01x06 - The Chronicles of Narnia: The Lion the Witch and the Wardrobe

[bunniefuu]

[MUSIC PLAYING]

DAN: Every movie prop
in The Chronicles of Narnia:

The Lion, the Witch and the Wardrobe
transports you into the fantastic world

of C. S. Lewis's classic novel.

- [DRAMATIC MUSIC PLAYING]
- DAN: Like so many fans,

I couldn't wait to see

- how the filmmakers adapted...
- [GRUNTS]

the book for the big screen.

Run!

I'm so sorry.

- DAN: And they exceeded all expectations.
- [GROWLS]

DAN: Every costume, prop, and character

looks and feels
like a credible historical artifact.

Over the years,

I've been lucky enough to collect several
of these beautiful objects,

but I'm eager to discover more
and learn the stories they have to tell.

- For Narnia!
- [ROARS]

[DRAMATIC MUSIC PLAYING]

DAN: In a movie, every detail,
no matter how small,

is designed to tell you something.

I'm Dan Lanigan,
and I've spent my entire life

collecting artifacts
from my favorite films.

Now, I'm setting out to learn more

about the props
from the Disney movies that I love...

This thing is so cool.

Because these historic artifacts

make you feel like you're a part
of the story.

[MUSIC PLAYING]

- RICK: Hey, Dan.
- DAN: Hey, Rick. How you doing?

- RICK: Pretty good. How are you?
- Good.

- Checking out the sword here?
- DAN: Oh, yeah.

As you know, I have some questions
about what this piece actually is,

uh, since it doesn't match up
with the other heroes and stunts.

- RICK: Right.
- DAN: It's very similar but

there's certain details that are different
that makes me feel like

maybe it's a prototype or...

- RICK: Yeah.
- I don't know, maybe a special

something.

- Plus, it doesn't have the tip here.
- RICK: Exactly.

That's kind of a mystery to me, too.

So, um, I was wondering,
uh, Richard Taylor is gonna be

- at San Diego Comic-Con.
- RICK: Hmm.

DAN: You know, his company Weta
built these things.

- RICK: Right.
- DAN: And I'd like to, uh,

take this down to him and show him this

- and see if we can figure out what it is.
- RICK: Good.

Terrific, yeah.
I think we can arrange that.

- I'll take good care of it, all right?
- RICK: [LAUGHING] Okay.

DAN: Awesome. Thanks, man.

[JAZZ MUSIC PLAYING]

DAN: With Rick's blessing,
I'm off to San Diego...

to take this sword
and the one from my own collection

to Sir Richard Taylor.

But first, I'll have to find him

in this geektastic chaos
known as Comic-Con.

Costumes are amazing.

Excuse me, Richard.

- Dan, how are you?
- DAN: Good to see you, buddy.

- How you doing?
- Oh, very good.

Having a great Con.

It's obviously Thursday, midday,
and it's already going crazy.

DAN: Sir Richard Taylor is the founder
and creative director

of Weta Workshop in New Zealand.

Weta rose to prominence
with The Lord of the Rings series,

and has since provided effects
and props for dozens of blockbusters.

- [CAMERA SHUTTER CLICKS]
- DAN: Is it possible

that I can grab you for a little bit?

I've got some Narnia pieces
I'd like...

- Narnia? Okay.
- DAN: To show you...

- Wow. That's...
- DAN: That I believe

your team may have made and...

- RICHARD: Yeah. Yeah. Undoubtedly.
- You may have had a hand in as well.

Can you give me
some information, pro or con?

- Love to share some thoughts. Yeah.
- All right. Well, let's take off.

- I know you're dying to get back.
- Yeah. Well...

- So...
- No, no. Let's go

- and have a look. Go.
- All right.

It's at a parking lot
where I've got my car.

- RICHARD: Okay. Cool. In the boot.
- [DAN LAUGHS]

[UPBEAT MUSIC PLAYING]

DAN: Here is a few pieces
that I have brought to show you.

All right. So this is the one

- from my own personal collection.
- RICHARD: Yeah. Look at that.

This one I believe to be

- a Weta-made piece.
- Yup. That's correct.

Wow.

"When Aslan shakes his mane,
we shall have spring again."

There's two swords.
One was made by Tony

- here in LA...
- DAN: Right.

