‫ "أي كائنات أنتم؟"‬

‫ "ملائكة"‬

‫"يجب أن تؤدي دور الثعبان"‬

‫"كنت تتحضرين لهذا طيلة سيما لايت حياتك"‬

‫"أنقذي الفتاة... افلام نتفلکس 2023 والصبي"‬

‫أسرعي‬

‫ما الذي أفعله؟‬

‫أتبع فيلاً موفيز ناطقاً‬

‫ماذا؟‬

‫حقاً؟‬

‫هذا افلام ديزني ايجي بست الأصلي أنت‬

‫(أتال)‬

‫(ماري)‬

‫لا افلام تويتر بد أن ثمة افلام ديزني 2023 سبباً لوجودي هنا‬

‫أليس كذلك يا (أتال)؟‬

‫"ملاك؟ ملاك؟ ملاك؟‬

‫أداء دور الثعبان؟"‬

‫"حاملة البذور"‬

‫هذه من الأشجار، إنها حقاً...‬

‫زيتية‬

‫زيت‬

‫أشجار... افلام ماي سيما (سراف)‬

‫"أعتقد أن مصدرها هو الأشجار الكبيرة"‬

‫"أنا أشبه بطفلة التحقت بالمدرسة حديثاً‬

‫لست أدري ما الذي يجري"‬

‫"الـ(سراف) أقل افلام اكشن 2022 مترجم كامل جديد وأقل"‬

‫ مسلسل the last of us موقع ماي سيما سمعتك والآخرين تتحدثون عن الـ(سراف)‬

‫ "يبدو أن كلمة (سراف) تعني النور؟"‬

‫ما هو الـ(سراف)؟‬

‫(سراف)... نوم‬

‫أنا... هل أنا نائمة؟‬

‫"نحتاج إليه... للعيش"‬

‫لقد رأيت الكثير من حاملات‬

‫البذور الميتة في الأرجاء‬

‫ألا تحتاجون إلى الزيت الذي سينما تنتجه؟‬

‫الزيت هو مركز تفكيرنا وشعورنا‬

‫إنه يزودنا بالـ(سراف)‬

‫كيف لي...‬

‫أن أتعلّم‬

‫أتعلّم كيفية مساعدتك؟‬

‫كي ايجي بست تقدمي المساعدة‬

‫يجب أن تتعلمي رؤية الـ(سراف)‬

‫(ماري)، هذا سبب جلبك إلى هنا‬

‫كيف تشعرين إزاء كونك بعيدة عنه بهذا القدر؟‬

‫وأعني افلام مترجمه (بان)‬

‫كأن قبضة حديدية تعتصر قلبي‬

‫وتخلخله بين ضلوعي‬

‫وهو جنوني أيضاً، صحيح؟‬

‫كأن شيئاً خاصاً وسرياً يُفضح أمام العلن‬

‫أجل‬

‫لطالما سيما روم قلتِ إنه لا بد أن لدي قريناً‬

‫ولم سيما فور يو أصدقك قط‬

‫وأشعر الآن كأنني عرفتها طيلة حياتي‬

‫ربما هي برفقة (بان) الآن‬

‫اسمع، سيعود كل منا إلى قرينه‬

‫أنا على يقين بذلك‬

‫السكين افلام توم كروز بحوزتنا‬

‫ونحن نساند بعضنا الآخر‬

‫ولسبب ما، أثق بك‬

‫ كم سيطول الأمر؟‬

‫ منهو ولدنا ماي سيما قدر ما يلزم‬

‫الوقت يمضي على هواه هنا‬

‫لا تخافا‬

‫لست خائفة‬

‫ركب معي على متن هذا القارب‬

‫محاربون وقتلة وقادة عسكريون‬

‫وأخبرني الجميع بالكلام نفسه‬

‫ولم يرجع أي منهم‬

‫معذرة، افلام هندي سيداتي افلام مصرية 2023 سيما وسادتي‬

‫حسناً، بالتوفيق‬

‫هل ستتركنا هنا ببساطة؟‬

‫لا أستطيع تجاوز هذا المكان للأسف‬

‫شكراً‬

‫مهلاً‬

‫إذا افلام جوني ديب كان قريني لا يزال في المرسى‬

‫هلا توصل له رسالة؟‬

‫يمكنني أن أخبرك من الآن‬

‫أنه لن يكون هناك‬

‫كيف لنا أن نعرف أين...‬

‫لا مجال للعودة على ما يبدو‬

‫لا مجال للعودة‬

‫أخبرتك بأنني لن أتناول طعامك الرديء‬

‫وإذا حاولت إجباري‬

‫فسأبتر أصابعك بأسناني!‬

‫لا أشك للحظة أنك ستفعلين فيلم ذلك‬

‫ظننت أنك عدت إلى (أزريل)‬

‫كي موقع ماي سيما تزف له خبر إذلالي‬

‫بقدر ما قد يسرّه هذا الإذلال‬

‫إلا أنني لا أظن أن (أزريل) يريدك ميتة‬

‫وأنا أيضاً لا أريدك ميتة‬

‫إن الدكتورة (كوبر) افلام هنديه 2023 تجهز القنبلة‬

‫لدي ما يكفي من السم للإطاحة بالحرس‬

‫خارج هذه الزنزانة‬

‫لكن لا أكثر‬

‫كيف بدت الدكتورة (كوبر)؟‬

‫خائفة‬

‫يبدو لي أنها مُكرهة على ذلك‬

‫ سنبقى هنا‬

‫ القنبلة جاهزة‬

‫إن شعر (لايرا) موجود في حجيرة داخل القنبلة‬

‫وهم يعتزمون فصلك عن قرينك‬

‫جيد‬

‫إنها ليست مصنوعة من الحجر‬

‫بل هي مصنوعة من أغراض افلام الناس‬

‫(لايرا)‬

‫الأموات‬

‫أأنتما على قيد الحياة؟‬

‫أجل‬

‫نحن زائران‬

‫ما موقع سيما كلوب كان يجب أن تأتيا إلى هنا‬

‫عودا أدراجكما بينما الفرصة لا تزال متاحة‬

‫ أين كنتم تختبئون؟‬

‫ افلام 2022 إنهم يستاؤون عند تبادلنا أطراف الحديث‬

‫عمن تتحدثين؟‬

‫إنهم ينصتون‬

‫أحتاج إلى مساعدتكم‬

‫أنا أبحث عن شخص‬

‫يدعى (روجر افضل افلام 2023 بارسلو)‬

‫يجب أن أحذرك...‬

‫ربما لا يرغب في رؤيتك‬

‫هل فاصل اعلاني أتيتما من عالم فيه قرناء؟‬

‫أجل‬

‫اسم قريني هو (بان)‬

‫كان قريني يدعى من اشهر افلام الجريمة من 6 حروف (ساندلينغ)‬

‫كان يظن أنه سيكون طيراً‬

‫لكنني افلام هندي 2022 لم أرغب في ذلك‬

‫لأنني أحببت أن يكون مكسواً بالفراء‬

‫كان قريني (كاستور)‬

‫يتكئ على يدي ويغط في النوم‬

‫كان قريني يدعى وي سيما (ماتيبان)‬

‫اسمعي، هلا تساعديننا من فضلك؟‬

‫ ربما‬

‫ توخي الحذر‬

‫سوف يلفتان الانتباه‬

‫من المحرم لمس القرين التابع لشخص آخر‬

‫أليس كذلك؟‬

‫كيف تجرؤ على بديل ماي سيما الدخول بلا استئذان؟‬

‫أيجب أن أذكرك بمن يجب أن تنصاع له؟‬

‫أنا أنصاع we cima lone star 9-1-1 season 1 ماي سيما للرب‬

‫اغرب عن وجهي‬

‫وإياك أن تشكك في قراراتي مرة أخرى‬

‫لا بد أنهم هنا منذ زمن بعيد‬

‫أهذا مآل كل ايجي بست افلام شخص يأتي إلى هنا؟‬

‫هل شاهد 4 يو افلام هندية 2022 تبحث عن شخص أيضاً؟‬

‫كنت أسأل وحسب‬

‫عند مجيئي إلى هنا‬

‫كنت أبحث عن شخص‬

‫أختي‬

‫ ألم تعثري عليها إطلاقاً؟‬

‫ استسلمت بسرعة‬

‫لقد تركتِ أختك وحدها‬

‫عليّ العودة أدراجي‬

‫ مهلاً، لا، نحن بحاجة إليك‬

‫ أنا آسفة‬

‫(لايرا)‬

