1
00:00:16,799 --> 00:00:19,410
LICKSPITTLE: The extraction
process is painstaking.

2
00:00:20,803 --> 00:00:22,326
QUEEN INGRITH: Extraction...

3
00:00:23,545 --> 00:00:24,720
...from what?

4
00:00:26,243 --> 00:00:27,679
LICKSPITTLE:
Tomb Bloom flowers.

5
00:00:32,075 --> 00:00:33,903
They grow
from a fairy's grave,

6
00:00:33,946 --> 00:00:35,644
contain their very essence.

7
00:00:42,303 --> 00:00:45,480
MICHELLE PFEIFFER:
He is working feverishly

8
00:00:45,523 --> 00:00:47,656
to gain his freedom back.

9
00:00:50,006 --> 00:00:51,616
QUEEN INGRITH: Well...[LICKSPITTLE GASPS]

10
00:00:52,356 --> 00:00:53,923
[STRAINING]

11
00:00:54,880 --> 00:00:56,621
Does it work?

12
00:00:56,665 --> 00:00:57,927
PFEIFFER: Which, of course,
he is never going to get.

13
00:00:59,842 --> 00:01:00,843
Poor darling.

14
00:01:03,411 --> 00:01:05,413
WARWICK DAVIS:
I played Lickspittle.

15
00:01:05,456 --> 00:01:08,851
He's a really interesting
little character.

16
00:01:08,894 --> 00:01:13,334
He's been charged by the queen with coming up with a method

17
00:01:13,377 --> 00:01:15,249
to kill fairies.

18
00:01:15,292 --> 00:01:16,467
Finally.

19
00:01:16,511 --> 00:01:18,948
Fear drives him to do this,

20
00:01:18,991 --> 00:01:23,909
and also the promise
that he will be
free from his prison

21
00:01:23,953 --> 00:01:26,651
in the bowels of the castle.

22
00:01:26,695 --> 00:01:29,132
So, he has an affinity
with the Moor Folk,

23
00:01:29,176 --> 00:01:30,742
but at the same time
despises it

24
00:01:30,786 --> 00:01:33,354
because it's the reason
that he's incarcerated

25
00:01:33,397 --> 00:01:35,095
and having to do
all these awful things.

26
00:01:35,138 --> 00:01:38,837
Welcome to your new home.

27
00:01:38,881 --> 00:01:41,101
DAVIS: But he doesn't know,
you see, at that point

28
00:01:41,144 --> 00:01:42,841
that he is one of them.

29
00:01:42,885 --> 00:01:45,931
You really don't get
to know him

30
00:01:47,194 --> 00:01:49,935
till the very end.

31
00:01:49,979 --> 00:01:52,938
Aurora, actually, reveals to Lickspittle himself

32
00:01:52,982 --> 00:01:55,027
that he is a pixie.

33
00:01:55,071 --> 00:01:56,768
She took your wings.

34
00:02:02,557 --> 00:02:05,647
I believe this
belongs to you.

35
00:02:15,004 --> 00:02:17,049
DAVIS: So,
Lickspittle's laboratory

36
00:02:17,093 --> 00:02:20,314
is right down in the basement of the castle.

37
00:02:20,357 --> 00:02:22,751
I knew that this lab
had to feel

38
00:02:22,794 --> 00:02:25,754
as if I was kind of
somehow connected to it.

39
00:02:25,797 --> 00:02:30,237
Everything that
was put on that set,
it's all there for a reason.

40
00:02:30,280 --> 00:02:34,763
The main, sort of, focus
of Lickspittle's world
is his workbench.

41
00:02:34,806 --> 00:02:37,505
The detail in the set
was exquisite.

42
00:02:37,548 --> 00:02:41,030
Lickspittle had to adapt
the laboratory to suit him.

43
00:02:41,073 --> 00:02:43,728
And so, therefore, this contraption he's created

44
00:02:43,772 --> 00:02:46,035
that goes up to the height
that he requires

45
00:02:46,078 --> 00:02:48,951
and then also slides
back and forth.

46
00:02:51,127 --> 00:02:53,216
I thought it was gonna be
a bit of movie magic

47
00:02:53,260 --> 00:02:56,219
but it's just a guy
called Terry

48
00:02:56,263 --> 00:02:59,004
who is off the set somewhere
winding a big handle.

49
00:02:59,048 --> 00:03:00,484
[LAUGHS]

50
00:03:00,528 --> 00:03:02,617
Nobody is allowed
in here except me.

51
00:03:02,660 --> 00:03:04,184
And I'm already here.