And then the other sword
was made by us. So...

- DAN: Wow.
- If this isn't Tony's one,

- this is definitely our one.
- Well, let me show you

this other one.
This one is from the Disney Archives.

- Let me give you a pair of gloves.
- RICHARD: Okay.

DAN: The "Tony" Richard is talking
about is blacksmith Tony Swatton.

He's been a prolific
Hollywood sword maker for decades...

- [SWORDS SWOOSHING]
- and he helped me

in my search for props
from Pirates of the Caribbean.

- TONY: Here you go. This one's got...
- DAN: Wow.

- Uh, Johnny's DNA on it.
- DAN: Amazing.

RICHARD: Oh, yes.
That's... That's Tony's work. Yeah.

DAN: So, what's the story
of why the first one was made by Tony?

RICHARD: What must've happened is the folk

that were attached to the film
had gone ahead and got a single sword made

to promote the idea of making...

- Right.
- The movies.

- Right. That makes a lot of sense.
- Uh, as happens quite often,

we've made many one-off props
to help promote films to the studios.

Right. Why do you think this was cut?
Do you think this was cut

when it was originally made?
Or do you think it was cut afterwards

for another purpose?

RICHARD: It definitely arrived
at our workshop with the tip on it.

- DAN: Oh!
- RICHARD: So it was probably cut off

- by one of our on-set guys.
- DAN: Right.

And I'll hand you that.
And it would've probably been cut,

uh, so that you had the ability
to make it look like

- it had penetrated someone like that.
- Hmm.

- Um...
- DAN: How many different versions

of swords would you have made
for a production like.

- The Lion, the Witch, and the Wardrobe?
- Well, two heroes.

Try and take him then.

RICHARD: But then, we would make,
uh, aluminum-bladed weapons

- or "aluminum," as you guys call it...
- DAN: Right.

For, uh, fighting,

- so that it still looks highly reflective.
- DAN: Right.

We use an aircraft aluminum

- that's got incre...
- Wow.

'Cause aluminum, by its very nature,
is not flexible,

- it will stay bent.
- Right.

[STUTTERING] You're giving me
a heart attack bending it but yet,

- I know it's you that built it.
- RICHARD: Oh, no.

- So, it shouldn't be a problem.
- RICHARD: Of course.

This sword would be able to bend
a significant amount before it distort...

Well, I'd never be able to

- distort it because it's...
- Right. Right.

- Spring steel, of course.
- DAN: Exactly.

- RICHARD: Yeah.
- [MUSIC PLAYING]

RICHARD: We're very, very fortunate
to work on something like this.

- This is a... a seminal film.
- DAN: Absolutely.

There are a lot of people
like me that love this stuff

- and I'm just happy to...
- RICHARD: Yeah.

- To help, uh, share this stuff.
- Well, keep collecting...

- DAN: I will.
- 'cause you preserve this stuff

and look after it
for the future generation.

- Thank you, sir. Thank you, sir.
- RICHARD: Right.

- RICHARD: Cool. Cool.
- Really appreciate it.

DAN: Thanks to Sir Richard Taylor,

I can report back
to the Walt Disney Archives,

mystery solved.

And while I'm there,
I'm gonna check out a used vehicle.

Low mileage, original paint job...

complete with driver.

- [OMINOUS MUSIC PLAYING]
- [BELLS JINGLING]

[REINDEER SNORTS]

DAN: You may not be familiar
with actor-stuntman Kiran Shah,

but trust me, you've seen his work.

This location is where they store

- a lot of amazing stuff.
- Right in.

DAN: For the last 40 years,

Kiran has been a staple
of the silver screen and television.

- Look what we have here.
- KIRAN: [GASPS] Wow!

- [SOFT MUSIC PLAYING]
- DAN: It's the sleigh

from, uh, The Lion,
the Witch, and the Wardrobe.

- That is so nice. Can I...
- DAN: I wouldn't touch it.

- Why not?
- DAN: It's now an artifact

- of the Walt Disney Archives.
- KIRAN: Wow!

- But...
- DAN: On set, it was a prop

and it was a vehicle but now,
it's been elevated.

KIRAN: Wow, this is brilliant.

All the memories flooding back in.

Wow. I want to ride it again. Can I?

If you do, it's your call.
You were on it before...

