Never ending story what was the name

At this point, the shooting of the film had already been completed and now, they had to put a voice to the character. He had a scratch track with him that somebody had done of it and so I had somewhat of an idea of what he was looking for. I immediately saw this furry luckdragon and the voice came to me. He told me, "That was fine," and they made arrangements to fly me to Munich. I went into the studios and they played the film for me and I put a voice to it. After I completed the whole thing, I asked them for a playback.

I knew as I was listening that I didn't get it quite right, so I said I wanted to do it again. Wolfgang was surprised because he liked what we recorded but agreed that we could try again the next day.

They ended up using my second take in the film. The big difference between the first and the second is that in the second, Falkor had great heart and humanity. When I finished, Wolfgang asked me to have a look at the Rockbiter. I immediately identified with the Rockbiter and knew just what I would do. It was so easy to give him a voice and I love that character. As I finished up that one, Wolfgang tells me, "Wait, there's one more!

Would you do the character of Gmork? Again, I thanked him, but he had one more request, "Would you also be the narrator? That day, Wolfgang got four voices for the price of one and I really loved it.

I just really love that movie. PETERSEN: If you have this creature that is so tough and difficult to put together with all its movements and its body language, you really needed the perfect voice to make him believable.

Especially because he's a luckdragon, a creature full of positivity and that is very, very friendly. We needed a voice that had a special gravitas and depth to it, with a low, low voice because of his size. But on the other hand, he should also have a smile in his voice with warmth. It was very hard to find, and finally, I was introduced to Alan and when I heard that voice, I thought he was just fantastic. He really brought to life the last and probably the most important character left, Falkor.

He brought this rich, beautiful, and warm voice. The way he read those lines was truly unforgettable, just beautiful. That's why kids all over the world wanted to fly all over the world with a big, incredible creature like Falkor.

They had this foot head and neck attached to a forklift motor and it was probably about 15 or 20 feet off the ground with some boxes and pads underneath in case you fell off. Sometimes, it would overheat, and it would start going out of control probably once every 20 minutes. It ended up being like riding a bucking bronco.

I just had to hold on for dear life from time to time, but it was fun! Being a year-old maniac like I was back then, it was a blast. We had to create all these beings and creatures, build them and animate them mechanically.

For example, with the luckdragon Falkor, he's this huge creature that we had to build. You could actually touch it; it was not a computer animation. It took about 15 people to animate this creature, but they were all invisible, of course. They had their strings to use as they were hiding somewhere underneath the costume and sometimes even under the floor. There was a little monitor they had where they could check their work. So, there was one person that was in charge of the movements of the nose, and there were two others in charge of either eyebrow.

Altogether, they had this concerto grosso of movements with 15 people to bring this creature to life. This task was very, very unusual and very difficult to coordinate it all. At the same time, this creature was talking so we had a tape running with a pre-recorded voice and it all had to go smoothly together so that the body language and his smile, and things like that all were perfect.

It was just fascinating to watch that and how that came together. It took a lot of work to have it come out the way it did on film, and I believe that's what gives this movie such a great quality that can be appreciated after all these years. The creatures were so real how they had to interact with the actors, it wasn't like they were just standing in front of this green screen and pretending. The actors had to work directly with the creatures. That's the special thing about The NeverEnding Story that gives the whole project its special charm.

It was truly magical. I'm really so lucky that it wasn't shot with CGI. There were human being's puppeteering all of those creatures, and multiple humans pressing levels making the expressions on all of the faces of the puppets. There's something really charming about the fact that the human hand was really involved in everything. An astonishing amount of people go every year and visit the luckdragon.

There's also some sets from the film available for visits, too. First of all, we had two identical white horses that played Artax. They were so beautiful. They were trained for a long, long time by a professional horse handler with this almost impossible task for a horse to, without resistance, sink slowly down in the mud all the way up to their head.

It did not go over their head, no horse would ever do that. It took months to train them. I'm always asked about this and the rumors aren't true. In the film, you never see the horse's face go into the mud. And also, by having two horses, we would alternate which would be in the scene while the other relaxed. It's really meant to be a sad scene; this was a crucial part of the film.

People always tell me that when that scene comes on, they have to close their eyes. I tell them that I understand, it's very sad and difficult to watch but it was crucial for the story.

It's all about being drawn into the darkness, and, unfortunately, the horse doesn't make it [in the movie]. And because of that, even more so, Atreyu has to do it by himself without his friend and he does. But yes, the horses were really good, and both were fine. The horse they used was really wonderful and they spent a couple of months teaching her to be ok with being up to her neck with water. That's something unfamiliar for them. So, the way they did that scene was that they had this little elevator under the water that slowly dropped the horse lower and lower.

When it got to its chin area, we'd cut the scene. That one scene took over two and a half weeks. The real horse never really died.