‫ هل من أحد هنا؟‬

‫ (لايرا)‬

‫(ويل)؟‬

‫(ويل)؟‬

‫(لايرا)‬

‫(بان)‬

‫(بان)! يجب ألا تكون هنا‬

‫هذا ما أردتِه‬

‫كيف...‬

‫(لايرا)!‬

‫معذرة، افلام مصرية كوميدية 2022 معذرة‬

‫ أين ذهبتَ؟‬

‫ تركتِني عند المرسى كي أموت‬

‫لا تقل ذلك‬

‫تعلم ما اضطرّني سيما فور لذلك‬

‫لطالما علمت في أعماقي‬

‫كم أنت فاصل أنانية‬

‫أتعتقدين حقاً أنك هنا من أجل (روجر)؟‬

‫لقد قتلتِه بالفعل‬

‫لقد أتيت إلى هنا لإرضاء غرورك‬

‫والتخلص من الشعور بتأنيب الضمير‬

‫وأداء دور البطلة‬

‫هذا ليس حقيقياً‬

‫أنت لست حقيقياً‬

‫(ويل)!‬

‫(ويل)!‬

‫(لايرا)!‬

‫الكلام الذي قيل لا يعكس الحقيقة‬

‫أنت شخص طيب‬

‫هذا المكان مريع‬

‫لا يمكن أن يكون هذا مآلنا، صحيح؟‬

‫حتماً ثمة مكان آخر‬

‫لا يمكن أن يكون هذا مثوانا الأخير‬

‫(روجر)‬

‫(روجر)!‬

‫(روجر)‬

‫(روجر)؟‬

‫(روجر)‬

‫هذه أنا‬

‫أعلم‬

‫(روجر بارسلو) بذات نفسه!‬

‫أنا صديقتك المقربة‬

‫لقد ماي سينما أتيتِ‬

‫كنت بحاجة إلي‬

‫لقد تغيرتُ...‬

‫كثيراً‬

‫وأنتِ تغيرت أيضاً‬

‫لقد اشتقت إليك‬

‫أنا آسفة جداً بشأن كل شيء‬

‫كان علي تركك تذهب مع الجبشيين والأطفال‬

‫ما كان يجب أن آخذك إلى (أزريل)‬

‫لو تركتك تذهب‬

‫لما كنتَ هنا، صحيح؟‬

‫ لكنتَ...‬

‫ لم تكن هذه غلطتك‬

‫أردت الذهاب برفقتك‬

‫ليت الظروف كانت مختلفة‬

‫أنا (ويل)‬

‫(روجر)، لا يمكنك البقاء مشاهدة افلام هنا‬

‫اسمع‬

‫سأهرّبكم جميعاً من هذا المكان، أعني ذلك‬

‫هذا ليس افلام مصرية كوميدية 2023 ممكناً‬

‫بل هو ممكن‬

‫أعني، إن المعاناة التي يعرضونكم لها‬

‫ليست أمراً مقبولاً‬

‫اسمعي‬

‫نظراً ماى سيما لعدم عودتك‬

‫فقدت فشار افلام الأمل‬

‫بشكل نهائي‬

‫أعتذر‬

‫أرجوك، يمكن أن نلم شملنا‬

‫كما في الأيام الخوالي‬

‫ أنت وأنا...‬

‫ توقفي‬

‫أتظنين أنني راغب في العودة‬

‫إلى العالم الحقيقي؟‬

‫على هذه الشاكلة؟‬

‫ (لايرا)‬

‫ ليس هناك ما يمكنك قوله‬

‫اسمعي، ما زلنا نستطيع مساعدته‬

‫لكنه محق‬

‫لا نعلم ماذا سيحل به‬

‫في حال مغادرتنا‬

‫إنها فكرة سيئة‬

‫اسمعي، قلتِ إن هذا المكان مريع، صحيح؟‬

‫وأضفتِ أنه يجب ألا يكون أحد هنا‬

‫وأنه كالسجن‬

‫إنه أسوأ من السجن‬

‫إذن هل ستتخلين عنهم ببساطة؟‬

‫لا تكفي عن اتباع شاهد فور يو حدسك‬

‫يجب أن نحاول...‬

‫لقد قطعتِ وعداً على (بان)‬

‫اصنع نافذة‬

‫ إلى أين؟‬

‫ أي مكان‬

‫يجب ويسيما سيما للجميع أن نغادر المكان‬

‫سأجرّ (روجر) جراً إذا اضطررتُ ذلك‬

‫حسناً‬

‫ماذا؟‬

‫ ما الأمر؟‬

‫ إنها لا تعمل‬

‫لا أشعر بشيء سوى الحجر‬

‫أي نوع من حملة السكين‬

‫يعجز عن استخدام السكين الخاصة به؟‬

‫حامل سكين تقوده فيلم سطار السعودي طفلة جاهلة‬

‫أي نوع من الأبناء يهجر والدته؟‬

‫سنرسل لها الكوابيس‬

‫وسنسمعها صرخاتنا أثناء نومها‬

‫لقد دمرت حياة كل شخص‬

‫اكترثت لأمره يوماً‬

‫لقد أتيت إلى هنا لإرضاء غرورك‬

‫وللشعور افلام شاهد فور يو بتميزك‬

‫ليت (ويل) لم يتلق بك قط‬

‫استمعا لما أقوله لكما‬

‫ استمعا إلي‬

‫ استمعا إلي‬

‫استمعا‬

‫استمعا‬

‫لا!‬

‫اسمع، فور يو افلام ديزني 2022 افلام اكشن 2022 لقد غادروا‬

‫كيف؟‬

‫لقد آمنتُ بقدرتي على سيما فوريو إبعادهم‬

‫فكرت فينا و...‬

‫كل شيء تعرضنا له‬

‫لم أسمح لهم بالتأثير عليّ‬

‫السكين لا تعمل هنا‬

‫لأننا على عمق كبير في الأسفل‬

‫يجب أن نبحث عن أرض أكثر ارتفاعاً‬

‫"يا صاحب النيافة... عرب سيد أرجوك"‬

‫فكرت في شيء للتكفير عن خطيئتي‬

‫برحمته وي سينما وبذكائك...‬

‫سيتم القضاء على (حواء)‬

‫لكن ماذا عن الثعبان؟‬

‫استنتج الأخ (بافل) أنها في عالم آخر‬

‫من يعلم إلى أي مدى يمكنها أن تعيث فساداً؟‬

‫ما رأيك في أن أتعقبها بنفسي؟‬

‫دعني أقم بذلك، أتوسل إليك‬

‫سأسمح لك بالقيام بهذه افلام رعب 2022 المهمة‬

‫للتكفير عن خطيئتك‬

‫سيدنا وأبانا الرئيس‬

‫سيكون ذلك أكبر شرف في حياتي‬

‫لن أخذل ثقتك بي‬

‫تلزمني عدسة‬

‫وجدته!‬

‫إنه الـ(داست)‬

‫الـ(سراف) هو موقع وي سيما الـ(داست)‬

‫أخيراً تستطيعين رؤيته...‬

‫ألقي نظرة من أعلى الشجرة‬

‫إنه يرحل‬

‫(أتال)‬

‫لقد فهمت‬

‫آسفة، أنا أفهم الآن‬

‫كنت تحاول افلام 2023 إخباري‬

‫بأن الأشجار تموت‬

‫ونحن أيضاً‬

‫ماذا تتذكر عن (جوردن)؟‬

‫أنت تتذكرها، صحيح؟‬

‫ما عاد لكلية (جوردن) وجود‬

‫هذا غير ممكن‬

‫أستطيع رؤيتها بوضوح‬

‫كل شبر وكل زاوية‬

‫وكل ممر سري‬

‫نعرف ذلك المكان كظاهر أيدينا‬

‫أتتذكر حينما تسللنا خلسة‬

‫إلى قبو موقع سيما لايت النبيذ‬

‫وأصبحنا افلام مصرية 2022 مغطيين بشباك العنكبوت والغبار؟‬

‫لا أعرف كيف موقع افلام وصلنا إلى هناك حتى‬

‫"(لايرا)، هل ستنتظرين؟"‬

‫كان مفتاح البواب بحوزتنا‬

‫أجل‬

‫"عثرنا على قارورة معتقة لنبيذ (توكاي)"‬

‫كانت رائحتها كريهة‬

‫كان مذاقها مريعاً أيضاً‬

‫لم يسعنا التوقف عن الضحك لساعات!‬

‫ما كنا لننفد بفعلتنا‬

‫لو كان لدينا أبوان، أليس كذلك؟‬

‫صحيح‬

‫والسطح‬

‫السطح‬

‫كنا على ارتفاع كبير هناك‬

‫هل تتذكرين ذاك الغراب ذو القائمة المكسورة؟‬