- Yeah.
- So your DNA is already on it.

Maybe not. Maybe not.

[BOTH LAUGH]

- KIRAN: And the reindeers...
- DAN: Oh, my God.

Used to be hooked up here. Wow.

- They still got snow.
- DAN: Yeah.

When you first see Edmund,
you attack him with a knife.

- KIRAN: Yeah.
- Right?

Because you're a scary character
and these are actually children,

was it difficult for you
to develop a bond with them

or were they afraid of you?

In pre-production, we all kind of bonded.

They had no idea
how scary I was going to be

but they knew I was going to be evil.

- [GINARRBRIK GRUNTING]
- [PANTS]

DAN: I have an eight-year-old daughter

and we've watched the film and you're,
to her, just as scary as the White Witch.

Thank you.

- So, congratulations.
- Thank you.

DAN: It's a fantastic-looking sleigh
with all this beautiful decor on it,

but it's actually a real sleigh.

- It's... I mean...
- KIRAN: It is heavy.

DAN: It's heavy. I mean,
you could take this out in the snow

and... and pull it with horses.

It's built with a real frame,
steel frame.

KIRAN:

- This way for your num-nums.
- [DAGGER SWOOSHES]

DAN: Kiran's portrayal of Ginarrbrik
felt authentic

with the help of expertly crafted props,
but there was a host of other characters,

centaurs, minotaurs, and even more
that were believably brought to life.

[MUSIC PLAYING]

DAN: So I'm heading to Chatsworth,
California to visit KNB Studios,

the creative force
behind the practical effects and make-up

on The Chronicles of Narnia.

- So this is the fabrication area?
- BETH: Yes.

DAN: My first stop is with Fabrication
Department Supervisor, Beth Hathaway.

Aslan is, you know,
one of the coolest things here.

Although, I'm guessing
this is from a very sad scene.

- It is, as you can tell. He's been shaved.
- DAN: Oh, he's been shorn.

BETH: This is a great example
of all the different fur techniques.

This is all flocking in here
and the eyelashes are all hand-punched,

- and then they would take a needle...
- Wow.

And hand-punch the blend
'cause you don't wanna just...

- a line in-between, you know.
- Right. Sure.

- So the blend would be this lining here?
- BETH: Exactly.

- DAN: Oh!
- BETH: Where you see the little bit

- of the longer hair's hair.
- DAN: Yeah.

Flocking is a process that uses glue
and static electricity to attach fibers,

in this case, hair.

- Oh, wow.
- BETH: These are all fur samples

from this company called.

- National Fiber Technologies.
- DAN: Right.

Um, it's all yak, so there's a lot
of bald yaks walking around somewhere.

- [DAN LAUGHING]
- [BETH CHUCKLING]

We got some Aslan fur here.

- We got some minotaur fur.
- DAN: Oh, wow.

BETH: And the minotaurs
were all bad guys.

- Right.
- BETH: This was a hero one,

because only the hero minotaurs

- had animatronics in.
- DAN: Ah!

BETH: And you can hear them on set
when they're fired,

- they go... [IMMITATES ELECTRONIC BUZZING]
- [LAUGHS]

make a little noise inside
and they generate quite a lot of heat.

- MAN: Heads off!
- WOMAN: Pull the heads off.

But the New Zealand stuntmen?
Hard as nails.

[INDISTINCT CHATTER]

BETH: Well, we had a system,

we'd stand by, and everybody
would have the head

- of whoever they were taking care of.
- DAN: Yeah.

And we would wait
until the very last minute,

we had to be in a rhythm with the first AD
and we'd wait for him to say, "Heads on."

- MAN 1: Fixers up, let's put the heads on!
- MAN: 2: Hey, heads on!

[OPERA MUSIC PLAYING]

And the minute he would say, "Heads on,"
we'd all run up, put their head on...

snap it all down, brush it out,
and get the hell out of the way.

[DAN LAUGHS]

Okay, man. You're good.

DAN: While Beth got her hands furry,
I mean, dirty,

with these creature costumes,

it was another KNB Studios pro
who truly elevated

these mythical costumes to another level.

Yeah. There's movie posters,
these are all films that we worked on.

DAN: Howard Berger is a giant in the world
of special makeup effects,

with hundreds of film credits
under his belt.