52
00:03:04,227 --> 00:03:05,881
DAVIS: If you look
more closely,

53
00:03:05,924 --> 00:03:09,319
you start to notice
jars around the room.

54
00:03:09,363 --> 00:03:12,366
And in those jars are fairies.

55
00:03:13,367 --> 00:03:15,064
Skeletons of fairies and...

56
00:03:15,107 --> 00:03:16,283
The missing fairies.

57
00:03:18,285 --> 00:03:20,069
DAVIS: I think
the set really feels

58
00:03:20,112 --> 00:03:22,376
like an extension
of Lickspittle's character.

59
00:03:24,334 --> 00:03:28,251
This is his world,
his entire existence
is in this one room.

60
00:03:33,387 --> 00:03:36,041
When you're working
on a character
like Lickspittle,

61
00:03:36,085 --> 00:03:39,001
you have to work
with a much wider team.

62
00:03:39,044 --> 00:03:41,743
It's not just you
as the performer.

63
00:03:41,786 --> 00:03:44,920
Having my silicon prosthetic
make-up applied

64
00:03:44,963 --> 00:03:47,096
took about 3.5 hours.

65
00:03:47,139 --> 00:03:49,881
Then someone from
Costume comes in
and we put the costume on.

66
00:03:49,925 --> 00:03:53,711
That takes about 30 minutes
to put everything on there.

67
00:03:53,755 --> 00:03:55,800
You know, it's a huge
amount of people

68
00:03:55,844 --> 00:03:59,108
but I'm the one
with the responsibility
of walking on to set

69
00:03:59,151 --> 00:04:01,066
and delivering
the performance.

70
00:04:01,110 --> 00:04:03,982
And it's kind of doing
all their hard work
justice, really.

71
00:04:06,420 --> 00:04:08,160
So, yeah.
Team Lickspittle.

72
00:04:08,204 --> 00:04:09,379
[CHUCKLES]

73
00:04:10,685 --> 00:04:12,687
LICKSPITTLE: Tomb Bloom.

74
00:04:26,788 --> 00:04:29,443
There's a question
with the first Maleficent

75
00:04:29,486 --> 00:04:32,620
that comes from everyone.
"She's not just
the darkest fairy.

76
00:04:32,663 --> 00:04:35,449
"She also seems to be
one of the largest fairies."

77
00:04:35,492 --> 00:04:37,320
CONALL: Come.

78
00:04:37,364 --> 00:04:38,452
JOLIE: "Well,
if she's a fairy..."

79
00:04:38,495 --> 00:04:40,149
Let me show you who we are.

80
00:04:40,192 --> 00:04:41,455
JOLIE:
"...where were her wings?"

81
00:04:44,675 --> 00:04:46,938
But then, even creating
the character, we'd think,

82
00:04:46,982 --> 00:04:48,375
"Okay, well,
she has these horns.

83
00:04:48,418 --> 00:04:50,377
"What are these horns?
What kind of horns?

84
00:04:50,420 --> 00:04:51,943
"Are they Devil horns?"

85
00:04:51,987 --> 00:04:53,815
We even thought
she had hooves at one point.

86
00:04:53,858 --> 00:04:56,296
"Did she have hair?
Did she have feathers
for hair?"

87
00:04:56,339 --> 00:04:58,254
And so we tried to answer it,

88
00:04:58,298 --> 00:05:00,561
but one of the things
that was also always
a question was,

89
00:05:00,604 --> 00:05:04,608
"Okay, well,
she's this part-winged,
part-horned creature

90
00:05:04,652 --> 00:05:08,569
"that's the size
of a regular woman,
but she's the only one.

91
00:05:08,612 --> 00:05:10,179
"What is she?"

92
00:05:10,222 --> 00:05:13,748
I'm convinced that
the Dark Fey's not our name.

93
00:05:13,791 --> 00:05:16,838
I'm convinced that
that's what humans call us.

94
00:05:16,881 --> 00:05:20,842
"All fairies represent nature, but the size of them," we wondered,

95
00:05:20,885 --> 00:05:23,410
"a large fairy, what would their purpose be?"

96
00:05:23,453 --> 00:05:26,761
And we kind of felt
that they must travel
and cross the oceans,

97
00:05:26,804 --> 00:05:28,066
cross the continents.

98
00:05:28,110 --> 00:05:29,981
They are
the interconnected ones.

99
00:05:30,025 --> 00:05:31,461
They're not divided by color.

100
00:05:31,505 --> 00:05:34,203
They're not divided
by continent or race.

101
00:05:34,246 --> 00:05:38,816
If there is
a grouping of them,
it is their biomes.