‫أجل، اعتنينا به حتى تعافى تماماً‬

‫(لايرا)‬

‫يريدون الاستماع افلام اون لاين إليك‬

‫أتساءل عما ستقوله‬

‫اسمي (لايرا)‬

‫أتيت إلى هنا بحثاً عن صديقي‬

‫لم يكن موته عادلاً‬

‫لذا ارتأيت أنه يجب ألا يكون هنا‬

‫ما لم أدركه‬

‫هو أنه يجب ألا يكون أي منكم هنا‬

‫هذه ليست الحياة بعد الموت‬

‫بل هذا معسكر اعتقال‬

‫مرحباً يا قوم، أنا (ويل)‬

‫وأنا أملك سكيناً يمكنها اختراق العوالم‬

‫إذا تبعتمونا‬

‫أرجو أن أتمكن من استخدامها‬

‫لإخراجكم من افضل افلام 2022 هنا‬

‫لا أستطيع أن أقطع عليكم أي وعود‬

‫لكنني سأحاول‬

‫أعلم أنكم خائفون‬

‫لكن يمكننا الخروج من هنا‬

‫ماذا سيحل بنا في حال مغادرتنا؟‬

‫ لا أعلم‬

‫ لا تعلمين‬

‫ما افلام نتفلکس 2022 إذا كنت سأتمكن‬

‫أو لا أتمكن من رؤية ابني مجدداً؟‬

‫لا يمكننا أن نعلم إلى حين حدوث ذلك‬

‫لن أكذب أو أقدم ادعاءات‬

‫لكن هنا، لا توجد سوى الأفكار‬

‫أما افلام هندية 2023 في الخارج، فالأشياء الحقيقية هي المهمة‬

‫أتظنين أن تلك المخلوقات‬

‫ستسمح لنا بالمغادرة ببساطة؟‬

‫عندما كنا على قيد الحياة‬

‫قيل لنا إننا سندخل الجنة بعد موتنا‬

‫ولهذا وهب الكثير منا حياتهم‬

‫وأمضينا سنوات في الصلاة والصمت‬

‫بينما تلاشت مسرات الحياة من حولنا‬

‫لا افلام فور يو يهمني ما سيحدث لنا عند مغادرتنا‬

‫فأي شيء أفضل من هذا‬

‫ها افلام هندي 2023 هي‬

‫الفتاة‬

‫(لايرا)‬

‫(لايرا)‬

‫ماذا كنت تقولين افلام عربي آنفاً؟‬

‫تلك مسلسل الاصلي القصص، حول هاي سيما ماذا كانت تدور؟‬

‫كانت سيما كلوب المؤسس عثمان الموسم الرابع حول العالم الخارجي‬

‫هل تتذكرون حياتكم السابقة؟‬

‫كل الذكريات تتلاشى‬

‫هلا وقت الافلام تحكين لنا بعض القصص‬

‫بحيث نسترجع ذكرياتنا أيضاً؟‬

‫قصصاً واقعية؟‬

‫حسناً، افلام اكشن 2023 مترجم افلام رعب 2023 كامل جديد كنت أقيم في مكان يدعى‬

‫كلية (جوردن) مع افضل افلام (روجر)‬

‫كان يضم مبانٍ جميلة وأبراجاً عالية جداً‬

‫بدت كأنها قد تبلغ افلام كرتون عنان السماء‬

‫وكانت فيها أماكن اختباء ممتازة‬

‫ كنا نتسابق‬

‫ في المطبخ‬

‫وأسفل السلالم ونعود إلى السطح‬

‫ كنت أفوز في كل مرة‬

‫ لا، لم يحصل ذلك‬

‫كنت تغشين في كل مرة‬

‫ماذا فشار أيضاً؟‬

‫والتقيت بـ(ويل)‬

‫لقد أعد لي عجة ولم أكن أعلم ماهيتها‬

‫فارتأيت أن أعدّ له واحدة في سيما روم ميراكولوس الموسم الخامس المقابل‬

‫وكان ذلك طريفاً لأنها تركت فيها قشر البيض‬

‫ و(يوريك)‬

‫ الدب المدرع‬

‫لديه مخالب بحجم يدك‬

‫إنها مبهرة‬

‫عندما افلام اجنبي التقيت به أول مرة‬

‫كان قد فقد درعه‬

‫لكن بفضل بوصلة الحقيقة‬

‫تمكن من استرجاعه‬

‫ذهبنا إلى قلعة (بانزيبورن)...‬

‫هل يجب أن تنتهي الأمور‬

‫على هذه الشاكلة بيننا؟‬

‫ماذا سيما ماي سيحدث بعد هذا برأيك؟‬

‫هل تظنين حقاً أن الأوضاع ستتحسن؟‬

‫دكتورة (كوبر)، هذه ليست إرادة "الرب"‬

‫تعلمين ذلك‬

‫هذه إرادة رجل ضعيف وخطير‬

‫وإذا كان مستعداً افلام مصريه 2022 لقتلي‬

‫فكري فيما سيفعله بك‬

‫عندما ابتكرنا هذه التكنولوجيا معاً‬

‫كنت افلام سينما تعتقدين أنك تفعلين الأمر الصائب‬

‫على غرارنا جميعاً‬

‫لكننا كنا مخطئين‬

‫يجب أن يتوقف هذا‬

‫لا يسعني أن أصدق أن هذا اليوم قد حل‬

‫أيتها الدكتورة (كوبر)‬

‫لست تفهم هذه التكنولوجيا يا (هيو)‬

‫ستفجر السلطة التعليمية‬

‫وكل من فيها ببساطة‬

‫بل على العكس‬

‫إن تصميمنا بسيط على نحو رائع‬

‫الفصل بين البشر والقرناء...‬

‫لا تشرح لي التكنولوجيا التي ابتكرتُها بنفسي‬

‫لقد تطورت بعض الشيء منذ تصميمك وى سيما الأولي‬

‫إن قنبلتنا مزودة بآلية توجيه‬

‫سنستعمل خصلة شعر ابنتك لتحديد موقعها‬

‫والقضاء عليها فورياً‬

‫كل ذلك في لمح البصر‬

‫إنها تتمتع بدقة وقوة إلهية‬

‫إنها مثال استثنائي عن خطة الرب‬

‫إنها جميلة بنظامها‬

‫لقد فقدت صوابك‬

‫أنت مختل‬

‫أحثك على عدم المقاومة‬

‫اذهبي بملء إرادتك وقد يكون هذا خلاصك‬

‫أتعتقد فلم ذلك حقاً؟‬

‫أن "الرب" فرض كل هذا؟‬

‫لم يتخلّ الرب عنك يا (ماريسا)‬

‫ما زال باب التوبة مفتوحاً‬

‫دعني أباركك للمرة الأخيرة‬

‫أبعد...‬

‫يديك افلام اكشن عني‬

‫فهما ملطختان بالدم‬

‫ولا يصلح استخدامهما لهذا الغرض‬

‫لنستهل العملية‬

‫وتعرفت إلى صديقي الملاح الجوي (لي)‬

‫عن طريق (يوريك)‬

‫ وأتذكر ركوبي لأول مرة على متن منطاده‬

‫ هيا‬

‫كان عالياً جداً في السماء‬

‫بحيث كانت الرياح تضرب بشرتي‬

‫وعند افلام رعب النظر من حافة المنطاد‬

‫كنت أشعر بالدوار‬

‫لكنك شعرت بالأمان مع السيد (سكورزبي)‬

‫إنه أول شخص راشد وثقت به‬

‫قصصك جعلت الحياة تدب فينا من افلام مصريه 2023 جديد‬

‫ أجل، أجل‬

‫ أتذكر الآن‬

‫شعور الجسد الدافئ والتمتع بالحواس‬

‫سآتي برفقتك‬

‫ نحن... نحن سنأتي برفقتك‬

‫ أعتقد ذلك‬

‫هيا‬

‫اجعلني شبحاً‬

‫ما اسمك؟‬

‫لا بد أن لديك اسماً‬

‫ليس لدي اسم‬

‫لننطلق... وتذكروا قصصكم‬

‫لا أعتقد أن بمقدورهم إلحاق الأذى بنا‬

‫في حال تمسكنا بما هو حقيقي‬

‫معذرة، أستميحكم عذراً‬

‫أفسحوا المجال‬

‫(لايرا)‬

‫(لايرا)!‬

‫أنت على قيد الحياة‬