Howard co-founded KNB Studios

and when it came to many of the practical
special effects in Narnia,

Howard was the one at the controls.

HOWARD: In here, this is our
little house of horrors.

- DAN: Oh, man, this is so cool.
- HOWARD: So, yeah.

Some cool stuff.

And this is some stuff actually,
display stuff and real,

- screen-used stuff from... from...
- Wow.

The Lion, the Witch, and the Wardrobe.

This is a bust we did

- of James McAvoy's Mr. Tumnus.
- DAN: Right.

- Was this done for production?
- It was done for us.

- HOWARD: Yeah. This is a display item.
- It's one for...

- So, this is one of your display pieces.
- HOWARD: Yeah. I was like,

"I want a head of James McAvoy."
Who doesn't want a head

- of James McAvoy in their house?
- DAN: Yeah.

So we had the scarf made

and this is his original wig,
his screen-used wig.

- DAN: Oh, that's cool.
- HOWARD: His screen-used horns,

and, um, Tami Lane,

- who won the Academy Award with me...
- DAN: Right.

- HOWARD: She punched all this hair.
- DAN: The detail

- is amazing.
- HOWARD: Well, all this hair is punched in

one hair at a time. So, you know,
it just looks like...

- it looks like natural growth.
- DAN: Right.

You know, and on the makeup,
like the nose,

the nose piece is just this little piece.

Prosthetics like that, when you make them,
they're made for one use only, right?

Yeah. Every time we do a makeup,
it's a oner.

So they're perishable.

There's one scene where Mr. Tumnus
says goodbye to Lucy at the lamp post

and James was crying and the nose just...
halfway through the day just went...

- [GROANS]
- [DAN LAUGHING]

dribbling down his face

- and I'm like, "Hold on."
- I'm laughing

- but it wasn't funny at the time.
- Yeah. No, I was sitting there horrified.

I'm like, "No, no, no.
We got to cut. We got to cut."

- Yeah, that is very true.
- [LAUGHS]

This is the screen-used, um, cap,
skullcap, we had on James.

- Right.
- So when James came in in the morning,

we'd grease his hair back
and then we'd put this on

and tighten it, then the makeup would go
and then the wig, and all the hair.

And you'll notice these holes,

that was to give James's head, uh,
breathing room.

- DAN: Yeah, I see.
- HOWARD: 'Cause at first, we did it

without the holes
and his head would heat up.

- DAN: Right.
- So I'm like, "We need to cut holes out."

- So we cut all these holes.
- DAN: So it can breathe and...

Yeah, so it could breathe, yeah,
and the heat could go through the wig,

and he didn't just feel
like his head was, like, locked in to.

- But he was willing to do it.
- Yeah. Well, he's a trooper.

He's a true professional, you know,
and this is a very special project.

It's a very special story,
and series of books,

and characters and really the,
you know, for me,

the magic was all about Andrew.
It really was.

DAN: Director Andrew Adamson's
hands-on approach

guaranteed that every aspect of this film

was both convincing
and true to the source material.

ANDREW: And action.

DAN: And today, he's joining me
at the Disney Studio Lot to be reunited

with a few of the most iconic artifacts
from the film.

ANDREW: There it is.

- Oh. [LAUGHS]
- You haven't seen in a while?

- ANDREW: No, indeed.
- DAN: The wardrobe.

ANDREW: This was one of the first pieces
that we designed so,

you know, all the panels
are part of the stories.

It's such a beautiful piece of furniture
and it's such an important part

- of the film.
- ANDREW: Yeah.

One of the things
that was really important to me

is I wanted her transition
from the house...

- Right.
- Into Narnia all in one shot.

- DAN: Yeah.
- So we actually built the set

with part of the snowy set
on the other side.

- [LAUGHS]
- ANDREW: And we actually had

a long stretch of the coats hung
in this wardrobe

- that went from one set to the other.
- DAN: Oh.

- That's brilliant.
- ANDREW: And Georgie didn't get to see

the other side of the set.

We built the whole forest,
we snowed it all up,

and we took her into it blindfolded.

So when she comes out,
she pushes through coats

and she sees it the first time.

Action!