102
00:05:38,860 --> 00:05:40,383
CONALL: The tundra.

103
00:05:40,427 --> 00:05:41,950
The forest.

104
00:05:41,993 --> 00:05:43,473
The jungle.

105
00:05:43,517 --> 00:05:45,606
The desert.

106
00:05:45,649 --> 00:05:47,782
JOLIE: And it's really
a beautiful way
to break down the world.

107
00:05:47,825 --> 00:05:49,827
In our minds,
we think of Africa,

108
00:05:49,871 --> 00:05:52,308
and we think of Asia,
and we think of Europe.

109
00:05:52,352 --> 00:05:57,052
And we have these ideas of how the world breaks down.

110
00:05:57,095 --> 00:06:00,360
And all of the Dark Fey
have returned
to their place of origin

111
00:06:00,403 --> 00:06:03,493
because, as the humans have gained power and weapons,

112
00:06:03,537 --> 00:06:07,410
they have forced them
out of their homes.

113
00:06:07,454 --> 00:06:09,760
CONALL: We're all that remain.

114
00:06:09,804 --> 00:06:12,633
Unseen here,
far away from mankind.

115
00:06:13,982 --> 00:06:16,027
JOLIE: It's a unique way
to look at the world.

116
00:06:16,071 --> 00:06:19,683
It was amazing
the first day to step in

117
00:06:19,727 --> 00:06:23,426
and see so many people from so many different backgrounds,

118
00:06:23,470 --> 00:06:26,429
young and old, all together,

119
00:06:26,473 --> 00:06:29,519
all representing
slightly different biomes,

120
00:06:29,563 --> 00:06:31,391
different backgrounds.

121
00:06:31,434 --> 00:06:33,915
It was really very beautiful. It was very moving.

122
00:06:35,395 --> 00:06:37,397
All the young people
that see this film,

123
00:06:37,440 --> 00:06:39,921
see, very quickly, this is about the environment.

124
00:06:41,052 --> 00:06:43,141
The Fey are the natural world.

125
00:06:43,185 --> 00:06:46,449
The humans,
they feel threatened
by those who are different,

126
00:06:46,493 --> 00:06:48,973
but they also want
what the Fey have.

127
00:06:49,017 --> 00:06:51,672
They want the resources.
They want the natural land.

128
00:06:51,715 --> 00:06:53,500
They want to take it,
and they want to do

129
00:06:53,543 --> 00:06:56,241
what they want with it
and not have
to be considerate.

130
00:06:56,285 --> 00:06:59,897
CONALL: Now,
our only refuge is here...

131
00:06:59,941 --> 00:07:01,986
in this cave.

132
00:07:02,030 --> 00:07:03,248
Our nest of origin.

133
00:07:05,729 --> 00:07:10,386
JOLIE: I think this film
also really makes you
think about that,

134
00:07:10,430 --> 00:07:11,866
not that you should not
touch nature,

135
00:07:11,909 --> 00:07:15,347
but you have to find a balance as to how you touch it.

136
00:07:15,391 --> 00:07:17,741
The biggest difference between the Dark Fey and the humans

137
00:07:17,785 --> 00:07:21,702
is the Dark Fey take what
they need, and the humans
take what they want.

138
00:07:32,713 --> 00:07:36,847
To all the Kingdoms
far and wide, the king
and queen invite you...

139
00:07:36,891 --> 00:07:39,459
to attend the wedding...

140
00:07:39,502 --> 00:07:42,810
of their son Philip to Aurora
in three days' time.

141
00:07:44,289 --> 00:07:45,334
All are welcome.

142
00:07:45,377 --> 00:07:46,727
Huh?

143
00:07:46,770 --> 00:07:48,859
It was just a very special
moment and memory for me,

144
00:07:48,903 --> 00:07:51,340
and also it felt like
a true wedding.

145
00:07:53,864 --> 00:07:55,779
Everybody was there.

146
00:07:55,823 --> 00:07:59,130
The townspeople
and the Moor Folk
and the Dark Fey.

147
00:08:01,176 --> 00:08:04,353
There were a lot of people
invited to my wedding.

148
00:08:04,396 --> 00:08:06,050
There were
a lot of people there.

149
00:08:08,226 --> 00:08:11,708
The wedding dress
was so gorgeous.

150
00:08:11,752 --> 00:08:15,016
Flowers were on the train
and also on my sleeves,

151
00:08:15,059 --> 00:08:18,410
and those were
laser-cut feathers.

152
00:08:18,454 --> 00:08:21,109
Tons of fabric. I mean,
it was really long.
I couldn't walk.