‫أنت على قيد الحياة‬

‫عجباً أيتها الصغيرة، ماي سيما بالطو لقد أثر خطابك فيّ‬

‫(لي)... أنت...‬

‫أجل، الأمر ليس سيئاً كما يبدو‬

‫ كيف انتهى بك المطاف...‬

‫ رامٍ متحمس ما حالفه الحظ‬

‫لم أشعر بذلك، أؤكد لك‬

‫لا بأس، نحن معاً الآن‬

‫لفترة وجيزة فقط‬

‫يجب ألا تكوني موقع شاهد فور يو هنا‬

‫وقد سمعت أن لدى فتى مجنوناً‬

‫خطة لتهريبنا من هنا‬

‫أعرفك إلى صديقي (ويل)‬

‫أعرفك إلى (لي)‬

‫قائد منطاد‬

‫تسرني رؤيتك أيها الشاب‬

‫سيخرجنا (ويل) من هنا‬

‫بواسطة هذا بحسب ما أرجو‬

‫هل عثرت على حامل السكين؟‬

‫لقد سبقتِ الشامان إليه‬

‫(لايرا سيلفرتونغ)... موقع افلام بدون اعلانات عندما ظننت‬

‫أنه ليس بمقدورك إبهاري بقدر كافٍ‬

‫نحن نبحث عن مكان مرتفع‬

‫بحيث أستطيع إحداث شق للخروج من هنا‬

‫عليك بذلك، ثمة أشخاص متخلفون عن الركب‬

‫سأجمعهم من أجلكما‬

‫سأوافيكما‬

‫حسناً يا رفاق‬

‫اتبعوا الآنسة‬

‫اتبعوا الفتى حامل السكين، أجل‬

‫هل تريدون مغادرة المكان؟‬

‫أتودون رؤية السماء مجدداً؟‬

‫هيا بنا، اسلكوا هذه الطريق‬

‫واتبعوا الفتى حامل السكين‬

‫هيا بنا‬

‫اجث على ركبتيك أمام الرب يا (ألاربوس)‬

‫لقد أتيت بأخبار أيها الوصي على العرش‬

‫أين أخبار تظن أنها قد عالم سكر تهمني؟‬

‫لقد كنت مُعتقلاً‬

‫لدى البشر‬

‫لقد أسس اللورد (أزريل) الفاني جمهورية‬

‫إنه يسخر التكنولوجيا‬

‫للتصدي واي سيما لك‬

‫ تابع‬

‫ بمقدورهم التلاعب بالـ(داست)...‬

‫وقد تحدث (أزريل) عن حامل جديد للسكين‬

‫لا قيمة لتلك السكين بالنسبة إلي‬

‫حاملها هو فتى‬

‫ولم تفسده قوة السكين كالحملة الذين سبقوه‬

‫في هذه الحالة...‬

‫ربما قد آن الأوان‬

‫لإرسال تحذير إلى أولئك الفانين‬

‫يمكنك أن تواصلي التغني بهذا المذهب‬

‫لتبرير قتل طفل‬

‫لكن لن يغير ذلك افلام اكشن 2023 شيئاً‬

‫أنت تعبدين كذبة!‬

‫لو أنها بقيت معنا‬

‫وكرست حياتها للرب‬

‫كما نوت أن تفعل من قبل‬

‫لكانت الآن في طريقها إلى المملكة‬

‫ أنت وأمثالك لن تنالوا الحرية يوماً!‬

‫ عبر ستار من الفساد والدموع...‬

‫إن السلطة التعليمية‬

‫هي موقع سيما سلطة تخشى ما لا تفهمه‬

‫عار تلك الطفلة...‬

‫وهي تنقلب ضد أتباعها‬

‫كن فيلم سطار السعودي سيما كلوب سريعاً في غضبك العذب‬

‫"كن عظيماً في سيما كلوب افلام هنديه 2022 انتقامك"‬

‫لن...‬

‫أشارك في هذا‬

‫هل تعرقلين شاهد فور عملي أيتها الدكتورة (كوبر)؟‬

‫لن ألحق بها الأذى‬

‫لا!‬

‫(لايرا)‬

‫أيها الرب‬

‫منقذ هذه الأرض‬

‫اجعل لنا نوراً ملازماً لنا على الدوام‬

‫لمَ لا يفلح هذا؟‬

‫المفتاح! المفتاح!‬

‫أتظنون أن الـ(داست) يمكن أن يصنع الأرباب؟‬

‫لنرَ كيف ستتدبرون أمركم من دونه‬

‫تمت الترجمة بواسطة شركة (ترجمة) المتحدة‬

‫عمان الأردن‬

His Dark Materials is

set in an alternate universe

populated with iconic characters,

daemons and magical creatures.

To adapt this for television,

there's no doubt that

this muchloved story

would be an ambitious undertaking.

It's got to be epic,

it's got to be a grand scale.

You can't really just pop a book

and make it a TV series.

That's probably the

paramount challenge, I think.

I believe it will translate

really, really well.

Follow production as they tackle

this challenge heon

from envisioning the costumes...

Everybody that reads the books

is going to have a different

imagination

and they're going to visualise it

differently.

..building the worlds...

It always stuck in my mind

as something

that was going to be a very hard

thing to try and do,

and it's such a fun challenge that

I defy anyone to not think it would

be utterly brilliant thing to do.

..mastering the daemons...

The scale of this is,

I would say, unprecedented,

especially from a creature

perspective.

This is one of the most ambitious

projects I've ever come upon.

I just thought, "This is utterly

extraordinary",

and I wasn't entirely sure

that it was doable.

Yeah, this show is above and beyond

what has ever been done before.

..and the challenges of writing

the screenplay.

to the original.

I am a fan of these books,

and I want people

who are a fan of these books

to feel pleased

with this adaptation.

What we're bringing

to the screen

is a faithful adaptation

of the books people love,

but it's just plus, it's just more.

Buckle up as we delve into

Making His Dark Materials.

His Dark Materials has spawned

a dedicated fan base,

which unsurprisingly

includes myself...

Lyra, I promised once to do

everything I could to protect you

from anyone who might do you

harm.

..and some of our

key cast.

His Dark Materials is one of my

favourite book series of all time.

I reit with my wife

