autter-pop: Laziness: I don’t want to put these

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autter-pop:

Laziness: I don’t want to put these clothes away, so I’ll do something else instead.

Executive dysfunction: I have to put the clothes away. I do. It’s easy. How do I start. I know I can do it, I’ve done it before, and it’s easy. Why am I still sitting here. Do it. It’s not that much. Pick up the clothes and carry them to your room. Pick up the clothes an—I’m still sitting. Why am I still sitting and staring at the clothes.
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tzikeh: punsbulletsandpointythings: lynati: displacerghost: me...

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tzikeh:

punsbulletsandpointythings:

lynati:

displacerghost:

meemalee:

tyrannousstars:

meemalee:

Sarah: *I’m* the Goblin Queen, bitches - you go wave your fans somewhere else.

(From Labyrinth: The Ultimate Visual History)

The Labyrinth commentaries are an Absolute Fucking Delight, seriously - from Goblins of the Labyrinth  to the deluxe edition DVDs, they are replete with balls-out nerdery from Froud/Henson/Lucas, over-the-top teenage delight from Jennifer Connely who, at 14, got to SLOW DANCE WITH DAVID BOWIE!!!!!!!!!…and, wonder of wonders, sheer fucking dorkiness in the person of aforementioned rock god.

Like…

-He kept stumbling on the stairs in the ballroom scene. Jennifer keeps laughing at him because, oh my fuck, you’re David Bowie, aged 40something, Rock God Supreme, stupidly beautiful, actually trained in all this shit….and my adolescent ass remembers these stairs are here, but you don’t?!?!???????/

- The script originally called for Jareth and Sarah to kiss, but David Bowie straight up refused because Jennifer Connely was a minor and he was a grown-ass adult.

- Henson wanted a famous musician to play the Goblin King and had debated casting Michael Jackson, until David Bowie came over and…hopped up onto the table, and, with a wicked gleam in his eye, pulled a bone flute out of his pocket, hopped up onto the table, and, crouching thereon, played it at him and Henson was like “that is the Goblin King right there”

- Jennifer was apparently an absolute dream to work with and they didn’t realise how dangerous some of the stunts she acted were until they saw an actual teenager, say, going down the shaft of hands

- David Bowie was TERRIFIED OF HEIGHTS.  During the Diamond Dogs tour in the 1970s, he got stuck on an elevating chair on stage, and later, in the 80s, during Glass Spider, he had an elevated prop fucking PRECIPITATELY DESCEND under him.  Nonetheless, he did a lot of the Escher Room stuff himself - not all of it, some of it is a stunt guy, but damn, for a dude with acrophobia, doing ANY of it is impressive.

- Basically Jennifer Connely and David Bowie are/were fantastic to work with, and Jim Henson, who decided of his own free will to work with a baby, a teenager, numerous chickens, and a neurotic musician, was a madman.  A magnificent madman, but a madman nonetheless.

Reblogging for this glorious comment. Thanks @tyrannousstars!

@setepenre-set

Okay, I NEEEEEED to see those.

The bone flute was actually made for David Bowie by Jim Henson and Brian Froud, which they gave to him when they went to ask if he’d be interested in the role. But he did then hope up on the table and totally get into character with it.

So y’all know who the choreographer for this film was, right?

(She went by her first, rather than middle, name back then)
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