153
00:08:21,152 --> 00:08:25,287
I couldn't go anywhere
without anybody
holding it up for me.

154
00:08:25,330 --> 00:08:28,029
A dream come true.
Like, "I am wearing this."

155
00:08:28,072 --> 00:08:29,770
"This is
the Sleeping Beauty dress."

156
00:08:29,813 --> 00:08:31,598
I never wanted to take it off.

157
00:08:31,641 --> 00:08:34,339
And all of the hair
and the makeup.

158
00:08:34,383 --> 00:08:39,083
I had pink in my hair as well that we put in. A little knot.

159
00:08:39,127 --> 00:08:41,521
She's a little punk,
I guess.

160
00:08:41,564 --> 00:08:42,826
She looks better
in green.

161
00:08:42,870 --> 00:08:44,262
Pink, you mean.

162
00:08:44,306 --> 00:08:46,569
FANNING: I remember
walking down the aisle

163
00:08:46,613 --> 00:08:48,919
that first time with Angelina,

164
00:08:48,963 --> 00:08:51,356
so it was very magical.

165
00:08:51,400 --> 00:08:55,839
Then we had music playing, and Harris was standing there.

166
00:08:55,883 --> 00:08:58,146
We finally get what
we've always wanted,

167
00:08:58,189 --> 00:09:01,671
which is to be married
and united and to unite
the kingdoms.

168
00:09:01,715 --> 00:09:04,413
PRIEST: I pronounce you
husband and wife.

169
00:09:04,456 --> 00:09:06,110
[ALL CHEERING]You may kiss the bride.

170
00:09:10,071 --> 00:09:11,072
[CHEERING CONTINUES]

171
00:09:12,247 --> 00:09:13,770
I'll just remember
that forever.

172
00:09:14,945 --> 00:09:17,513
To Philip
and Aurora,
happy wedding.

173
00:09:17,557 --> 00:09:19,820
Have a great time!

174
00:09:19,863 --> 00:09:22,474
SPIRITUAL FEY:
We, the Spiritual Feys,
wish you

175
00:09:22,518 --> 00:09:25,565
a wonderful, abundant,
and healthy life.

176
00:09:29,743 --> 00:09:33,224
Two kingdoms united at last.

177
00:09:33,268 --> 00:09:35,618
We're all delighted.
Delighted.

178
00:09:45,497 --> 00:09:47,325
Really?CAMERAMAN: You have a message?

179
00:09:48,370 --> 00:09:49,806
[SNIFFLES]

180
00:09:49,850 --> 00:09:52,853
I can't speak.Oh, for God's sake.

181
00:10:19,619 --> 00:10:22,012
I love all the rigs.
I love all the stunts.

182
00:10:22,056 --> 00:10:23,492
I love working
with Simon Crane.

183
00:10:23,535 --> 00:10:24,580
You blossom...

184
00:10:24,624 --> 00:10:25,625
I love flying.

185
00:10:27,061 --> 00:10:29,193
What's unusual about
her character is that

186
00:10:29,237 --> 00:10:33,415
each piece of her visual effect is also part of her character.

187
00:10:33,458 --> 00:10:36,374
For me, it's the personality
of the wings.

188
00:10:36,418 --> 00:10:40,335
Her eyes flicker.
Her wings bend a certain way

189
00:10:40,378 --> 00:10:44,556
in response to different
emotions and attitudes.

190
00:10:44,600 --> 00:10:46,820
She will use
the width of her wings,

191
00:10:46,863 --> 00:10:51,215
and will use the way
they rise above her
to make her presence known.

192
00:10:51,781 --> 00:10:52,782
MALEFICENT: Hmm.

193
00:10:54,697 --> 00:10:56,743
JOLIE: Sometimes,
they would show me
a little pre-vis

194
00:10:56,786 --> 00:10:58,962
of "what we think
this is what your wings
might be doing."

195
00:10:59,006 --> 00:11:01,399
And then I'd say, "Oh, I think she's a little more shy there.

196
00:11:01,443 --> 00:11:03,184
"I think she might
cover herself more."

197
00:11:06,883 --> 00:11:09,669
And then when you're flying,
there's different
types of flying.

198
00:11:12,584 --> 00:11:15,326
So you study form first,

199
00:11:15,370 --> 00:11:17,328
see what you want
to get out of the sequence,

200
00:11:17,372 --> 00:11:22,116
and then design the various ways that you're going to make them fly.