when she was still my girlfriend.

We hjust started dating

and it was one of those trilogies

we retogether. And it's such

a beautiful coming of age story,

it's such a beautiful world,

it's so smart, it's so full.

I've reit three times, I think.

I've listened to the audiobook

twice,

I've listened to the

BBC radio adaptation twice.

I'm a massive fan.

Philip has created such a unique

world and such a complicated world.

Which means it's... definitely has to

be, like, dramatised in some way,

but it's very hard to do.

And you feel utterly magnificent.

Taking on these muchloved

characters

was filled with mixed emotions.

They told me, "We're doing

a series on His Dark Materials."

which I believe is what the material

deserves, it's such a rich world,

so I was in from that dinner onward.

I hto do a musical number

and get into a bar fight

on the first and second days

of filming respectively.

Those are two dreams for an actor.

GLASS SHATTERS

When I heard that they were going to

turn it into a TV series,

I got very excited as a fan.

There's never really been a part

in it

that I've thought I should play.

I've never really seen myself as

Lord Asriel.

Came in, walked into the

rethrough and was like,

"Right! I'm Lord Asriel!,"

smashing it and really enjoying it.

And I've been loving it.

That was clumsy, wasn't it?

It most certainly was

nerveracking.

I was like, "My God, so many

people who have rethe books

"and love Lyra." So it's very,

very nerveracking thinking

that you've got to live up

to everyone's role model.

Funny, the character was so exciting

and interesting and bold

and colourful and so many things

to explore with her.

That really excited me, but, yes,

there's a huge fan base,

and she has a huge following

and people love her

and despise her in equal measure.

Bringing this iconic tale

to television may seem

like an obvious decision, but it was

actually a long time in the making.

I rethe books when they came out

And I really felt that this material

was something I wanted to make.

I would, every now and again,

reach out to Philip's agent,

then to New Line, and keep pitching

for why I felt these books

should be adapted for television.

I mean, to say I circled

like a shark

makes me sound more aggressive.

I think I probably just

waited on the porch

like a really loyal

and faithful puppy.

There have been various attempts

to make adaptations of this story

in all sorts of different media.

I was always attracted to the

idea of longform television,

as we now call it,

because it does give the opportunity

to tell a long story in full.

It's a wonderful illustration

of the skill and the talent

and the dedication

we now have in the British TV world.

I'm very privileged to have seen

my story taken over by BWolf

and made into such a spectacular

piece of work.

With Philip Pullman's blessing,

it was time to get this

project set in motion.

First up,

who would pen this ambitious tale?

When it was announced that we h

the rights to His Dark Materials,

Jack put his hand in the air

really early on

and just said that he really wanted

to do it,

and what's more, he really wanted

to write all of the eight episodes.

Most shows of this scale,

you've got a writers' room,

you got a lot of people breaking

the episodes.

We're, like, on the Aaron Sorkin

model.

Jack Thorne is, like,

writing every script.

The task I always set myself

is to follow a truth of the books

so you can't always put

everything in the same order,

but fundamentally, you are still

going in the same direction.

It's hard and you often find

yourself in a culdesac

because you've made a series of

decisions

which have taken you too far away.

It's kind of difficult in a much

more passive form of entertainment

like TV or film

where you are sitting, being fed.

You only get to see what

we show you,

and you don't have time to

let your imagination ruminate and,

or a sentence really kind of roll

around in your mouth

or in your mind.

You're on to the next thing,

and if you don't keep up,

you've lost it, you know?

One bonus of having a living author

is that you can pick them up

and you can shake them

to find all the story

that falls out.

