Buzz
The 1982 release of The Dark Crystal was notably dark and unusual, particularly for a children's film. However, an even darker, stranger, and more surreal version existed before the theatrical release. This earlier cut failed to resonate with test audiences, prompting significant alterations to make the film more widely appealing. Voiceovers were introduced, and English dialogue was incorporated into scenes originally intended to convey meaning through puppet movements alone.
Over the past two years, Christopher Orgeron, a 31-year-old dedicated fan, has worked tirelessly to reconstruct the original version of the film. With limited resources, some parts remain rough, particularly the black-and-white segments sourced from a VHS copy. Nevertheless, this version offers a deeper look into the unique creativity of Jim Henson, reminiscent of his earlier works. Whether this cut surpasses the theatrical release is subjective, but it undeniably provides an intriguing perspective on what could have been. Below, you'll find the restored version and my conversation with Orgeron.
IMPORTANT UPDATE: On Monday, January 27, 2014, the videos were taken down from YouTube and the Internet Archive, following a request from the Jim Henson Company.
Q&A With Christopher Orgeron
Higgins: Do you believe this version of the film aligns more closely with Henson and his team's original vision compared to the theatrical release?
Orgeron: Not exactly. There's some debate about labeling my video as a "Director's Cut." While this edit faithfully replicates an early screening version presented to test audiences by Henson and his team, it only qualifies as a "director's cut" in that specific context. Beyond that, the distinction becomes less clear.
Henson faced significant challenges in persuading studio executives of the film's potential, given its ambitious nature. The dialogue adjustments were necessary to make the movie more accessible to a broader audience. It's also worth noting that the puppeteers' performances were based on the lines from the workprint [early cut], making this version more aligned with their original acting.
Higgins: How would you describe the differences between this version and the theatrical release? It's undeniably darker, stranger, and more surreal. To me, it draws a parallel to Blade Runner (another 1982 film), which underwent similar changes—like added narration—to simplify the story after test screenings. However, the original version offered greater depth. Do you see the comparison to Blade Runner as valid?
Orgeron: Definitely. It was an era of bold experimentation in filmmaking. Sci-fi movies from the late 70s and early 80s are arguably among the greatest ever made, akin to 90s Nickelodeon in their creative freedom. With fewer restrictions in uncharted territories, filmmakers produced incredibly imaginative works. This version of The Dark Crystal feels more like a sci-fi tale set on an alien planet than a children's fantasy. The Skeksis and Gelflings come across as otherworldly beings in many ways.
The comparison to Blade Runner is spot-on, given the similar circumstances. Another example I recently stumbled upon is, surprisingly, in Frank Oz's Little Shop of Horrors, which originally had a completely different ending (spoiler alert!) where the plant multiplies and wreaks havoc, destroying the entire city. Nowadays, the formulas for filmmaking and audience expectations are more defined, and post-screening changes tend to be less extreme.
Higgins: What’s your personal connection to the theatrical version of The Dark Crystal? Do you recall watching it as a child? Did you enjoy it?
Orgeron: Here’s a slightly embarrassing confession. I was born the same year the film came out and grew up as a huge Henson fan, yet I didn’t discover The Dark Crystal until I was around 17. About a year later, I bought the DVD and decided to watch it. My perspective was unique because, while the film was unmistakably "Henson," my adult mind appreciated the rich, ambitious world that had somehow escaped me as a child. I adored it. It resonated with both my childhood nostalgia and my emerging adult sensibilities, all while feeling entirely fresh. I rewatched the DVD countless times, including the deleted scenes, which fueled my curiosity about the lost early version.
Higgins: When did you first learn about the workprint? Do you know "Aikousha" [the pseudonymous individual who uploaded a low-quality, black-and-white version of the workprint] personally?
After going through the DVD liner notes, I was disheartened to learn that this unique "early" version of the film was largely lost. It became clear that Henson and Oz’s original vision was vastly different from the final release, sparking a deep curiosity in me to experience it. Around that time, I was delving into more artistic films and began to wonder if any surviving copies of this darker interpretation of The Dark Crystal existed. I occasionally searched online but found nothing until about 6 or 7 years ago, when I stumbled upon a forum discussing the workprint.
I discovered the thread long after Aikousha had shared his findings about the workprint and how he acquired it. Unfortunately, the hosting site for the upload was no longer active, and no one seemed to have a copy. Despite numerous attempts to purchase a VHS version from a few individuals, I had no success. However, knowing that a copy of this version still existed reignited my determination to see it. I wish I could thank Aikousha for his discovery, but he’s proven difficult to locate. Eventually, I found a copy through torrents that surfaced a few years ago.
Higgins: Could you explain the technical process behind your work? It appears you’ve used the workprint’s soundtrack and synced it with available video footage. Is that accurate?
Orgeron: For those curious, I’d suggest finding a workprint copy, though it requires patience to watch. While I made minimal adjustments to the black-and-white video clips in my edit, the audio from the workprint was nearly unbearable. My primary motivation for creating this version was to share it with friends who were eager to see the workprint but couldn’t tolerate its poor quality.
The goal was to use the original workprint audio in its entirety and align it with cleaner video footage, which is mostly what I achieved. The audio was riddled with tape hiss and noise, which I removed and equalized. Although it remains heavily compressed, I was relieved to find the dialogue still clear after processing. I incorporated some high-quality segments of Trevor Jones’ final score during transitions for enhanced dynamics, but I retained the original Vangelis music from the workprint, which differs in parts. [Ed. note: Vangelis was initially considered for the film’s score, but Jones ultimately took over. Some of Vangelis’ work remains in the workprint.]
Higgins: Do you plan to keep refining this project? For example, if someone provided higher-quality footage for certain sections, would you be open to incorporating it?
Orgeron: There are a few rough patches in the edit that I aim to polish, and I’d definitely invest time to integrate better footage. If anyone can enhance the black-and-white clips or restore the deleted scenes, we could make significant progress in preserving this important piece of cinematic history.
