1
00:00:02,000 --> 00:00:07,000
Downloaded from
YTS.MX
2
00:00:06,006 --> 00:00:07,674
[whimsical music playing]
3
00:00:07,757 --> 00:00:09,592
[man] Animation has become,
4
00:00:08,000 --> 00:00:13,000
Official YIFY movies site:
YTS.MX
5
00:00:10,093 --> 00:00:12,971
in the minds of the consumers, a genre.
6
00:00:13,638 --> 00:00:16,016
But it also is an art form,
7
00:00:16,516 --> 00:00:18,852
and of all the art forms of animation,
8
00:00:18,935 --> 00:00:21,563
to me, the most sacred and magical
9
00:00:21,646 --> 00:00:22,814
is stop-motion
10
00:00:23,314 --> 00:00:26,401
because it's the bond
between an animator and the puppet.
11
00:00:28,319 --> 00:00:30,989
And normally, film captures reality.
12
00:00:31,531 --> 00:00:35,577
Animation creates it
and has to simulate the capture.
13
00:00:35,660 --> 00:00:40,832
You give life to it,
and that is the highest art form.
14
00:00:40,915 --> 00:00:42,792
[excited background chatter]
15
00:00:42,876 --> 00:00:44,878
[man] What's gonna make us unique is
16
00:00:44,961 --> 00:00:48,465
bringing Guillermo's live-action aesthetic
to this movie.
17
00:00:48,548 --> 00:00:51,092
There's a sophistication of filmmaking
18
00:00:51,176 --> 00:00:56,097
that when it's applied to stop-motion,
which is inherently handcrafted,
19
00:00:56,181 --> 00:00:59,434
you get a really powerful combination.
20
00:00:59,517 --> 00:01:02,020
[del Toro] Pinocchio is a movie
that has a huge heart.
21
00:01:02,103 --> 00:01:05,440
It deals with who you are,
staying true to yourself,
22
00:01:05,523 --> 00:01:08,985
and not having to change to be accepted.
23
00:01:10,862 --> 00:01:15,283
It also is about being a father
and being a son,
24
00:01:15,784 --> 00:01:17,744
learning to love your family
25
00:01:17,827 --> 00:01:20,080
for who they are and how they are.
26
00:01:20,163 --> 00:01:23,958
Guillermo's Pinocchio is
completely surprising.
27
00:01:24,834 --> 00:01:30,173
He's able to Trojan horse
these really big discussions
28
00:01:30,256 --> 00:01:34,302
into a really entertaining family movie.
29
00:01:35,720 --> 00:01:38,473
[woman] He is always looking at
what it is to be human
30
00:01:38,556 --> 00:01:40,934
and what it is to join a society.
31
00:01:41,017 --> 00:01:44,896
That's his territory,
and Pinocchio is all about that.
32
00:01:45,647 --> 00:01:48,608
It's a retelling of a story
you think you do know,
33
00:01:48,691 --> 00:01:49,567
but you don't know.
34
00:01:50,235 --> 00:01:51,528
[Cricket laughs heartily]
35
00:01:54,280 --> 00:01:56,658
[del Toro] The outsider aspect
of Pinocchio
36
00:01:56,741 --> 00:01:58,701
is what attracted me to the story.
37
00:01:58,785 --> 00:02:01,162
I identify with outsider creatures
38
00:02:01,246 --> 00:02:03,623
like the creature of Frankenstein
or Pinocchio
39
00:02:03,706 --> 00:02:06,334
and having to figure out the world
on your own,
40
00:02:06,960 --> 00:02:10,088
that the things that you are told
are not enough.
41
00:02:10,171 --> 00:02:13,258
And you want to know why this is right
and why this is wrong
42
00:02:13,341 --> 00:02:16,010
when this feels wrong
and this feels right.