So going, "There's a gap here,

Philip, so what happened here?"

You know, "Who's this person?

Where did they start from?"

All those questions.

Um, but there's also the big general

questions you ask, which is,

"What would you change?"

The word itself, adapt...

The story has to be adapted

to suit the nature of

the medium into which it is going.

It's the same thing for television,

same thing for movies,

same thing for radio.

It's inevitable. I wasn't, um,

going to be insistent

that every single item in the story

hto be exactly presented

as it was on the page.

Whilst Jack got to grips with this

rich adventure,

the art department was tackling

the alternate universe

that is Lyra's world.

The design department

is extraordinary.

I mean, just extraordinary.

The scale and the level of detail

is so incredible.

Lyra goes through so many different

forms of existence and worlds,

so it's a huge job.

It just shows the amount of respect,

I think,

that people have for the project,

that producers have gathered

together

this incredibly talented

group of creatives.

You get the chance to have

reallife, grownup playgrounds

to inhabit and populate

the world of makebelieve.

And that just adds such joy.

Asriel's lab has so many little

things, they are so detailed.

It's like they have every

single switch.

It actually really helps,

actingwise.

To understand how to build

the beginning,

I wanted to really understand

all three books

and the story that Philip

htold across those three.

I worked out from, um, from a kind

of, like, an emotional perspective,

Philip was using nostalgia,

using memories,

using kind of his own childhood

nostalgia, maybe,

so I used that ideology, but tried

to move it forward

so that newer audience

could find some common ground,

with the way we were telling

this story.

One of the biggest problems

with this story is how crazy

and fantastical and amazing

and kind of vast it is.

And ultimately, it's a very complex

thing to put in front of the screen

and I think the presumption might be

that you would

do it all against blue screens.

It's way more enjoyable to try

and really feel the environment,

I think, to try and put in camera

as many of the realworld elements

and ground this whole place, this

world, in reality as much as we can.

You know, each area and each space

has been quite carefully curated

to tell the story.

I love the airships,

they're really fun.

And we've hthree different

kinds of airships,

so we hone that was like a tube,

you know a London tube,

one that's like a sort of private

jet, and one that's a military one.

So I mean, they're amazing,

I could spend all day in those.

I absolutely love

the set of my boat.

Everybody walks onto that set and

really wishes they could live there.

On every shelf, in every cupboard,

every cushion,

I cannot tell you

just the extraordinary,

microscopic attention to detail.

I will give you that.

I've just been doing a lot of scenes

in the frozen wastes of the North

and you walk onto set

and it's actually pretty stunning.

And the light is incredible,

you are lit by our Northern Lights

a lot of the time,

so it's like being in a brilliant

psychedelic disco. Sometimes.

In a kind of frozen north

sort of way.

This theme of bespoke design

would need to be threaded into

everything, including the costumes.

I think every costume on this show

is incredibly thought about

and impressive.

It's kind of a free for all

because it's this alternative world.

The clothes you wear determine

the way people see you.

It's interesting, the style of the

show and the sort of period,

because it's kind of not

set in a particular period.

Again, we have that freedom

but we push the boundaries of that

and modernise it slightly.

I like it.

e your colour.

That era where you're never without

a shirt and a tie, you know,

even if you're not wearing a suit,

you've got a shirt and a tie.

And this might be

one of the only times

you don't see his shirt and tie.

From my point of view,

the books give me

all the guidance that I need.

I'm always going back to the

books to find out

what Pullman has said about

different characters

and what Pullman has said

about the world.

There has to be a logic within

Lyra's world.

We've dressed people in

nondefinable clothing.

It's trying to mix up things

that exist

and create a look that you believe,

but is timeless.

There's different technologies in

Lyra's world.

They travel by zeppelin

so there would be certain things,

fabrics and technology,

that wouldn't exist in Lyra's world,

so that then will influence

how people dress.

The costumes are really interesting.

There's something slightly military

to him, even though he's a,

he's been a theologian and he is a

scientist.

He's also an adventurer

and explorer,

I think we've reflected that

really well.

I loved the first costume

of all of them.

But then I got my beautiful

fur coat,

which is a bit of a pain when

you're doing location

and it's boiling hot in September,

but it's great for when you're at

the studio and it's freezing.

Do you trust me?

Caroline is an incredible designer

and we hgood fun, actually,

because the Gyptians are so cool.

You'll see, when you see

all of the extras and everything,

we were like, "We are so cool!"

Um, so we do, we have a great

old time with our costumes.

With the Gyptians, their clothing

has to be practical,

and there's a sense of history

with the Gyptians,

so their clothing should look

like it's been passed down.

So it's all mended,

it's broken down.

The Gyptians have a harmony,

a real harmony with their daemons,

and so they celebrate that

with their jewellery

and, um, some of the patterns

I've put into their clothing

and their knitwear.

I don't think anybody could really

say what Lee Scoresby,

what his look was going to be.

And I hthis sort of

quite strong idea

taking in more of the fact

that he's an aviator

and he's in this balloon,

give him the kind of Texanish vibe

from the book.

Yeah, man, I have never dressed more

badass in my life.

I've worn blouses on stage,

I've worn guayaberas on stage,

but, like, going full steampunk

cowboy is,

is very much my aesthetic.

I'm very much enjoying it.

I've hthese most, I mean,

glorious costumes.

I mean, the best thing about this

job is, you know,

that she's going to look good.

You know, she wears heels

in the Arctic.

I mean, everything's been

made for me as well,

so it's a real pleasure to have

these things designed and made.

I love my big Arctic outfit.

I ha very clear idea

of how I saw Mrs Coulter.

She hto have a beautiful,

but really practical coat.

I'm really, really pleased with it.

I think she looks fantastic in it.

The costumes aren't the only part

of a character's persona,

there are also their daemons

to think about.

Bringing these to life

was an immense challenge.

We went through hundreds

of iterations

of how we could do the daemons.

And in the end we went back

to Philip's version.

There's so many things

that are impossible to do on screen

that he sets us the challenge to do.

They have to be CGI. I mean,

that was really clear,

fullon, furry critters, CGI,

photoreal.

Those daemon animals have to

give a performance.

They are representing something

of what the character is

thinking or feeling.

No, Lyra, don't! The retiring room

is expressly forbidden.

Making photoreal, nuanced visual

effects creations as creatures

or characters is kind of our bre

and butter, it's what we do.

The worry was the volume.

A show like this, you know,

it has what is, what is undeniably

a high level of visual effects

as its baseline

because it is very much

part of the pulse of the show.

Probably one of the hardest

creatures that we've hto create

is the Golden Monkey because

that is a character that,

first of all,

and it's no small feat,

has to play alongside Ruth Wilson.

And we have to her

performance.

Sometimes we have to be

part of her performance

and sometimes we just have to

get out of the way

whilst still having a monkey

on screen.

And we have to do all that with

something that doesn't talk,

so we have to do all that with

various, with body language

and just nuanced facial expressions.

We have these daemons,

which adds a whole other dimension

to what this, what

Philip Pullman's world is about,

that are with you all the time.

