All language subtitles for Maleficent.Mistress.of.Evil.2019.Digital.Extras.1080p

The extraction
process is painstaking.

Extraction...

...from what?

Tomb Bloom flowers.

They grow
from a fairy's grave,

contain their very essence.

He is working feverishly

to gain his freedom back.

Well...

Does it work?

Which, of course,
he is never going to get.

Poor darling.

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.

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.

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.

Nobody is allowed
in here except me.

And I'm already here.

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.

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.

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."

Come.

"Well,
if she's a fairy..."

Let me show you who we are.

"...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.

The tundra.

The forest.

The jungle.

The desert.

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.

We're all that remain.

Unseen here,
far away from mankind.

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.

Now,
our only refuge is here...

in this cave.

Our nest of origin.

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.

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.

I pronounce you
husband and wife.

You may kiss the bride.

I'll just remember
that forever.

To Philip
and Aurora,
happy wedding.

Have a great time!

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?

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.

Hmm.

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.

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.

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.

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.

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.

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.

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.

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.

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.

The production
is just giant.

The technology has grown
since the first film.

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.

We've been worried
about you, dear.

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...

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.

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.

Again.

Your Majesty,
she's absolutely lovely.

Considering
how she was raised.

By the same evil witch
who cursed her.

It's a miracle
Prince Philip
came along.

It's a miracle the poor child
is alive at all.

Cut there please. Okay.

Mark.

Run!

How about a wedding?

It is said the Dark Fey
began with her...

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?"

What are you guys doing?

I didn't know
there was a camera there.

You're young.
Don't get married
so quickly.

Okay. And that happened.

Go again.

Sorry. Can we
just go again?

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.

Okay.

Ta-da!

And three, two, one...

Okay, cut there.

And scene!

It's good enough
for right now.