43
00:02:17,220 --> 00:02:21,391
To me, there is a fragility
to Pinocchio being otherworldly
44
00:02:21,474 --> 00:02:24,519
and people being unable
to see him as a real boy
45
00:02:24,602 --> 00:02:28,565
because he doesn't look like what people
think a real boy should look like.
46
00:02:28,648 --> 00:02:30,108
I'm a real boy!
47
00:02:30,608 --> 00:02:31,943
[old man] Demon!
48
00:02:32,026 --> 00:02:33,319
[woman] Witchcraft!
49
00:02:33,403 --> 00:02:36,781
The magic is
it's Guillermo's take on Pinocchio,
50
00:02:36,865 --> 00:02:40,243
so the look of it is
such a Guillermo film.
51
00:02:40,326 --> 00:02:44,038
He's brought
sort of the creature aspect into it
52
00:02:44,122 --> 00:02:47,500
that you could only hope
Guillermo would bring into Pinocchio.
53
00:02:47,584 --> 00:02:49,961
But there's a real heartfelt,
54
00:02:50,044 --> 00:02:52,797
sort of emotional side
to the story as well.
55
00:02:52,881 --> 00:02:54,591
Pinocchio!
56
00:02:54,674 --> 00:02:55,633
[groans]
57
00:02:56,176 --> 00:02:57,510
Love hurts.
58
00:02:57,594 --> 00:03:00,555
[del Toro] It took about 15 years
to do Pinocchio,
59
00:03:00,638 --> 00:03:04,893
and we had to assemble
sort of the best team in stop-motion.
60
00:03:05,560 --> 00:03:08,146
I call your attention to
the miniature buttons.
61
00:03:08,730 --> 00:03:10,440
-[Hayns] Yeah.
-Damn, they're fine.
62
00:03:10,523 --> 00:03:12,233
[Hayns laughs] They are, aren't they?
63
00:03:12,317 --> 00:03:16,321
We did a three-way link between
London, Portland, and Guadalajara.
64
00:03:17,238 --> 00:03:20,700
I have been supporting Mexican animation
since the '80s,
65
00:03:20,783 --> 00:03:23,953
and we wanted to have a link with Mexico.
66
00:03:24,037 --> 00:03:27,790
I wanted Mexican animators
animating Pinocchio and the cricket.
67
00:03:27,874 --> 00:03:33,713
Main characters because that demonstrates
the great artistry and technical capacity
68
00:03:33,796 --> 00:03:36,341
that a Mexican studio can have
in animation.
69
00:03:37,008 --> 00:03:39,844
We got some of the best animators
in the world,
70
00:03:39,928 --> 00:03:42,222
all under the guidance of Shadowmachine.
71
00:03:42,722 --> 00:03:47,602
We embarked on an amazing process
to build a stop-motion team
72
00:03:48,186 --> 00:03:51,064
commensurate with the vision
that Guillermo had.
73
00:03:51,147 --> 00:03:54,317
[man] The depth of experience
on our project was really great.
74
00:03:54,400 --> 00:03:57,362
It's just tremendously exciting because,
75
00:03:57,445 --> 00:04:00,990
you know, we get to be
at the top of our game.
76
00:04:01,074 --> 00:04:04,369
You know, we're always waiting for
a script that sort of rises
77
00:04:04,452 --> 00:04:06,162
to something that you want to service,
78
00:04:06,246 --> 00:04:08,039
and this is one of those experiences.
79
00:04:08,623 --> 00:04:11,751
[man] The thing that
immediately caught my attention
80
00:04:11,834 --> 00:04:15,713
was that it didn't look like
any animated film
81
00:04:15,797 --> 00:04:17,006
you've ever seen before.
82
00:04:17,715 --> 00:04:23,429
Guillermo's aesthetic is woven through
almost every frame of this film.
83
00:04:23,513 --> 00:04:25,682
[del Toro]
There's a valuable difference between
84
00:04:25,765 --> 00:04:29,018
stop-motion as an art form and digital.
