40 years later, the Labyrinth juggler looks back: ‘I didn’t want to hit David Bowie in the face’

Image: The Jim Henson Company

To execute these intricate sleight-of-hand maneuvers, director Jim Henson recruited professional juggler Michael Moschen. The process was physically demanding: Moschen would crouch directly behind Bowie, pressing against the star’s back, and snake his own arm beneath Bowie’s armpit. From there, he navigated the crystal ball—operating entirely by touch rather than sight—to perfectly mimic the fluid movements of the Goblin King’s hand. Despite the unconventional, makeshift nature of the technique, the result remains remarkably seamless on screen.

As Moschen reveals to Polygon during the film’s 40th anniversary, the initial plan was for Bowie to master the craft himself under Moschen’s tutelage. However, it quickly became apparent that a more pragmatic approach was necessary—provided Moschen could persuade both Henson and the rock legend to adopt it.

A Fateful Connection

Moschen didn’t earn his place in Labyrinth through a standard audition. Instead, a fortuitous introduction to Jim Henson paved the way for his work at Elstree Studios alongside one of the most transformative musicians of the century.

Michael Moschen: I met Jim through a mutual friend, the sculptor John Khan. John was mentoring Jim’s son and hosted an exhibition of his work; he invited me to perform, so I showcased some of my crystal ball routines with Jim in attendance. A few weeks later, when Jim’s birthday arrived, his team reached out to see if I’d be interested in performing at his party. I accepted, and despite my nerves, the performance went well. Immediately afterward, I was ushered backstage to meet Jim and the producers of Labyrinth. They asked if I would consider traveling to London to coach David Bowie. Within a week, I was in a room with the two of them, attempting to determine if the complex techniques could realistically be taught.

I had some history with this; years earlier, while Miloš Forman was directing Hair, my partner and I were brought in to coach choreographer Twyla Tharp and dancer Peter Martins on fire-swinging routines. Drawing from that experience, I stood before Jim and David and presented the reality: I was a specialist. I explained that we could either have a mediocre performance from David, or I could provide a high-level execution behind the scenes. I didn’t necessarily mind which path we took, but Jim eventually realized that the most effective solution was for me to step in and perform the movements myself.

Photo: Sony Pictures Home Entertainment

Collaborating with a Legend

Adapting a personal performance piece for the screen presented unique hurdles for Moschen—not just in terms of technique, but also in reconciling the emotional significance of his work with the scale of the production.

Moschen: The crystal ball routine was the first piece of art I had truly crafted, deeply influenced by the grief I felt while my sister was battling cancer. It was deeply personal, so it was difficult to reconcile that this intimate expression might become synonymous with David Bowie globally. I spoke with the producer about my concerns, but his response was simple: “We’re paying you enough—try to relax.”

The requirements were precise: the ball had to roll up the arm, transition around the hand, and remain steady while Bowie delivered his lines. I spent hours practicing in corners, eyes closed, working with a studded leather glove. It was a process of trial and error, as I was working blind and terrified of the prospect of accidentally dropping the sphere or causing an injury to a cultural icon.

Photo: TriStar Pictures

Eventually, I found my confidence. I owe so much to Bowie; he was incredibly patient, dealing with me looming behind him in identical costume, and he never complained—he remained focused on achieving the best possible shot. It was a masterclass in professionalism. As for Jim, I fondly remember him inviting me to his home for lunch on a day off, where we simply flew kites in a park. His warmth and generosity toward someone just starting their career made a lasting impact on me.

Source: Polygon