In 1986, the world was introduced to the dark fantasy film Labyrinth, directed by Jim Henson. The film followed young heroine Sarah as she journeyed to the center of a mysterious maze to rescue her infant brother from the clutches of the Goblin King. The musical adventure featured the voice talents of David Bowie and included a massive collaboration of puppeteers and choreographers from The Jim Henson Company. Prior to the film's release, its production was featured in various high-profile newspapers and magazines, including The New York Times. Much of the focus was on an attempt to sell the film as more approachable than The Dark Crystal, due to the inclusion of live actors as the main characters.

After over a year of prop building and five months of shooting, Labyrinth was a commercial disaster during its initial theatrical run. However, as the years have progressed, the film has gained a steady and devoted cult-following. When it came to the DVD releases in 1999, 2007, and 2016, added features included more in-depth looks behind the scenes with new documentaries and commentaries by the cast and crew. For those looking to relive the magic or be introduced to it for the first time, The Jim Henson Company will be collaborating with Fathom Events to screen the film on April 29 and May 1-2, with a stage show and sequel both reportedly in the works. To better prepare yourself for a journey through the maze, CBR has compiled a list of 25 behind-the-scenes secrets of Labyrinth.

25 ONCE UPON A TIME...

Those behind the creation of Labyrinth drew upon various sources of inspiration for the film. Conceptual artist Brian Froud sparked Jim Henson's imagination by introducing the idea of goblins. From there, Froud had a vision of a child captured by these strange and mythical creatures found in European folklore. During the beginning stages of development, the story evolved from a King whose child had been placed under a spell to a Victorian girl living in England.

Much like something out of the Brother's Grimm fairytales, the final intention for Labyrinth became a "coming-of-age story" about a young girl who enters a fantasy world and encounters various creatures and beings along the way. Inspiration also came from TheWizard of Oz and Alice in Wonderland; both books featured in the main character Sarah's bedroom.

24 REWRITES AND REVISIONS

Beginning with the idea of a baby being surrounded by goblins, the vision for Labyrinth included twenty-five versions of the script. Various rewrites were made between 1983-85, including a collaborative effort made by executive-producer George Lucas. Initially, children's author Dennis Lee was in charge of creating the narrative for the film before it was handed down to other writers along the way toward becoming a finished piece.

Major alterations were made to certain characters and scenes as the script exchanged hands. The Goblin King went from a sinister villain attempting to seduce Sarah to a prideful phony who was scared of being vulnerable. The ballroom scene was originally meant to be highly-sexualized with heavy dialogue between Jareth and Sarah. Only a few months prior to filming did Henson make final adjustments to the script, having Elaine May work to better humanize some of the characters.

23 THE UNTOLD STORY

After Lee's pitch was passed over, the project was given to Monty Python alum Terry Jones, who found the author's work to be more of a "poetic novella" than a script. Tossing it aside, Jones decided to look through Brian Froud's conceptual drawings for a source of inspiration. Jones' vision for the film included a heavy emphasis on the environment and a desire to have the Goblin King mostly absent from the movie until the very end, where he's revealed to be a fraud, much like the Wizard from Oz.

When his ideas were "respectfully declined" by Henson, Jones went back to the drawing board after the script made its way back to him a year later. In the end, despite his hesitation, Jones was given sole credit for the screenplay but revealed "it didn't really end up as the story I wanted to tell." Though his vision was never fully realized, Jones was able to get his ideas across such as the Helping Hands scene and The Bog of Eternal Stench.

22 AN UNRELIABLE SOURCE

Though credited as a main source of inspiration behind the story for Labyrinth, Maurice Sendak didn't appreciate the overwhelming similarities Henson's narrative had to one of his children's books. In 1981, Sendak wrote and illustrated "Outside Over There," which follows the story of a young Ida who has to rescue her infant sister from goblins. In Labyrinth, 15-year old Sarah must venture into a mysterious maze after regretfully wishing her baby brother into the hands of The Goblin King.