- DAN: So you got a natural...
- ANDREW: So you got a natural reaction

and a lot of the first take
is in the movie. If you look at it,

- she's actually shaking.
- [DAN CHUCKLING]

ANDREW: She had just suddenly stepped from
an Auckland summer into this,

you know, completely snowy landscape.
The expression of awe on her face

was acting for sure
but it was also just

- an eight-year-old stepping into...
- DAN: Right.

- A brand-new world.
- DAN: Wow.

- ANDREW: It was a beautiful moment.
- DAN: Let's take a look at this guy.

DAN: I find the lamp post is...

such a simple set piece but yet,

it's so important in the books
and in the film as well.

ANDREW: You know,
when C. S. Lewis wrote it,

one of his first images
when he was writing this book

was a faun with an umbrella
and the lamp post.

- Wow.
- ANDREW: That was just an image

that he had in his mind.

The other thing that was interesting
about this is there were a bunch of fans

that won a competition,
that they could come

- to a few days of sh**ting.
- DAN: Right.

ANDREW: And every one of them comes in,
"That's exactly how I imagined it."

And it's the truth about memory,
'cause memory is rewritten.

- DAN: It is.
- It's, like,

I don't know
if this was exactly how they...

- But it is now.
- ANDREW: Imagined it, but there were

- enough cues that triggered a memory...
- DAN: Yeah.

That now this is, yes,

- this is how they imagine it.
- DAN: Right. Right. Right.

Let's check out Mr. Tumnus,
frozen by the White Witch.

I know. One of the saddest

- moments in the film.
- DAN: Yes.

But it helps add the gravitas

- to ultimately how everything comes out.
- ANDREW: Yeah.

- Yeah.
- DAN: It's an amazing piece of artwork

on its own, right?
And you could really feel it in the face.

- ANDREW: Yeah.
- DAN: I mean, this is like,

he's feeling every ounce
of this crystallization

that's happening to him.

Yeah. You know, and the thing
with Tumnus not turning to stone on screen

was ultimately just the dramatic feeling
like the discovery was more painful

to see him frozen in this moment of agony
than actually having to watch them do it.

[LUCY SOBS]

DAN: There's a lot of psychology
that goes in the directing, isn't there?

There is, you know, it's sort of like

a contract
to have agreed-upon manipulation.

Is that who you think it is?

Look at his face.

Does this mean
you're never gonna see him again?

[LUCY GASPS]

ANDREW: Like part of what you're doing
is manipulating people

but you've got this agreement
that they're letting you do that.

And cut, reset.

This scene with Tumnus and Georgie,
she was so upset during the scene,

- she couldn't look at me afterwards.
- Wow.

- Hey, there you go, good girl.
- WOMAN 2: Well done.

And there he is,
he's back to life. Very good.

- She really...
- DAN: Internalized it.

Just internalized everything,
and she was very upset

for a while afterwards and we had to,
kind of, build out of that

- and build trust.
- Yeah.

ANDREW: Good job, dear.
You're good now, right?

- She's fine.
- ANDREW: Really good job, Georgie.

That's gonna be
such a touching moment of the film.

- Do I have to do that again?
- No.

DAN: As a director
and as a production team,

you really need to be able
to handle that...

- [INDISTINCT CHATTER]
- and make them feel safe,

- and that's...
- ANDREW: That was great. I mean,

the kids in general were so supportive
of each other and, you know,

- I put them all together before we even...
- DAN: Yeah.

Committed to any of them just to see

- how they interacted.
- DAN: That's smart.

ANDREW: We really formed a family.

Uh, you've had your face to the camera,
luckily. You had your arm in the way.

- [INDISTINCT CHATTER]
- [LAUGHS]

Oh, yeah, Georgie knows her stuff!

DAN: The filmmakers took their intimate
knowledge of what made Narnia so special

and made it real

because Andrew Adamson understood
that if the actors didn't believe,

neither would the audience.

[MUSIC PLAYING]

DAN: So, now I'm Long Island-bound

where a seemingly ordinary house
is home to an extraordinary collection.

[CAR DOOR CLOSES]

- ROBB: Hey, buddy.
- DAN: Hey, Robb.

My collector buddy,
Robb De Nicola, just might like.

The Lion, the Witch, and the Wardrobe
even more than I do.

- Holy cow!
- Welcome to Narnia.

DAN: Oh, wow!

Dang.