201
00:11:22,159 --> 00:11:25,772
When we were researching
methods of flying

202
00:11:25,815 --> 00:11:29,471
for the way that a human
would fly versus the way
that a bird would fly,

203
00:11:29,514 --> 00:11:31,516
we had to think about
the types of performances

204
00:11:31,560 --> 00:11:34,041
we were going to be trying
to put forward in the movie.

205
00:11:34,084 --> 00:11:37,435
It broke down also
into an even deeper level
on the story

206
00:11:37,479 --> 00:11:39,481
because we have
different biomes of Fey.

207
00:11:39,524 --> 00:11:40,874
Say, like, the Forest Fey.

208
00:11:40,917 --> 00:11:43,093
They would tend
to be tree-dwelling.

209
00:11:43,137 --> 00:11:44,834
They would be short
in their flight,

210
00:11:44,878 --> 00:11:47,184
and they would attack
towards the ground.

211
00:11:47,228 --> 00:11:49,752
The Desert Fey,
we were trying to look at
as long-range bird of prey,

212
00:11:49,796 --> 00:11:51,798
and they would glide across
the heat of the desert.

213
00:11:51,841 --> 00:11:54,061
The Jungle Fey,
which we were referencing

214
00:11:54,104 --> 00:11:56,498
birds that would be
within the jungle

215
00:11:56,541 --> 00:12:00,110
that would have to be able
to dive down and fly
between vines, trees, roots.

216
00:12:00,154 --> 00:12:01,808
And then the fourth one
were the Arctic Fey,

217
00:12:01,851 --> 00:12:04,288
they're living in a place
which is cold by nature.

218
00:12:04,332 --> 00:12:06,682
Their wings were shorter.
They're more compact.

219
00:12:06,726 --> 00:12:09,816
Their methodology of flying
would be in short bursts

220
00:12:09,859 --> 00:12:12,209
and short glides
across the tundra.

221
00:12:12,253 --> 00:12:14,559
Trying to research
and build that mythology

222
00:12:14,603 --> 00:12:15,735
was really, really helpful.

223
00:12:18,781 --> 00:12:20,783
JOLIE: The only way
to make a person fly is,

224
00:12:20,827 --> 00:12:22,785
there have to be
multiple ways to fly.

225
00:12:22,829 --> 00:12:25,875
We did it with a combination
of different things,
tuning forks

226
00:12:25,919 --> 00:12:29,226
and then real, practical, you know, flying with cables.

227
00:12:29,270 --> 00:12:32,360
The tuning fork, you know,
basically, two prongs.

228
00:12:32,403 --> 00:12:34,754
They fit either side
of your body,

229
00:12:34,797 --> 00:12:38,235
and you can push someone
backwards or forwards
or side to side.

230
00:12:38,279 --> 00:12:41,673
Really, you can get
a 360-degree movement.

231
00:12:41,717 --> 00:12:43,110
JOLIE: But you're
clamped into it,

232
00:12:43,153 --> 00:12:45,373
like you become a piece of the machine itself,

233
00:12:45,416 --> 00:12:49,159
and you're working with
the, what I think of as,
puppet masters

234
00:12:49,203 --> 00:12:52,641
because they're doing the up
and the down and the spin,

235
00:12:52,684 --> 00:12:56,166
but your body's dictating
whether you're turning
left or right,

236
00:12:56,210 --> 00:12:58,647
and then they have
to go with you,

237
00:12:58,690 --> 00:13:02,999
and, sometimes, you all go
on a cue, and, sometimes,
it goes terribly wrong.

238
00:13:06,437 --> 00:13:08,657
BROZENICH: When we shot
the battle scenes,

239
00:13:08,700 --> 00:13:10,224
there were a lot of
singles and a lot of
individual flying scenes,

240
00:13:10,267 --> 00:13:12,269
but there were also
a number of occasions

241
00:13:12,313 --> 00:13:15,446
where they had upwards of four people flying at once.

242
00:13:15,490 --> 00:13:17,753
CRANE: When you've got
the combination of actors,

243
00:13:17,797 --> 00:13:20,800
all had
different characteristics,
and you had to remember that,

244
00:13:20,843 --> 00:13:24,281
even though we were
flying them all
in the same equipment.

245
00:13:24,325 --> 00:13:26,849
BROZENICH: It's for us to take the material after it's done

246
00:13:26,893 --> 00:13:29,547
and to try to choreograph
the animation of the wings

247
00:13:29,591 --> 00:13:31,854
to work with
the body performance
that we have.