Assumptions had also been made that Henson was thinking of referring to some of his creatures as "wild things" which bares resemblance to Sendak's "Where The Wild Things Are." Outraged, the author's lawyers strongly advised Henson to stop production, much to the dismay of the filmmaker, who was completely shocked by the accusations. Despite receiving acknowledgment in the credits and withdrawing his objections, Sendak would continue to be bitter about the incident.

21  AN UNEXPECTED GUEST

While attempting to produce a well-rounded script, Henson received input from various writers, including George Lucas, best known as the creator of the Star Wars and Indiana Jones franchises. While pitching ideas to one another, Lucas made it clear that ultimately this was Jim's movie and any final decision would have to made by him.

Filming for Labyrinth officially started on April 15, 1985, taking place across nine soundstages. On the first day, Lucas surprised the cast and crew by inviting Darth Vader onto the set, presenting Henson with a good-luck card. As executive producer, Lucas also aided Henson when it came to heavily editing the final cut of the film. Henson recalls the experience was based on compromise; focusing more on dialogue while Lucas focused on action.

20  WORTHY TO WEAR THE CROWN

Many iconic performers were considered for the role of The Goblin King Jareth. In the beginning, Michael Jackson, considered to be the King of Pop, was strongly considered for the position. Other potential singers included Prince and Mick Jagger. Henson was a fan of Police-frontman Sting before being convinced by his children that David Bowie "would have more lasting appeal."

With the intention that Jareth would have a large presence in the film, Henson had regular meetings with Bowie over the course of two years to go over the film and provide updates regarding its development. The singer almost made a swift departure from the film after reading a version of the script he believed was lacking in humor. In the end, hooked by the "terribly amusing" script and free reins over the movie's musical aspect, Bowie agreed to be a part of the film.

19 A SINISTER SEDUCTION

In the early versions of the script, The Goblin King was meant to be much more sinister.  The character presents himself in the guise of the author of a play Sarah is going to star in at school. After kidnapping Toby (known as Freddie), Jareth doesn't present Sarah with any threats until after she has made tremendous progress through the labyrinth with Hoggle.

Keeping his plan for Sarah a secret, he pursues her throughout the film, spying on her and attempting to kiss her during "The Ballroom Scene." The ending involves Sarah landing in an enormous bed with Jareth, stating he'd prefer to have her as his Queen than make Toby "a little goblin prince." Rejecting his advances, Sarah defeats Jareth and watches as he reveals himself to be nothing more than a powerless goblin.

18 A LETTER OF RECOMMENDATION

Following the passing of David Bowie in 2016, fans of the multi-talented star began sharing an image on social media of a letter the musician had received from Jim Henson during the production of Labyrinth. Strongly advised to have Bowie play the Goblin King, Henson sent him a version of the script, which was in desperate need of "quite a bit of polishing", along with a handwritten note requesting feedback and consideration in playing the role.

In an interview with Movieline about the film, Bowie saw his character as a vain, spoiled individual who, deep down, is a romantic figure deeply smitten with Sarah. Along with playing one of the few human characters in the film, he also composed two of the film's songs: "Chilly Down" and "Magic Dance." For the soundtrack, Bowie wrote "As The World Falls Down" and "Underground."

17 MAKING MAGIC

To perform the "Magic Dance" scene, it took over 48 puppets controlled by 52 puppeteers and eight people in goblin costumes. Referred to as "Dance Magic" in the end credits, the song was written by David Bowie and was released as a single in 1987. It remains perhaps the film's most lasting musical legacy, even to this day.

The lyrics are in reference to the 1947 movie The Bachelor and the Bobby-Soxer. Cary Grant and Shirley Temple's characters interact through song, talking about a man with the power of hoodoo. In Bowie's version, he replaces "man" with "babe" and "hoodoo" with "voodoo."  The singer also performed Toby's gurgles since the baby couldn't provide them on cue. Actors sometimes can be so difficult on-set, can't they?

