Films and Beyond
Goelz continued to reprise his roles as Gonzo and Bunsen in feature films, slowly adding more aspects to "the weirdo," and also worked on Henson's forays into "realistic" fantasy, The Dark Crystal (performing the Garthim Master SkekUng and the dog-like Fizzgig), and Labyrinth (playing a variety of roles, notably Sir Didymus).
I loved the atmosphere on Dark Crystal. That turned out to be a very stimulating project, because it was pretty much unprecedented. On the very first day we filmed, the Skeksis had to file past the deathbed of the Skeksis emperor, performed by Jim. The Skeksis all had ulterior motives as they walked by the bed to pay their respects. In our very first shot, I was inside the Garthim Master Skeksis with another puppeteer doing the right hand. I was totally blind except for a little monitor on my chest, and I just stepped off the platform and we started to fall. Fortunately somebody was there and caught us and pushed us back up."As the '80s progressed, in addition to switching between the manic Gonzo and the phlegmatic Boober (a variety which Goelz recalled as "stimulating"), Goelz played occasional new roles in specials, notably Rugby Tiger in The Christmas Toy:
I had such a good time. He’s just a naive, self-centered and self-satisfied, little tiger cub, and he was just so much fun. He was just completely unaware of the feelings of others. The crew loved him. It doesn’t show up much on the show, but it was just a fun thing to do with the crew.Another new character was Digit in The Jim Henson Hour.
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Famous quotes containing the words films and and/or films:
“Films and gramophone records, music, books and buildings show clearly how vigorously a man’s life and work go on after his “death,” whether we feel it or not, whether we are aware of the individual names or not.... There is no such thing as death according to our view!”
—Martin Bormann (1900–1945)
“Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.”
—David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)