This is spectacular.

ROBB: I'm sure you recognize a few pieces.

- DAN: So you've got a wereboar.
- ROBB: Yup.

- DAN: And then you have a satyr.
- ROBB: Oh, yeah.

DAN: That's cool, I didn't know
you had him.

You got Mr. Beaver?

- I have both, Mr. and Mrs.
- Where did you get those?

- [ROBB CHUCKLES]
- Oh, my gosh, you bum. That's awesome.

And then, the Lucy costume,

- I'm familiar with that costume.
- ROBB: Yeah. Yeah.

That's her first costume
when she enters Narnia and meets Tumnus

- for the first time.
- That is so cool.

And you've got the Mr. Tumnus
to go with it.

- ROBB: It's perfect accompany piece, yeah.
- DAN: And then the packages are real

- from the... They're from the same...
- ROBB: Yeah. Those are all

his original baggage that he drops

- the first time he meets Lucy.
- DAN: Most impressive, wow.

Well, I actually have something
I brought to show you,

- so...
- Okay. Uh-oh, should I be nervous?

DAN: Well, Robb might have
the lion's share of props from this movie,

including an original Lucy costume,

but my Narnia wardrobe's
not exactly empty.

Do you wanna check these out?
You wanna take a look at them?

- See if they're authentic?
- They're pretty nice.

- DAN: [STUTTERS] You are the Narnia guy.
- I should zip it, huh.

Yeah.

Pretty amazing, man.

DAN: This has a very homemade...

- ROBB: Yeah. Yeah. Yeah.
- Feel to it.

ROBB: Yeah. You could see,
this is the wear marks.

- DAN: Because it's meant to look like...
- ROBB: Yeah.

- It'd been repaired.
- Exactly. Yeah.

- Probably like a cheap repair.
- DAN: Right.

The mother probably
sewing it back together.

DAN: Exactly.

The specifics and nuance
in costumes like these

give such insight
into the intentions of the filmmakers.

And for collectors like us,

it's not just exciting
to discover these details,

but also to interact with the artifacts
that embody these characters

and the stories we love.

So, I'm meeting with the kids

and obviously, Lucy is missing

- from the set.
- ROBB: Mm-hmm.

I'd love to...

borrow your Lucy to bring to them

so that we can show
all the costumes at the same time.

- Okay.
- And if you let me do that...

I'd be willing to... let these guys
live in your collection

so that they can be on display with Lucy
'cause they feel... they seem to...

- they need to be with Lucy.
- Yeah. They belong together.

- DAN: Yeah.
- Yeah. That sounds amazing. Yes.

It'll be great to see all four of them
in one spot together again.

I can almost imagine them
displayed together, you know.

- Almost?
- Like I already have the, uh...

- You're a visual guy, come on.
- The wheel is going in my head

of how it's gonna look.

- Awesome.
- [WINDOW SHATTERS]

[EDMUND GASPS]

DAN: When the Pevensie children
journeyed through the Wardrobe...

we, the audience, went with them.

Because we see Narnia through their eyes,

it was crucial that their performances
were authentic and sincere.

I wanna know the role
that the film's artifacts played

in immersing them
into this magical world.

[MUSIC PLAYING]

DAN: So, I've arranged a meeting
with the stars of the film,

who flown over from England to be reunited
with some of their characters' props

and enjoy a spot of tea.

[UPBEAT MUSIC PLAYING]

DAN: Actors William Moseley,
Anna Popplewell, and Georgie Henley

aren't children anymore.

But it's obvious that they share
a special bond from their time in Narnia.

It's... It's so amazing to have you here
because you guys, at such a young age,

such a great job at characters
that have been around forever.

Was it difficult?
Was it challenging? Was it scary?

I'm just glad
that I was as young as I was,

because I wasn't aware

- of any kind of pressure.
- DAN: Hmm.

For me, I was just like, playing
every day.

- Yeah.
- ANNA: This is... This was quite

a special experience, because it was
such a big adventure,

it was such a long period of time
it was such a, like...

seminal part of our childhoods. It's...

Well, honestly,
it's thanks to Andrew Adamson.

I think Andrew wants to find four children
that he could get on with, first of all.

- That's smart.
- WILLIAM: And also,

that would feel like a family
and somehow that worked,

so it's really just great thanks to him
and, you know, what he did for all of us.