248
00:13:31,898 --> 00:13:34,378
That was a really
important moment,
I know, for Angelina,

249
00:13:34,422 --> 00:13:37,164
and I know that she invested
an enormous amount of time,

250
00:13:37,207 --> 00:13:40,384
specifically to talk
about the way
her wings would perform.

251
00:13:40,428 --> 00:13:42,909
But the final scene
of the movie is that...
In a lot of ways,

252
00:13:42,952 --> 00:13:46,173
it echoes the final scene
from the first movie.

253
00:13:46,216 --> 00:13:49,437
The difference being now
is that, it's not Maleficent
flying on her own.

254
00:13:49,480 --> 00:13:53,528
It's Maleficent flying with
the next generation of Fey.

255
00:13:53,571 --> 00:13:55,704
There's a young boy
that she's flying next to

256
00:13:55,747 --> 00:13:57,097
at the very end of the movie,

257
00:13:57,140 --> 00:13:59,186
who was having
such a good time,

258
00:13:59,229 --> 00:14:01,449
and even though
he was on blue screen stage,

259
00:14:01,492 --> 00:14:03,103
surrounded by
stunt people and cameramen,

260
00:14:03,146 --> 00:14:04,713
you'd swear
this kid was flying.

261
00:14:17,160 --> 00:14:18,640
JEFF KIRSCHENBAUM: Not only
is theMaleficent world

262
00:14:18,683 --> 00:14:20,076
built practically,

263
00:14:20,120 --> 00:14:22,122
it's augmented
through visual effects.

264
00:14:22,165 --> 00:14:24,298
You really feel like
you're in the world,

265
00:14:24,341 --> 00:14:26,169
and then the visual effects
are enhancing that.

266
00:14:35,178 --> 00:14:37,006
Oftentimes in moviemaking,

267
00:14:37,050 --> 00:14:40,618
you'll make a patch of land
about 20 feet by 20 feet,

268
00:14:40,662 --> 00:14:43,795
and then you'll create
everything else
with visual effects.

269
00:14:59,899 --> 00:15:02,466
ELLE FANNING: She has
her wings the entire time.

270
00:15:02,510 --> 00:15:04,816
They're all done
with special effects.

271
00:15:04,860 --> 00:15:08,646
So, if I was in a scene,
we would have to always
make room for the wings.

272
00:15:08,690 --> 00:15:10,692
GARY BROZENICH:
We needed to make sure

273
00:15:10,735 --> 00:15:11,954
that we didn't have
any of their wings
inner penetrating,

274
00:15:11,998 --> 00:15:13,913
so, if somebody was flying,

275
00:15:13,956 --> 00:15:16,176
they had to have
10 foot of space
either side of them.

276
00:15:16,219 --> 00:15:17,351
In order to fit them
into the frame,

277
00:15:17,394 --> 00:15:19,048
we'd quite often
have to stagger them.

278
00:16:02,962 --> 00:16:05,660
FANNING: The production
is just giant.

279
00:16:05,703 --> 00:16:09,055
The technology has grown
since the first film.

280
00:16:09,098 --> 00:16:10,534
KIRSCHENBAUM:
With the visual effects,

281
00:16:10,578 --> 00:16:12,667
the level of detail
and specificity of it,

282
00:16:12,710 --> 00:16:14,582
it is just awesome.

283
00:16:14,625 --> 00:16:16,018
You're able to get inside it

284
00:16:16,062 --> 00:16:18,020
and really experience
it in a way

285
00:16:18,064 --> 00:16:21,284
that I don't think moviegoers have had an opportunity to.

286
00:16:35,472 --> 00:16:38,475
[BELL TOLLING]

287
00:16:48,181 --> 00:16:50,444
We've been worried
about you, dear.

288
00:16:50,487 --> 00:16:51,488
[GASPS]

289
00:16:53,099 --> 00:16:54,187
AURORA: Your Majesty.

290
00:16:56,450 --> 00:16:58,017
I couldn't find her.

291
00:16:58,060 --> 00:17:00,280
My heart breaks for you.

292
00:17:01,368 --> 00:17:03,109
What kind of parent
abandons a child

293
00:17:03,152 --> 00:17:04,980
in her time of need?

294
00:17:05,024 --> 00:17:08,462
She has brought
a cloud of darkness
upon your happiness.

295
00:17:09,593 --> 00:17:12,683
I know she was
against this marriage.

296
00:17:12,727 --> 00:17:14,555
Never trusted
your instincts.

297
00:17:16,426 --> 00:17:19,081
When I saw her at dinner...

298
00:17:20,517 --> 00:17:22,954
with her horns covered...

299
00:17:25,261 --> 00:17:27,046
bent cowering...

