Goodbye, Sticks. If you really are a princess, take care of him.
Well my mother raised me on blackroot. It's good for you. It puts hair on your chest, doesn't it, Sticks?
Let me out of here, Airk. Give me a sword, I'll win this war for you.
Burglekutt, let me out of here. I'll take care of the baby, I swear. Just let me out of here... Please. Vohnkar, let me borrow that spear just for a minute. Well... Well at least give me some water. Burglekutt, don't leave me alone here with these two! UHH! Well that was really stupid, Peck.
Get your hair out of my face or I'll chop it off.
Ooh, I'm really scared. No! Don't! There's a- a peck here with an acorn pointed at me!
"I love you, Sorsha?!" I don't love her, she kicked me in the face!
Elora Danan must survive. She must fulfill her destiny and bring about the downfall of Queen Bavmorda. Her powers are growing like an evil plague. Unless she is stopped, Bavmorda will control the lives of your village, your children, everyone. All creatures of good heart need your help, Willow. The choice is yours.
I think the spells were really great. I loved the spells because there's no way they can mean anything, they're words — Lockmore Danalora, Lofashock Danu — I can still remember it after all these years. They sound like something that could create magic. I think they were really great. I like the Brownies as characters. I thought they were really interesting in the idea of scale, they were smaller than me but they had these rather antagonistic personalities because they're trying to make up for being smaller than everyone else. I quite enjoyed them.
For me that was sort of like going to grad school.
There was a new level of understanding that I needed to come to terms with the greater canvas, the greater cinematic canvas. Of course, George Lucas is sort of a natural master in that regard and [the project] was his idea. So while I was given global latitude — and it was even the first time I was given final cut, George did that — but it was his story and I was very much under his wing and really reveling in that and growing from it.
I remember George asking me to do the movie and he said, ‘Well, when you get through this movie, you’re never going to be a kid again.
For me it was a huge physical challenge, the most complicated challenge I’ve had.
It was my first time dealing with multiple production units. The logistics of it were intense. I don’t know that I’ve ever been involved in anything as complicated or as arduous since, to be honest. And yet everything about it was driven by this kind of spirit of imagination and visual discovery, and it was a great opportunity to explore the possibilities of this fantasy. I was trying to always trying to center the emotions in relatable, human ways. It was a big turning point for me in a lot of ways. I learned a lot technically and also just about the logistics of making movies on a large scale, and it gave me a kind of confidence moving forward. It was 140, 150 shooting days by the time we finished all the green-screen, and there were the multiple units and everything.
Willow’ was quite the journey. When it was over, what was really great was I felt like I never had to be scared tackling anything ever again.