- DAN: Wow.
- Yeah.

Well, I brought some pieces
from my own personal collection

- that I have picked up over the years.
- How many artifacts do you have?

A lot.

[ALL LAUGH]

- DAN: You guys wanna see some stuff?
- ANNA: Yeah.

- WILLIAM: Yeah, let's see them.
- ANNA: Absolutely.

Are we closing our eyes? Well...

- We'll get a blindfold.
- Yeah, okay. We're closing our eyes.

ANNA: All right. Okay.
Tell us when to open them.

- GEORGIE: Oh, I can just hear like...
- DAN: Yeah. Open your eyes.

Whoa.

Oh, my God. This is... um...

- This is actually the real one, isn't it?
- DAN: Yeah.

- ANNA: Fits like a glove, Will.
- DAN: Like a glove.

- It feels a lot lighter.
- DAN: Look at that.

[ALL LAUGH]

And probably a little smaller, too,
isn't it? It shrunk.

I've put on a couple of...
couple of muscles. [LAUGHS]

ANNA: It's so, um... I never really...
I... Well, I didn't remember.

The, like, carving on the back
is so beautiful as well.

You guys wanna look at that?

- But, you can see that it's there...
- DAN: Yeah, look at...

WILLIAM: And inside here, Weta designed
each one of these by hand, like they had

- somebody in their workshop, by hand...
- DAN: Yeah.

Literally going like this.

DAN: The craftsmen at Weta
are just world-class.

- WILLIAM: They're just unbelievable.
- ANNA: Oh, my... Yeah.

For my... For my sword, um,
we had one stainless steel hero sword

- which we weren't allowed to touch.
- ANNA: Wow.

- Oh, my God.
- You can touch it now.

- You got it. You got it. Whoa. [CHUCKLES]
- [ANNA CHUCKLES]

My God.

[SWORD SWOOSHES]

Thank you, sir.

These are tools, not toys.

Bear them well and wisely.

- It's sharp. Have you sharpened it?
- DAN: I have not. No.

WILLIAM: You know, you actually can,

- if you wanted to.
- DAN: Really?

WILLIAM: Yeah. It will sharpen.
It's a real sword.

This is as real as it gets.

Oh, it's heavy.

I'm pretty sure you never let us
hold this when we were filming.

- I wasn't allowed to hold it...
- I've never...

- when we were filming.
- I've never held it.

- You've never held it?
- I don't think I've ever...

- Oh. [LAUGHS]
- [ANNA LAUGHING]

Yeah. I used to... Wait, hang on.

ANNA: Georgie actually looks
quite threatening with it. [CHUCKLES]

- We used to put my little...
- WILLIAM: Oh, Georgie. Look, look, look.

[GASPS]

Look at this little belt.

The juice of the Fire-Flower.
One drop will cure any injury.

DAN: I think the belt may have been remade
for one of the later films

because it's bigger than you
probably needed for.

- The Lion, the Witch, and the Wardrobe.
- GEORGIE: Yes.

And it always had something
strawberry-flavored in it,

I think, when Skandar did it,
it was like strawberry-flavored.

Look, because that's actually...
That's like the stuff kind of crusted

- over there...
- Right.

- With like the actual...
- Right. [LAUGHS]

Susan...

trust in this bow
and it will not easily miss.

- [GASPS] Oh, Anna.
- Wow.

- Wow, that is amazing.
- There we go.

- DAN: So...
- ANNA: Oh, my goodness. Wow.

So this,
I remember the costume designer

gave Susan a daffodil as her flower,

so on, like, straps that I would have,
there would be

- daffodils and there was like always...
- DAN: Oh.

They're always very subtly woven in
but you can see them on the quiver here.

- Weta put on here as well.
- DAN: Yeah. That's right.

- ANNA: And on here.
- GEORGIE: And your crown...

- at the end is yellow.
- And my crown's all daffodils.

- GEOGIE: Yeah.
- Yeah.

- DAN: I had no idea. Wow.
- ANNA: Um...

DAN: See, every detail has a story reason.

ANNA: Yeah. And the level of detail
is such that you often don't get to really

- see on camera...
- No.