They were more careful with that horse than they were with me! I got hurt a hell of a lot more. The horse was definitely looked after well. I broke my back working on the movie and was in the hospital in traction for like a month before we started filming. We had a horse that we were training to fall on me while we were working with the horses maybe a couple of weeks before shooting.

After I broke my back, we didn't know if I'd be able to continue but I ended up healing up enough to be able to work. It was scary for a little while; I had a couple of injuries on this movie.

I did a lot of my own stunts; it was just a very physical movie. But how many kids that are 12 or 13 can even say they experienced something like that?

They gave me one of the horses and a saddle as a wrap gift. But I was going to have to have it shipped and sterilized and all this stuff, so I left the horse in Germany with my riding double. He had the horse for something years. He sent me an email like 10 years ago letting me know that the horse had just passed. It had a great and wonderful life. They had a stable and a ranch in Germany.

Steven Spielberg got the best one of all. He has the Auryn, which is what Atreyu wears around his neck in the movie that was a gift from the empress when he goes on his quest. The Auryn has magic powers and it's a beautiful, beautiful prop. He was a big fan of Das Boot and we spoke quite a bit on the phone and talked about things.

So, when I had my new film, I told him I'd like to show it to him because I had a feeling that for an American audience, it was a bit slow. It has a very European feel to it, and I thought that he could give me some advice about edits I could make to it and we did.

Therefore, it has no boundaries. On The Nothing: "It's the emptiness that's left. It's like a despair, destroying this world.

And I have been trying to help it. On why he's helping The Nothing: "Because people who have no hope are easy to control. And whoever has the control has the power! This last statement really makes no sense whatsoever — if Fantasia has no boundaries, then how can someone control humanity from it? But no matter, because Atreyu reveals himself to G'mork, grabbing a stone dagger, and G'mork manages to leap right on top of it, impaling himself and dying more or less instantly.

Finally — finally! Which, you know, OK, that's a decent head-squeezer, and a good metaphor for how we create our own stories and such. But when Bastian finally does give her a new name, he screams something incomprehensible into a thunderstorm. If her name is so important, why wouldn't we be able to understand it? We are given to think he yelled out his late mother's name, so why wouldn't we hear it?

In the novel by Michael Ende that inspired the movie, Bastian yells "Moonchild," but how many suburban mothers in were named "Moonchild"? Vary BuzzFeed News Reporter. Warner Bros. It is so slow. So incredibly slow. Many characters' voices do not match their lips, and it is really distracting. Atreyu screams most of his lines. Isn't this so much better?

As Falkor and Atreyu search for the borders of Fantastica, in a confrontation with wind giants Atreyu is flung from Falkor's back, loses AURYN in the sea, and lands, injured, in ruins of Spook City , a home to various monsters and wicked creatures. There, Atreyu finds the werewolf Gmork , chained and near death, who tells him that all the residents of the city have leapt voluntarily into the Nothing, to become lies and delusions in the human world, thanks to the irresistible pull of the destructive phenomenon.

The werewolf reveals as well that he is a servant of the Nothing who wishes to prevent the Empress's chosen hero from saving her; when the princess of the city discovered Gmork's treachery against the Empress, she imprisoned him and left him to starve to death.

When Atreyu announces that he is the hero Gmork has sought, the werewolf laughs and succumbs to death. However, upon being approached, Gmork's body instinctively seizes Atreyu's leg in his jaws. Falkor and Atreyu go to the Ivory Tower , where the Empress assures them that they have brought her rescuer to her; Bastian suspects that the Empress means him, but cannot bring himself to believe it.

When Bastian refuses to speak the new name, to prompt him into fulfilling his role as savior, the Empress herself locates the Old Man of Wandering Mountain , who possesses a book also entitled The Neverending Story , which the Empress demands he read aloud. As he begins, Bastian is amazed to find the book he is reading is repeating itself, beginning once again whenever the Empress reaches the Old Man—only this time, the story includes Bastian's meeting with Coreander, his theft of the book, and all his actions in the attic.

Realizing that the story will repeat itself forever without his intervention, Bastian names the Empress 'Moon Child', and appears with her in Fantastica, where he restores its existence through his own imagination. For each wish, Bastian loses a memory of his life as a human, and some of his ability to leave Fantastica. Unaware of this at first, Bastian goes through Fantastica, having adventures and telling stories, while losing his memories. In spite of the warnings of Atreyu and Bastian's other friends, Bastian uses AURYN to create monsters and dangers for himself to conquer, which causes some negative side effects for the rest of Fantastica.

After encountering the wicked sorceress Xayide , with the mysterious absence of the Childlike Empress, Bastian decides to take over Fantastica for himself, but is stopped by Atreyu, whom Bastian grievously wounds in battle.

Ultimately, a repentant Bastian is reduced to two memories: those of his mother and father, and of his own name.