So to put that on screen

is quite difficult.

And in the end they decided that

on the day,

we would have a series of puppets

that would help us,

but also the camera team and also

the CGI guys on the other side

to work out what our

daemons were doing.

So we hto build representations

of those things

that would give the actors

an understanding

of the space that they filled

and the weight that they might be

and the interactions

that they hwith them,

without it being too overly present.

The directors also wanted some

emotional sense of this thing,

because it's not good enough

just to have a ball on a stick,

you know, you need something

to respond to.

HESTER SIGHS Here we go again.

Friendly place.

And working with Framestore, we knew

they hto fill the space, almost.

They hto be smaller than

the final thing

because they could move

and affect people, objects,

props, bits of scenery.

Having a reference for performance

or timing or rhythm in a scene

is really, really helpful.

For example, Brian, who played

the Golden Monkey exclusively,

who pretty much became Ruth Wilson's

own daemon, he was incredible.

You know, he would pick up on the

rhythm of a scene really,

really beautifully and start

picking up

the nuance of what the monkey

would do and why and where.

And although we sometimes changed

the position,

there was kind of like an energy

on camera

that he put into it

that really, really helped us.

And even though over time

in the edit,

the emotion of a scene may change

or the timing of a scene may change,

it's always really good to have

the initial sort of on set instinct

of a puppeteer and a director

with a puppeteer.

So they were pivotal for us

being able to get through the show.

A puppet would be used in a pass

to say,

"Well, it's over here and this is

what it's going to do."

It may scurry up,

it may be sitting still.

But we have an emotional accuracy

in where it is, at the right time,

and get the beats

that are part of the story.

Lyra, the gift the Master gave you.

They're so amazing, they really do

help because if not you're like,

"Where's Pan?" But then

you do the pass,

and you're like,

"This clears everything."

And it's so fun working with them

because the people who do it

are really nice also.

Did I keep any? I, I, I...

I got an ermine.

I love my puppet!

Yeah, I love,

I love Brian, I love my puppet.

I'm like, "Brian, where are you?"

Every time I do a scene

I'm like, "Brian!"

Coming in as Golden Monkey

performer,

it was very exciting

because they said,

"All right, we've got Ruth Wilson,

"we want you to work with

her as the Golden Monkey.

"You are going to be

one concise unit,

"so you need to be able to work

together."

Which means Ruth and I

got a rehearsal room

for a week and a half straight,

pretty much.

She's never worked with

VFX, in this capacity,

so having something that is there

that is also not there.

So it was very exciting just

to create that world with her.

He was giving me some monkey moves,

because he walks like a mon...

Well, you know, he sort of animates

like a monkey,

so he would help me work out

anything I want to bring

into Mrs Coulter

in terms of body language.

We worked out a very important

psychological relationship

between the two.

To make sure that all the daemons

were

as accurate and realistic

as possible,

the production team

han expert on hand.

So I worked with the creature

department building the puppets

so we would get them, I would

get them sort of reference,

um, sizes and measurements

and colours

and we'd say, "This is what it

should look like."

Another property is, we, um,

when they first started, they would

often come into my office

and kind of look at the footage

that we'd got

so they could get a feel

for how the animals moved.

The monkey, as well, with Brian

was another one

that was obviously a big,

big character

that we wanted to get as much

emotion into as possible.

Because it doesn't speak,

so the only development of that

character comes from movement.

MONKEY SHOUTS

One of the best things, in my eyes

as a biologist, from the books,

is that Philip Pullman

did such a good job

of casting the animals

for the daemons.

Some of the more solitary characters

like Lord Asriel

has a snow leopard,

and you just think, you know,

that snow leopards as a kind of

species in real life,

you know, they're kind of

mysterious,

they're kind of very enigmatic

and charismatic,

they survive by themselves

in very harsh environments,

and you think, "Well, actually,

that's what Lord Asriel is."

LEOPARD GROWLS

We actually worked together.

You're working with another

actor in a lot of ways.

And I love Stelmaria

and I love the fact that we can work

symbiotically as a duo

because everybody in Lyra's world

works as a duo.

So even just walking into a room

we were like,

"Who walks in first, me or Stel?"

You know, and it's like,

I think it's a dangerous situation.

I think Stel might go first

as her senses are more

in tune than mine,

so she'd maybe run in, scope it,

and I come in after her.

Do you know what I mean?

And that's quite...

Just decisions like that

are really interesting to me.

Lyuba, soul, companion

and protector of my son.

That was really, really useful

just because it constantly

reminded us of their presence.

Just to have a tangible

nature of something,

just for its height,

for the way it might move,

for the size of it, you know,

or the weight of it.

You know, if you've got

a bird on your arm,

then it's very important

to storytell

that there is some weight

behind that.

It informs everything,

it's sort of the missing actors

in the scene at any given time.

It's really wonderful,

and the puppeteers here

are so incredible that, you know,

as soon as Hester's in their hands,

she comes to life.

Especially with children around,

it's important that

those puppets were there, I think.

It doesn't take very long

for a child to attach something to a

puppet, you know.

And watching that has been

really good fun.

They're vital to the piece,

and without that,

it wouldn't be the show it is.

Yes, we are in a world

full of makebelieve and magic,

but it helps to have a little

magical assistance, shall we say.

HE LAUGHS

The daemons weren't the only

magical component to this story.

There was one particular prop

that was integral to the show.

What is it? ethiometer.

If you rePhilip's description,

it embodies the description

of Lyra's alethiometer,

but it's practically, it's just has

a different form to it.

And that also fits more,

I think,

with the midcentury sense of

timelessness that we were going for

than perhaps something

that feels more elaborate.

I loved the alethiometer,

it's brilliant, it's really heavy.

I actually h like, the shoulder

bag from Mrs Coulter's episode,

it kept on breaking

because of the weight of it.

But it's amazing. It has literally

all of the drawings.

You can, like, move the needles.

This is another

bit of a design journey

because of what it means to the

audience, what it means to the book.

And with the alethiometer,

there wasn't really

a conscious decision

to make it not round,

cos it is kind of round as it were,

but there was a kind of feeling

I hthat

I didn't really want it to look

like a Victorian pocket watch.

Ironically, actually, I was trying

to find something that probably

was not inside the mind

of the fans,

ie, round, for a start, because

I wanted to explore other shapes

and feelings and sizes.

It wasn't to be controversial,

it was actually just,

um, trying to not

push the audience away

because they'd go,

"Well, I'm not interested in

"a Victorian pocket watch,"

you know? Just...

I wanted it to, like, look special.

I break everything, but I did not

break the alethiometer,

because Props were like,

"If you break the alethiometer,

"that is very expensive."

I think our alethiometer

is really special.

Um, and it's special in its own way

and I hope people will like it.

From designing the little details

to construction on a grand scale,

production really did impress

with their Nordic fishing town.

Trollesund in particular

has been my favourite

because you really are transported

to a small, gritty,

hardbitten, dangerous outpost

somewhere far, far away.

Go see the witches' consul,

get whatever help you can

and then we leave here

as fast as possible.

And they've got half a dewhale

and the blubber machine,

and it's just all so real

and visceral.