300
00:17:28,917 --> 00:17:31,006
[SIGHS] Well...

301
00:17:31,050 --> 00:17:34,314
it's no wonder
that she lashed out.

302
00:17:34,357 --> 00:17:36,577
It's simply in her nature.

303
00:17:38,622 --> 00:17:40,929
I just don't know
what to do.

304
00:17:40,972 --> 00:17:43,366
You do truly love him,
don't you?

305
00:17:43,410 --> 00:17:46,456
My son.Deeply.

306
00:17:47,675 --> 00:17:50,286
It is love
that will heal you.

307
00:17:51,331 --> 00:17:53,681
It's what heals us all.

308
00:17:53,724 --> 00:17:56,423
Let's move
forward together...

309
00:17:57,815 --> 00:17:59,426
as a family.

310
00:18:03,908 --> 00:18:05,171
[DOOR OPENS]

311
00:18:06,824 --> 00:18:07,912
There you are!

312
00:18:07,956 --> 00:18:09,000
I've made a decision.

313
00:18:10,132 --> 00:18:12,700
In the name
of your father,

314
00:18:12,743 --> 00:18:14,832
in the name
of uniting Ulstead

315
00:18:16,138 --> 00:18:17,661
with the Moors...

316
00:18:19,010 --> 00:18:21,448
the wedding
will take place
in three days' time.

317
00:18:43,383 --> 00:18:46,255
[BIRDS CHIRPING][HARPSICHORD PLAYING]

318
00:19:12,281 --> 00:19:13,848
[CLEARS THROAT]

319
00:19:13,891 --> 00:19:15,937
[HARPSICHORD
CONTINUES PLAYING]

320
00:19:26,252 --> 00:19:27,209
Again.

321
00:19:30,038 --> 00:19:31,126
[DOOR CLOSES]

322
00:19:31,170 --> 00:19:33,172
[INDISTINCT CHATTER]

323
00:19:33,215 --> 00:19:36,262
Your Majesty,
she's absolutely lovely.

324
00:19:36,305 --> 00:19:37,785
NOBLEWOMAN: Considering
how she was raised.

325
00:19:37,828 --> 00:19:39,526
By the same evil witch
who cursed her.

326
00:19:41,136 --> 00:19:43,443
It's a miracle
Prince Philip
came along.

327
00:19:43,486 --> 00:19:45,749
NOBLEWOMAN 2:
It's a miracle the poor child
is alive at all.

328
00:19:45,793 --> 00:19:47,447
[CHATTERING CONTINUES
INDISTINCTLY]

329
00:19:51,190 --> 00:19:52,234
[LAUGHTER]

330
00:19:52,278 --> 00:19:54,280
[CRICKETS CHIRPING]

331
00:20:21,655 --> 00:20:23,874
[AURORA PANTING][BOTH CHUCKLE]

332
00:20:23,918 --> 00:20:25,920
[BELL TRILLS]MAN: Cut there please. Okay.

333
00:20:26,921 --> 00:20:27,922
MAN 2: Mark.

334
00:20:29,663 --> 00:20:30,707
[LAUGHTER]

335
00:20:37,061 --> 00:20:38,062
Run!

336
00:20:45,722 --> 00:20:46,723
How about a wedding?
[CHUCKLES]

337
00:20:50,771 --> 00:20:51,772
[LAUGHTER]

338
00:20:57,386 --> 00:20:59,736
It is said the Dark Fey
began with her...

339
00:21:00,563 --> 00:21:01,999
[BOTH LAUGHING]

340
00:21:03,392 --> 00:21:05,264
Do I get to play?

341
00:21:05,307 --> 00:21:08,136
Oh, hello? I didn't know
you were there.

342
00:21:08,179 --> 00:21:09,659
I think you're
on her mark.

343
00:21:09,703 --> 00:21:10,965
I thought you were
avoiding me.

344
00:21:11,008 --> 00:21:12,749
I was like,
"Where are you going?"

345
00:21:12,793 --> 00:21:15,186
[LAUGHING]
What are you guys doing?

346
00:21:15,230 --> 00:21:16,536
I didn't know
there was a camera there.

347
00:21:18,973 --> 00:21:21,454
You're young.
Don't get married
so quickly.

348
00:21:23,499 --> 00:21:24,761
[PANTING]

349
00:21:28,548 --> 00:21:29,853
[LAUGHING]

350
00:21:29,897 --> 00:21:32,682
Okay. And that happened.

351
00:21:32,726 --> 00:21:33,770
Go again.

352
00:21:33,814 --> 00:21:34,989
Sorry. Can we
just go again?

