Dennis Gassner says of his work on the film: Rhythm and Hues Studios created the main dæmons and Framestore CFC created all the bears. British company Cinesite created the secondary dæmons. Differences from the novel Numerous scenes from the novel did not feature in the film or were markedly changed. On December 7, 2007, New York magazine reviewed draft scripts from both Stoppard and Weitz; both were significantly longer than the final version, and Weitz's draft (which, unlike Stoppard's, did not feature significant additions to the source material) was pronounced the best of the three. The magazine concluded that instead of a "likely three hours of running time" that included such scenes as Mrs. Coulter's London party and Lyra's meeting with a witch representative, the studio had opted for a "failed" length of under 2 hours in order to maximize revenue. On October 9, 2007, Weitz revealed that the final 3 chapters from Northern Lights had been moved to the film's potential sequel, The Subtle Knife, in order to provide "the most promising conclusion to the first film and the best possible beginning to the second," though he also said less than a month later that there had been "tremendous marketing pressure" to create "an upbeat ending." (The San Francisco Chronicle found this "truncated" ending abrupt.) Author Pullman publicly supported these changes, saying that "every film has to make changes to the story that the original book tells—not to change the outcome, but to make it fit the dimensions and the medium of film." In addition to removing the novel's unsettling ending, the film reverses the order in which Lyra travels to Bolvangar, the Gobbler's outpost, and then Svalbard, the armoured bears' kingdom. (Neither deviation from the book features in Scholastic Publishing's The Golden Compass: The Story of the Movie novelisation.) In July 2009, Weitz told a Comic Con audience that the film had been "recut by [New Line], and my experience with it ended being quite a terrible one"; he also told Time magazine that he had felt that by "being faithful to the book I was working at odds with the studio." Tasha Robinson of The A.V. Club argued that through the use of a spoken introduction and other exposition-filled dialogue, the film fails by "baldly revealing up front everything that the novel is trying to get you to wonder about and to explore slowly." Youyoung Lee wrote