud of darkness upon your happiness.
I know she was against this marriage.
Never trusted your instincts.
When I saw her at dinner...
with her horns covered...
bent cowering...
[SIGHS] Well...
it's no wonder that she lashed out.
It's simply in her nature.
I just don't know what to do.
You do truly love him, don't you?
My son.Deeply.
It is love that will heal you.
It's what heals us all.
Let's move forward together...
as a family.
[DOOR OPENS]
There you are!
I've made a decision.
In the name of your father,
in the name of uniting Ulstead
with the Moors...
the wedding will take place in three days' time.
[BIRDS CHIRPING][HARPSICHORD PLAYING]
[CLEARS THROAT]
[HARPSICHORD CONTINUES PLAYING]
Again.
[DOOR CLOSES]
[INDISTINCT CHATTER]
Your Majesty, she's absolutely lovely.
NOBLEWOMAN: Considering how she was raised.
By the same evil witch who cursed her.
It's a miracle Prince Philip came along.
NOBLEWOMAN 2: It's a miracle the poor child is alive at all.
[CHATTERING CONTINUES INDISTINCTLY]
[LAUGHTER]
[CRICKETS CHIRPING]
[AURORA PANTING][BOTH CHUCKLE]
[BELL TRILLS]MAN: Cut there please. Okay.
MAN 2: Mark.
[LAUGHTER]
Run!
How about a wedding? [CHUCKLES]
[LAUGHTER]
It is said the Dark Fey began with her...
[BOTH LAUGHING]
Do I get to play?
Oh, hello? I didn't know you were there.
I think you're on her mark.
I thought you were avoiding me.
I was like, "Where are you going?"
[LAUGHING] What are you guys doing?
I didn't know there was a camera there.
You're young. Don't get married so quickly.
[PANTING]
[LAUGHING]
Okay. And that happened.
Go again.
Sorry. Can we just go again?
MAN 2: Mark.
You want to do it one more time? I know. I know. It's...
I want you to wear this tonight.
Tripped on my gown, so I will let you wear it tomorrow night.
[LAUGHTER]
[BELL TRILLING][CAT MEOWS]
MAN: Okay.
[GIGGLES] Ta-da!
MAN: And three, two, one...
[BOTH SNICKER]
Okay, cut there.[VOCALIZES]
[CAT YOWLS]
And scene![LAUGHTER]
♪ Oh
♪ They tryna shoot down angels
♪ They tryna pull their wings off
♪ So they can't fly
♪ And oh
♪ But she's so brave though
♪ Just like a tornado
♪ She's taking us by storm
♪ You can't stop the girl from going
♪ You can't stop the world from knowing
♪ The truth will set you free
♪ Oh
♪ You can't stop the girl from going
♪ You can't stop the world from knowing
♪ The truth will set you free
♪ Oh
♪ You can't stop the girl
♪ They tryna take our voices
♪ They tryna make our choices
♪ So we scream loud, loud, loud
♪ And oh
♪ I know you feel the lightnin'
♪ And it's so excitin'
♪ So here we go
♪ You can't stop the girl from going
♪ You can't stop the world from knowing
♪ The truth will set you free
♪ Oh
♪ You can't stop the girl from going
♪ You can't stop the world from knowing
♪ The truth will set you free
♪ Oh
♪ You can't stop the girl
♪ No, you can't stop the girl
♪ Oh
♪ I know you feel the lightnin'
♪ And it's so excitin'
♪ So here we come
It's good enough for right now.