85
00:04:29,102 --> 00:04:32,772
We have seen a movement from
stop-motion in the early days
86
00:04:32,855 --> 00:04:36,776
where you had the moiré
and the flicker of fur and fabric,
87
00:04:36,859 --> 00:04:39,570
even the atmospheric dust on the sets,
88
00:04:39,654 --> 00:04:42,949
and the imperfection of it was
so gorgeous to look at
89
00:04:43,032 --> 00:04:45,618
because it told you how
the thing was done.
90
00:04:46,703 --> 00:04:49,789
I really wanted this movie
to land in a way
91
00:04:49,872 --> 00:04:54,335
that had the material nature of
a handmade piece of animation,
92
00:04:54,419 --> 00:05:00,049
an artisanal, beautiful exercise
in carving, painting, sculpting,
93
00:05:00,133 --> 00:05:02,343
but it had the sophistication of movement
94
00:05:02,427 --> 00:05:07,223
that research on rigs and puppetry making
have taken us to.
95
00:05:09,434 --> 00:05:13,730
[Hayns] So, you know, my role as
the puppet fabrication supervisor,
96
00:05:13,813 --> 00:05:17,400
it's really getting
a director like Guillermo
97
00:05:17,483 --> 00:05:20,695
to trust me with his image of his movie,
98
00:05:20,778 --> 00:05:23,031
and then it's the practical element of
99
00:05:23,114 --> 00:05:25,783
how do we turn these inanimate objects
100
00:05:25,867 --> 00:05:28,786
into fully animatable puppets?
101
00:05:29,412 --> 00:05:32,790
[man] We have to plan out a lot of
how it's going to move,
102
00:05:32,874 --> 00:05:36,544
what it needs to do
within the arc of its story.
103
00:05:36,627 --> 00:05:39,630
You know, what is it going to
need to be rigged on,
104
00:05:39,714 --> 00:05:41,007
and how much does it weigh?
105
00:05:41,090 --> 00:05:43,176
That's even a thing we have to consider.
106
00:05:43,259 --> 00:05:46,220
It's a tough balance,
especially when it comes to creatures,
107
00:05:46,304 --> 00:05:51,476
which are certainly more cumbersome
than a human character.
108
00:05:51,559 --> 00:05:55,521
You've got so many
fantastical, wonderful elements
109
00:05:55,605 --> 00:05:57,815
that each and every one of them
is hard to do,
110
00:05:57,899 --> 00:06:00,651
but you have to put it together
and make it work together.
111
00:06:01,611 --> 00:06:05,406
[Gustafson] It's a very long process
getting a puppet ready.
112
00:06:05,490 --> 00:06:07,742
You know, it might take a year
113
00:06:07,825 --> 00:06:09,827
to get to where
you've got a finished puppet
114
00:06:09,911 --> 00:06:12,789
that everyone's happy with,
and it can actually go out on stage,
115
00:06:12,872 --> 00:06:14,332
and then you can animate it.
116
00:06:15,083 --> 00:06:18,169
[Hayns] Guillermo really wanted
this to be mechanical
117
00:06:18,252 --> 00:06:19,754
rather than replacement.
118
00:06:19,837 --> 00:06:22,882
We have both puppets in this movie.
119
00:06:22,965 --> 00:06:26,636
Replacement is every mouth shape
and every expression
120
00:06:26,719 --> 00:06:28,304
being a transplant.
121
00:06:28,388 --> 00:06:32,016
So, its every mouth shape is
a separate face mask
122
00:06:32,100 --> 00:06:34,060
that sits on the puppet's face.
123
00:06:34,143 --> 00:06:37,688
Pinocchio is replacement
because he's a wooden boy.
124
00:06:37,772 --> 00:06:41,234
[man] So, we made him act like
he was made out of wood.
125
00:06:41,317 --> 00:06:44,404
His face stays the same size at all times.
126
00:06:44,487 --> 00:06:45,988
He doesn't have any puffy cheeks.
127
00:06:46,072 --> 00:06:49,992
The wood grains in his face
doesn't move around at all.