353
00:21:35,032 --> 00:21:36,643
MAN 2: Mark.

354
00:21:36,686 --> 00:21:38,906
You want to do it
one more time?
I know. I know. It's...

355
00:21:38,949 --> 00:21:40,864
I want you
to wear this tonight.

356
00:21:40,908 --> 00:21:43,780
Tripped on my gown,
so I will let you
wear it tomorrow night.

357
00:21:43,824 --> 00:21:45,086
[LAUGHTER]

358
00:21:46,392 --> 00:21:48,263
[BELL TRILLING][CAT MEOWS]

359
00:21:48,307 --> 00:21:49,308
MAN: Okay.

360
00:21:49,917 --> 00:21:51,222
[GIGGLES] Ta-da!

361
00:21:51,266 --> 00:21:53,921
MAN: And three, two, one...

362
00:21:57,228 --> 00:21:58,752
[BOTH SNICKER]

363
00:21:58,795 --> 00:22:00,406
Okay, cut there.[VOCALIZES]

364
00:22:01,276 --> 00:22:02,364
[CAT YOWLS]

365
00:22:07,021 --> 00:22:08,544
And scene![LAUGHTER]

366
00:22:29,652 --> 00:22:31,393
♪ Oh

367
00:22:31,437 --> 00:22:34,527
♪ They tryna
shoot down angels

368
00:22:34,570 --> 00:22:37,747
♪ They tryna
pull their wings off

369
00:22:37,791 --> 00:22:41,098
♪ So they can't fly

370
00:22:41,882 --> 00:22:43,840
♪ And oh

371
00:22:43,884 --> 00:22:46,843
♪ But she's so brave though

372
00:22:46,887 --> 00:22:50,151
♪ Just like a tornado

373
00:22:50,194 --> 00:22:53,372
♪ She's taking us by storm

374
00:22:53,415 --> 00:22:56,287
♪ You can't stop
the girl from going

375
00:22:56,331 --> 00:22:59,639
♪ You can't stop
the world from knowing

376
00:22:59,682 --> 00:23:04,208
♪ The truth will set you free

377
00:23:04,252 --> 00:23:05,645
♪ Oh

378
00:23:05,688 --> 00:23:09,213
♪ You can't stop
the girl from going

379
00:23:09,257 --> 00:23:11,912
♪ You can't stop
the world from knowing

380
00:23:11,955 --> 00:23:16,656
♪ The truth will set you free

381
00:23:16,699 --> 00:23:18,440
♪ Oh

382
00:23:18,484 --> 00:23:20,834
♪ You can't stop the girl

383
00:23:21,922 --> 00:23:24,881
♪ They tryna
take our voices

384
00:23:24,925 --> 00:23:28,319
♪ They tryna
make our choices

385
00:23:28,363 --> 00:23:32,454
♪ So we scream
loud, loud, loud

386
00:23:32,498 --> 00:23:34,456
♪ And oh

387
00:23:34,500 --> 00:23:37,677
♪ I know you
feel the lightnin'

388
00:23:37,720 --> 00:23:40,593
♪ And it's so excitin'

389
00:23:40,636 --> 00:23:43,987
♪ So here we go

390
00:23:44,031 --> 00:23:46,860
♪ You can't stop
the girl from going

391
00:23:46,903 --> 00:23:50,037
♪ You can't stop
the world from knowing

392
00:23:50,080 --> 00:23:54,955
♪ The truth will set you free

393
00:23:54,998 --> 00:23:56,435
♪ Oh

394
00:23:56,478 --> 00:23:59,525
♪ You can't stop
the girl from going

395
00:23:59,568 --> 00:24:02,658
♪ You can't stop
the world from knowing

396
00:24:02,702 --> 00:24:07,489
♪ The truth will set you free

397
00:24:07,533 --> 00:24:08,882
♪ Oh

398
00:24:08,925 --> 00:24:11,667
♪ You can't stop the girl

399
00:24:15,323 --> 00:24:18,457
♪ You can't stop the girl

400
00:24:21,982 --> 00:24:24,158
♪ You can't stop the girl

401
00:24:27,727 --> 00:24:30,860
♪ No, you can't stop the girl

402
00:24:35,909 --> 00:24:37,867
♪ Oh

403
00:24:37,911 --> 00:24:41,262
♪ I know you
feel the lightnin'

404
00:24:41,305 --> 00:24:44,831
♪ And it's so excitin'

405
00:24:44,874 --> 00:24:48,487
♪ So here we come

406
00:24:51,533 --> 00:24:52,926
It's good enough
for right now.