The nice touches
and the attention to detail that's gone

- in to producing the work.
- DAN: Well, I have some more pieces

- to show you if you're interested.
- GEORGIE: Yeah.

- Yeah.
- Shall we go check it out?

- ANNA: Absolutely.
- WILLIAM: Let's go.

- All right.
- [GEORGIE CHUCKLES]

I'll just put this in my handbag.

[ALL LAUGHING]

Okay. I think there's going to be
some unveiling going on.

- You are correct.
- [ANNA LAUGHS]

- Ready?
- GEORGIE: Yeah.

- Oh, okay. Hi, Skandar.
- DAN: Yes. He made it here in spirit.

- [GEORGIE LAUGHS]
- DAN: So this his, uh,

- one of his costumes.
- GEORGIE: Yeah.

ANNA: I actually wore this costume
to double for Skandar

- in a shot when he had...
- I forgot that.

- To go home.
- DAN: You did?

Yeah. And he was furious about it.

[ALL LAUGH]

She did one of his, like,
photo-doubly, stunt...

- DAN: Wow.
- It was just... It was just my legs.

WILLIAM: You and Skandar
have similar legs. [LAUGHING]

- ANNA: Yeah, that's right. That's right.
- DAN: Yeah. Yeah. [LAUGHING]

- ANNA: Very cool. I wonder who's next.
- WILLIAM: I wonder who's next.

- [ANNA LAUGHS]
- GEORGIE: Who's it gonna be? [LAUGHS]

- Wow.
- Look how tiny this cardigan is.

My little handkerchief,
can I get the handkerchief out?

Oh, my God. Oh, LP, LP, that's me, LP.
[LAUGHS]

GEORGIE: I just can't go over how small
that is and how I was that small,

and I remember one of the first days
we were filming, our first AD

picked up this cardigan and said, "Surely
this doesn't fit a human on this set."

- [ALL LAUGH]
- There you are. [LAUGHS]

GEORGIE: Oh, my goodness, me.

Oh. This is actually, like,

- making me, like, really emotional. Hi.
- [DAN CHUCKLES]

Oh, my God. It's tiny.

DAN: So you're connecting
with your younger self.

Oh, okay. Woo.

DAN: Well, I wanna show...

- ANNA: [GASPS] Oh, wow. I have grown.
- Yes, you have.

- [ALL LAUGH]
- By the looks of things...

- Amazing.
- You've definitely grown.

- But only like...
- That seems so much...

- smaller.
- Only like a couple of inches.

Well, maybe this is a small model.

- [WILLIAM LAUGHS]
- [ANN LAUGHS]

- WILLIAM: It's really beautiful.
- ANNA: Wow.

- WILLIAM: Really beautiful, yeah.
- ANNA: I wonder who's next.

WILLIAM: I wonder who's next. I... I...
I feel like...

- There's gonna be braces. Oh!
- No!

Look at how wide that child's leg is.

I would wear those trousers now.

- They are great trousers.
- [ALL LAUGH]

- Can I get a pair in my size?
- DAN: [LAUGHS] Yeah.

ANNA: I feel like you threw
a cricket ball in this outfit

or is that a different outfit?
Maybe that was just your shirt.

Ow.

Whoops. [CHUCKLES]

DAN: What's interesting
about all of this wardrobe is...

uh, not only is there
intentional repairs built into this

- as if it was hand-me-down...
- GEORGIE: Yeah.

Like it was maybe was your father's
or a cousin's or an uncle's.

There's also these kind of
hidden snowflakes to kind of allude to.

- Narnia without being overt.
- So clever, isn't it?

- Yeah.
- I never even knew that.

So, I mean, these really are

- what we wore in the film.
- DAN: Yeah.

WILLIAM: Like this, I literally wore this.

- Yeah.
- Also, yours is missing a button

which feels very typical
of one of your costumes.

- [ALL LAUGH]
- Maybe I did something.

DAN: The artifacts from this film
are clear reminders of a cherished time

for so many people. And today,
each of these items still stands

as a piece of art in its own right.
From costumes to creatures...

Where did you get those?

Every detail from this classic novel
was convincingly realized...

She was so upset during the scene,

- she couldn't look at me afterwards.
- DAN: Wow.

And in so doing transported actors
and audiences through the wardrobe

and into the world of Narnia.

[THEME MUSIC PLAYING]