128
00:06:50,076 --> 00:06:51,661
It just opens up.
129
00:06:51,744 --> 00:06:55,832
I sort of described it as using a chisel
to open the mouth up.
130
00:06:55,915 --> 00:06:59,627
So, you just go it in one bang.
There's a bit of cushion on the back end.
131
00:07:00,211 --> 00:07:02,130
Bang! Open.
132
00:07:02,213 --> 00:07:05,299
I think that was a stroke of genius
when we all came up with that.
133
00:07:05,383 --> 00:07:06,634
I was like, "Yes!"
134
00:07:07,677 --> 00:07:13,182
[man] Technically speaking, it was gonna
be a really difficult puppet to create.
135
00:07:13,266 --> 00:07:16,894
We had to find new techniques
so that you could see the character
136
00:07:17,395 --> 00:07:20,773
in all its wooden form
with its crude wooden joints.
137
00:07:20,857 --> 00:07:23,776
We wanted it to be as practical
and as durable
138
00:07:23,860 --> 00:07:27,572
as a feature film would demand of
a puppet of that size.
139
00:07:28,072 --> 00:07:31,951
Pinocchio himself is the first puppet
140
00:07:32,034 --> 00:07:34,745
fully printed out of a 3D printer.
141
00:07:34,829 --> 00:07:39,083
But then Volpe and Geppetto
are all mechanical.
142
00:07:39,167 --> 00:07:42,128
A mechanical animation is where
you have a silicone skin
143
00:07:42,211 --> 00:07:47,467
sitting over what is essentially
a Swiss watch of mechanisms.
144
00:07:48,134 --> 00:07:51,345
With that, the animator move
frame-by-frame
145
00:07:51,429 --> 00:07:55,016
every element from the outside
through the skin.
146
00:07:55,099 --> 00:07:57,602
It's been a long process
working with the animation team
147
00:07:57,685 --> 00:08:01,564
to see how we would develop
the techniques used for each character.
148
00:08:01,647 --> 00:08:04,317
[Hayns] You know, Geppetto works so well
149
00:08:04,400 --> 00:08:08,279
because he's got a big mustache
and a big beard and heavy eyebrows.
150
00:08:08,362 --> 00:08:12,074
And all of these things
lend themselves to mechanical faces.
151
00:08:12,617 --> 00:08:15,745
So, when the animator started to work with
the first Carlo puppet,
152
00:08:15,828 --> 00:08:17,872
it was such a struggle.
153
00:08:17,955 --> 00:08:19,957
[del Toro] The more smooth the face,
154
00:08:20,041 --> 00:08:23,252
the harder it is
to make those expressions change.
155
00:08:23,336 --> 00:08:26,756
So, the animators started relying on
the lower eyelids,
156
00:08:26,839 --> 00:08:29,550
on the brows, on the body language.
157
00:08:29,634 --> 00:08:31,469
And especially with Carlo,
158
00:08:31,552 --> 00:08:33,888
one of the things we wanted to do was
159
00:08:33,971 --> 00:08:36,682
do unnecessary gestures in animation.
160
00:08:36,766 --> 00:08:39,477
This was an ambassador to that
161
00:08:39,560 --> 00:08:43,272
because nobody does
more unnecessary gestures than a child.
162
00:08:43,356 --> 00:08:44,440
[imitating airplane]
163
00:08:44,524 --> 00:08:46,359
[Campodonico]
One of Guillermo's initial conceits was
164
00:08:46,442 --> 00:08:48,236
really making sure that you hold on
165
00:08:48,319 --> 00:08:50,988
to the realness
and the tactileness of stop-motion
166
00:08:51,072 --> 00:08:54,367
and the idea that you animate mistakes.
167
00:08:55,243 --> 00:08:59,539
[man] He was really stressing
the realism of the performances
168
00:08:59,622 --> 00:09:02,959
like little mistakes
that people make all the time.