16 BOWIE THE BABY-WHISPERER

Working with an infant proved challenging to Bowie who often had to work around Toby's behavior. Played by Brian Froud's son, Toby had to be coaxed into performing a certain way during various scenes. During a scene in which he's sitting in Jareth's lap, seemingly hypnotized by the Goblin King's words, Bowie used a glove puppet to distract the child. Off-camera, the singer would wiggle the puppet, named Sooty, to distract Toby and keep him quiet during filming.

Before filming the "Magic Dance" scene, the crew had to wait until Toby became upset after being deprived of nap-time so he would cry when surrounded by the goblins. In reality, Toby was completely unfazed by the numerous puppets and animatronics. As an adult, Toby Froud doesn't remember much of his time on set but admits he may have accidentally wet himself when first meeting Bowie.

15 LEARNING TO WORK TOGETHER

Along with having to deal with a toddler, Bowie also encountered difficulty when interacting with Hoggle and his goblin costars. Since the words didn't come from their mouths but instead spoken behind him or from the side of the set, Bowie was a bit disorientated at first. Gradually he became more comfortable and grew to enjoy working with the creatures, although he admits "the goblins were terrible company at lunchtime."

The puppeteers also struggled when it came to their performances. For Hoggle, actress Shari Weiser had to work alongside four puppeteers led by Brian Henson, who provided the voice for the character. In charge of controlling 18 motors inside the face rig, the group had to have multiple rehearsals in order to better anticipate each other's movements during the film.

14 ACCIDENTAL PARTING OF WAYS

During the film's tour, The Henson Company lost one of its puppets. One of the staff working at the Unclaimed Baggage Center in Scottsboro, Alabama got the fright of his life when he was unpacking a large crate and came face-to-face with Hoggle. In the film, Hoggle is the first creature encountered by Sarah as she navigates her way through the labyrinth.

He is employed by Jareth, who constantly humiliates him, and is initially wary of Sarah's attempts to befriend him. When tasked with giving Sarah an enchanted peach, Hoggle is indecisive about what to do but eventually does what his master asks of him. Striken with guilt, he retreats to Junk City only to later redeem himself by saving Sarah and Ludo from the robot Humungous.

13 SHAKING HANDS WITH ROYALTY

While one character got lost in transit, another had the pleasure of meeting members of the royal family. During the Royal Premiere of Labyrinth on December 1, 1986, Princess Diana and Prince Charles had the chance to meet Ludo and members of the cast and crew. Judging by her face, Princess Diana wasn't too keen on getting too close to the gentle giant but did remark "isn't he wonderful" upon being introduced.

In the film, Ludo is seen being tormented by a group of goblins, bound and hung upside down. He is rescued and befriended by Sarah and joins her on her mission to save her brother. At the Bog of Eternal Stench, Ludo confronts Sir Didymus and using his brute strength, easily defeats the knight and earns his respect.  Weighing over 75 pounds, operating Ludo fell into the hands of puppeteers Ron Mueck and Rob Mills.

12 A COLLECTION OF CHARACTERS

Fans of easter-eggs may have already been aware that Sarah's bedroom hides references to the various characters and creatures she meets during her time in the labyrinth. On her dresser, a stuffed animal of Sir Didymus can be found along with a Firey doll next to her bed. On the shelves next to her door, Ludo can be seen and as the camera pans across her desk, a copy of Sendak's "Where the Wild Things Are" is shown.

On the right side of her desk, there is a figurine of Jareth along with a scrapbook featuring pictures of Sarah's mother with a man who bares an uncanny resemblance to David Bowie. The dress she wears during "The Ballroom Scene" is worn by a small doll in her music box while on the wall is a drawing by M.C Escher called "Relativity" which inspired the Upside-Down Room where Sarah has her final confrontation with Jareth.

11 IF YOU CAN SEE ME

Along with appearing in a newspaper clipping in Sarah's scrapbook, David Bowie's face makes various appearances throughout the film. In seven of the movie's scenes, his face is hidden among the scenery. The first time we see it is in the upper right-hand corner when Sarah first steps foot into the labyrinth after speaking with the blue worm.