Just blows my mind.

It's exactly what you want when

you're fulfilling a fantasy world

that so many people have imagined

in their own minds.

I was looking at a window

and there was, like, lentils or

something,

but it ha label

about how much these were.

Now, that was never, ever

going to be featured,

all those jars and bottles

and things,

but someone htaken the time to do

all that,

and that's what gives it...

You think it doesn't matter,

you think, "Well, nobody's

going to see that."

But actually, it does matter.

Building this entire town wasn't

an ostentatious affair.

There was actually a pragmatic

thought process behind it.

Dan May and I were very closely

working together, as we do.

He saw it as a kind of weak spot.

We know it's going to be expensive,

we know it's going to be a huge

undertaking to do it authentically,

do it well

when actually, the cost of the bear

and the daemons

and things like that

are going to be extraordinary

and if you then put

environmental work in every shot,

you've got real problems.

It was an amazing feat,

it was literally a whole town

with interiors, exteriors, a dock,

roofs and it was for one episode.

We literally squeezed every bit

of that town out for that episode,

and I think it's very exciting.

Dan May and I, we'd work together

because I'd want him

to try and work out

the gap between the VFX and

live action world with me, you know.

It's what we do, him and I

have worked together for years.

By the time Trollesund came round in

preproduction,

we already h um,

done a lot of concept art for Joel

and what we thought it would be.

And then from that, we generated

a bunch of buildings and things

and you can orientate them around

into various different layouts.

We hto basically find this

location that really didn't exist.

We found this quarry, so part

of the process was to scan and plan

that environment out so that

and some more complicated previs

sequences involving the bear.

Um, so two big sequences we did were

the bear armour retrieval sequence.

If it was a normal chase scene

with humans,

you'd shoot it very, very

phonetically and cutty

and you'd have a lot of different

shots in it

and you'd kind of, you'd fly

the camera round the place.

And what we saw in the previs

was actually by slowing it down

and seeing the sort of

scale and geography of this enormous

beast rampaging through town.

So because of the previs,

I actually ended up shooting it

a lot, a lot simpler than I would

have without the previs,

which means you save an enormous

amount of time,

you save an enormous amount of money

on VFX.

So it's an expensive process,

previs, but it's, without question,

does... you know, absolutely,

definitely saves you time

and is a really, really supportive

thing,

both from a production level,

but also creatively as well.

Iorek is key to this story

and like the daemons,

he needed to be represented on set.

Performing this role

was a novel experience for Joe.

Iorek Byrnison,

can we talk with you?

I know the people you are seeking.

I've done characters

and voiceovers work

and motion capture before,

but obviously I've never done

puppeteering,

which was... It's a challenge.

I mean, if you've never done

it before, it's quite challenging.

When you play a character like this,

you'll have to know how they move

before you know how they act,

like, before you start acting.

And so it was very important for me

to understand the weight of him,

you know,

I can't move my feet the way that

a polar bear moves his front paws.

And so was important to understand

all of that technically

before we started filming it,

but also very important for the

other actors, I think, and me

to, um, to have in those scenes

because it just helps

the whole atmosphere of

having a giant creature next to you.

The reference dots, um,

as glamorous as they are,

you, yeah, you kind of forget

about it,

it becomes part of the costume,

really.

So when I have the camera

in front of my face

it captures all of the movements

that I have

and they use the dots as references

to drive the animation.

But it's so rewarding

because it's so liberating.

You know, you get to...

It's very theatrical in a sense

that you get to play this

largerthanlife character.

And I love playing

largerthanlife characters

because it means that you have to

use your creativity

and your imagination to,

to realistically produce

something that people can relate to.

I am not for sale.

Whilst Joe dedicated himself

to performing lorek,

there was still a technical issue

to deal with.

How would Dafne ride this

enormous bear?

We didn't want to just have

a digital version of Lyra, you know,

galloping along on a digital polar

bear, so we hto build something.

We didn't want it to be mechanical,

because the repetition

of a mechanical device,

a clockwork sort of device,

is always visible.

The best option for this is

to have a rig that is puppeteered.

One of our rigs was a child carrier

with the shoulders

and neck of the bear set on top

of it

that in the sort of motion

of the puppeteer underneath,

it would seem like

Lyra was riding a bear.

I enjoy the riding.

There's, like, this really weird,

like, mechanic riding rig

which also has, like, puppeteers

underneath it,

but still, it's mechanic.

It's really heavy for them.

It was so bouncy when we did the

test that they hto, like,

strap me onto it because I was,

like, jumping that much.

It was like, boing, boing, boing.

Pragmatic problemsolving wasn't

exclusive to lorek.

A huge amount of thought

went into adapting our queen witch,

Serafina Pekkala.

We tried lots of different things

with, with the make up

and the hair initially

to figure out who, who really she is

and what we want

to bring to her.

Because obviously, the look of

Serafina

is different from the description

in the book,

and I'm sure a lot of people will be

wondering why

we've decided to go with,

with the short hair,

and one of the reasons behind that

was, so,

in the book she flies on a

broomstick,

and we wanted to make her really

powerful.

And the idea that she flies,

that this is her cloudpine,

and that she flies using

wind thermals and currents,

which is going to be incredibly cool

and quick and fast

and if you're doing that

and you've got long, flowing hair,

it's going to be distracting

and inhibiting for her.

So we wanted to make her strong

and powerful and not a...

Without any vanity whatsoever,

so we kept the hair short and fixed.

And, um, and the make up, this,

was how we denoted

that she is a queen,

rather than

the very delicate flowers.

That's the whole other journey

that I've been on,

to learn about visual effects.

For example, the witches

in the book are described as

wrapped in ribbons of black silk.

So ribbons of silk

flying all over the place

would have been a nightmare,

but I was still trying

to cling to the fact

that it's fabric that's wrapped

round the body.

We hto make a costume that would

look, um, of the Earth,

of the forest. Like she hjust

wrapped rags around her,

but also be sturdy enough

for her to fly,

for me to have a harness underneath

my costume.

I've done a little bit of

wire work before this job,

but, um, but nothing

quite as extensive as this.

Most fun I think

I've ever hon set.

It's incredible, you actually feel

like you're flying.

I am here to help.

It's just remarkable,

the journey from a bow and arrow

to tiny, tiny little daggers

and the idea behind that being just

very short, sharp lethal weapons.

It's such a brilliant idea and just

feeds into your character more.

With such high expectations,

how are our cast and crew feeling

about being a part of

this adaptation?

It is an honour, and it is a

tremendous honour

to be given the opportunity

to adapt books this beautiful.

I hope we do it well. Cos if we

don't, I'll be gutted as a fan.

To get that tone right,

and to give the fans what they want

is quite a daunting challenge.

Have this extraordinary fondness

for the, the ideas in this project.

We are trying to be as true

to the books as we can.

You can so easily get it wrong,

and I'm desperately,

desperately trying not to.

I'm thrilled to be here and play

Lee Scoresby,

and be the American on set.

With series one wrapped up and Lyra

off on the next part of her journey,

there'll be a whole new adventure

for everyone in series two.