169
00:09:03,042 --> 00:09:07,421
If they go to pick up a dinner plate,
they maybe miss it
170
00:09:07,505 --> 00:09:09,215
and go for it again.
171
00:09:09,924 --> 00:09:12,760
[del Toro] In live-action,
you beg for a mistake,
172
00:09:13,469 --> 00:09:16,681
you beg for a line reading
that is not what you expected.
173
00:09:16,764 --> 00:09:21,185
This invoking of reality is
very hard in stop-motion
174
00:09:21,769 --> 00:09:26,190
because you are animating it,
so you need to simulate those accidents.
175
00:09:26,274 --> 00:09:27,191
Lift your leg.
176
00:09:27,275 --> 00:09:30,111
Because he's a live-action director,
177
00:09:30,194 --> 00:09:34,949
he understands the time it takes
for people to process
178
00:09:35,449 --> 00:09:37,577
faces and things on screen.
179
00:09:38,494 --> 00:09:41,622
On this film,
Guillermo really has taken the time to say
180
00:09:42,123 --> 00:09:43,499
it needs to get slowed down.
181
00:09:43,583 --> 00:09:46,669
We need to see Pinocchio
thinking about that.
182
00:09:46,752 --> 00:09:49,130
I said, "If the character is thinking,
183
00:09:49,213 --> 00:09:52,258
I wanna see the eyes
inputting the information."
184
00:09:52,341 --> 00:09:55,011
"I want to see a subtle shift."
185
00:09:55,094 --> 00:09:56,679
If you animate the ordinary,
186
00:09:56,762 --> 00:09:59,307
you will achieve something extraordinary.
187
00:09:59,390 --> 00:10:01,892
[Geppetto and Cricket screaming]
188
00:10:02,935 --> 00:10:06,397
I co-directed with Mark Gustafson,
who, for me, is
189
00:10:06,480 --> 00:10:09,609
a legendary director and animator.
190
00:10:09,692 --> 00:10:12,862
It's been amazing
working with Guillermo because
191
00:10:12,945 --> 00:10:16,157
he's an artist
who's at the top of his game right now.
192
00:10:16,240 --> 00:10:20,202
So, it makes you have to
raise your game as well.
193
00:10:20,286 --> 00:10:24,415
Guillermo's been fantastic in the way that
he completely trusted the animator,
194
00:10:24,498 --> 00:10:26,500
a bit like he trusts his actors.
195
00:10:27,084 --> 00:10:31,130
[del Toro] Basically, the way you do
a live-action is between action and cut,
196
00:10:31,213 --> 00:10:32,965
the actor owns the shot.
197
00:10:33,049 --> 00:10:36,052
And you make this bond with the animators,
198
00:10:36,135 --> 00:10:40,139
and it gives them a lot of power
to think through the puppet,
199
00:10:40,723 --> 00:10:44,644
to not do an action, to avoid pantomime,
200
00:10:45,144 --> 00:10:47,188
and to give us real acting.
201
00:10:47,271 --> 00:10:50,566
The animators are our actors.
202
00:10:51,317 --> 00:10:54,362
Animation is such an elaborate process,
203
00:10:54,445 --> 00:10:57,865
and we wanted animators
to own the performances.
204
00:10:57,948 --> 00:11:00,159
One of the founding principles
205
00:11:00,242 --> 00:11:03,120
that Guillermo and I came up with
when we started this was
206
00:11:03,204 --> 00:11:08,376
give the performance back to the animators
as much as possible.
207
00:11:08,959 --> 00:11:13,422
Part of that is them shooting these
what we call LAVs, live-action videos.
208
00:11:13,506 --> 00:11:20,179
[Geppetto] Do not tell lies
or your nose will grow and grow…
209
00:11:20,262 --> 00:11:22,473
[Hansen] Most times before you do a shot
as an animator,
210
00:11:22,556 --> 00:11:24,141
you would go and investigate
211
00:11:24,225 --> 00:11:26,435
what kind of shape
this shot is gonna have,
212
00:11:26,519 --> 00:11:29,271
what kind of motion, what kind of speed.