As Sarah continues to journey deeper into the labyrinth, Bowie's face continues to appear in certain sections of the maze. The most distinct appearance is during the beginning of the scene where Jareth gives Hoggle the peach; his face appears as the rock formation. The faces seem to only appear on the 1999 DVD with the film watched in widescreen mode.

10 FIRST OF ITS KIND

The opening credits for Labyrinth feature an owl flying across the screen. Created by animators Larry Yaeger and Bill Kroyer, the animal is regarded as the most realistic special effect in early film history. The scale model for the owl's head had to be saved from being tossed in the garbage when the animation company, Omnibus, went bankrupt in 1987.

In the film, the audience learns that one of Jareth's many talents is the ability to transform into a barn owl. In this form, he is able to spy on Sarah in the beginning of the movie as she is rehearsing for a play. He changes into this form again after safety returning Sarah and Toby to her room after he is defeated. His final appearance is at the end of the film when he flies into the night sky after watching Sarah celebrate her triumph with characters she's met during her time in the labyrinth.

9 LENDING A HAND

Another piece of movie magic is that Bowie received assistance performing his crystal ball stunts. Instead of using special effects, Jim Henson relied on the juggling talents of  Michael Moschen. The accomplished juggler would position himself behind Bowie, replacing the singer's arms with his own. Instead of a typical performance using a video screen as a guide, Moschen performed the stunts completely blind. Inside The Labyrinth: Crystals provides a glimpse into what Henson called "as close to real magic as anything I really know" with Bowie commenting that he found the charade "quite amusing."

The only manipulation the crystal balls received was during the "Escher Room Scene" where one appears to bounce up the stairs and into Toby's hand. The trick was achieved by having Toby drop the ball downstairs and later reversing the shot in the editing process.

8 ALL HANDS ON DECK

One of the hardest scenes to shoot was the "Shaft of Hands" scene, collectively made up of 150 painted latex gloves. Each hand was modeled after puppet designer Jane Gootnick's hand. In order to shoot the scene, actress Jennifer Connelly, who plays Sarah, was suspended 40 feet in the air and was told not to touch the back of the shaft or else risk having her fingers sliced by the hinges.

A few hundred of the crew were tasked with operating the rig, allowing the hands to move. Working together, 5-7 hands would be used to make faces and perform various expressive gestures while communicating with Sarah. Altogether, this very "hands on" process was a collaborative effort between the foam and latex department, various puppeteers, Terry Jones and Jim Henson.

7 A STAR IS BORN

Before Jennifer Connelly wowed Henson with her audition, many talented actress tried out for the role of Sarah. When auditions were first held in the U.K in 1984, a young Helena Bonham Carter was first to try out for the part. The need for the character to be American led to auditions by Sarah Jessica Parker, Jane Krakowski and Mia Sara who would all later star in Henson-related projects.

Connelly won Henson over with her sense of maturity and overwhelming professionalism while on set. With the intention that the film's narrative would focus on a young girl's path to growing up, Henson believed Connelly was "right at that moment between child and woman." In the presence of such a talented cast and crew, Connelly felt comfortable working with Henson and Bowie despite feelings of intimidation upon first meeting them.

6 A CHANCE ENCOUNTER

During the film's production, the movie happened to be shooting next door to Legend, leading to the cast and crew from each to often run into one another. During these encounters, Brian Henson, Jim's son, developed a crush on actress Mia Sara, who played Lili in the 1985 romantic adventure film. In 1996, Sara went on to marry Jason Connery, son of Sean Connery; the two divorced in 2002. Years later, she reunited with Brian and the two married in 2010.

In Legend, Sara's character is an immature princess who plays upon the affections of her lover Jack, played by Tom Cruise. After breaking one of the sacred rules of forest, Princess Lili is captured by Darkness, an evil figure who attempts to earn her love with beautiful gifts and promises of power. Foolishly tempted by these offerings, she agrees to marry him, bringing about her own descent into darkness.