213
00:11:29,355 --> 00:11:32,400
A good and quick way to do that
is just film yourself.
214
00:11:32,900 --> 00:11:34,568
So, the animator would turn up with
215
00:11:34,652 --> 00:11:37,738
a little video of themself
doing the action.
216
00:11:38,322 --> 00:11:39,949
Guillermo really loved that.
217
00:11:40,032 --> 00:11:43,619
Every time he sees them,
he's, like, a big smile and going, "Yeah!"
218
00:11:43,703 --> 00:11:45,162
"Just like that! It's great!"
219
00:11:46,288 --> 00:11:48,124
[snaps fingers] Spazzatura.
220
00:11:48,207 --> 00:11:49,750
[Spazzatura hoots]
221
00:11:49,834 --> 00:11:52,920
[del Toro] Gris Grimly designed
an amazing Pinocchio.
222
00:11:53,003 --> 00:11:58,759
To me, the best Pinocchio I've seen
because it's so simple and so beautiful.
223
00:11:58,843 --> 00:12:00,803
[man] When I started
illustrating Pinocchio,
224
00:12:00,886 --> 00:12:03,597
I just wanted him to be lanky and awkward
225
00:12:04,181 --> 00:12:06,600
like a puppet without the strings.
226
00:12:06,684 --> 00:12:09,353
[man] Designing Pinocchio
was the main character
227
00:12:09,437 --> 00:12:11,021
we wanted to get down first.
228
00:12:11,105 --> 00:12:14,483
Guillermo had the wonderful idea of
it being almost Frankenstein-like
229
00:12:14,567 --> 00:12:16,986
in that one half is finished
and one is unfinished.
230
00:12:19,196 --> 00:12:21,115
[del Toro] We made him asymmetrical
231
00:12:21,198 --> 00:12:23,284
because Geppetto carves him
when he's drunk.
232
00:12:23,367 --> 00:12:24,201
[groans]
233
00:12:24,285 --> 00:12:27,997
And one of the ideas is
he starts with the ear and this hair,
234
00:12:28,539 --> 00:12:32,168
and he's really careful with that,
and then he goes, "Ah."
235
00:12:32,251 --> 00:12:34,462
And kind of finishes him quick.
236
00:12:34,545 --> 00:12:37,006
-[Geppetto] Mm.
-[thunder crashes]
237
00:12:37,089 --> 00:12:37,923
[glass smashes]
238
00:12:38,007 --> 00:12:41,719
Geppetto was the one character
that we designed the most.
239
00:12:41,802 --> 00:12:43,846
We layered him out on clothing.
240
00:12:44,430 --> 00:12:48,100
We made it a point to make
everything he was wearing ratty.
241
00:12:48,184 --> 00:12:52,354
You know, he's not a guy
that can afford many pairs of pants.
242
00:12:52,438 --> 00:12:54,398
[Geppetto sobs] My son.
243
00:12:54,482 --> 00:12:57,943
We have to take him to a place
where he's not pleasant.
244
00:12:58,027 --> 00:13:02,031
I mean, this guy drinks.
This guy gets angry.
245
00:13:02,114 --> 00:13:04,700
This guy doesn't understand Pinocchio.
246
00:13:04,784 --> 00:13:06,994
It takes him a while to realize that
247
00:13:07,077 --> 00:13:10,915
his love for this boy is
much more important
248
00:13:10,998 --> 00:13:14,335
than doing what is socially acceptable.
249
00:13:14,418 --> 00:13:17,046
Even if he's dead, I could still book him.
250
00:13:17,129 --> 00:13:21,550
How dare you, sir? Show some respect!
251
00:13:22,384 --> 00:13:24,553
[del Toro] The main villain
in Collodi's stories,
252
00:13:24,637 --> 00:13:26,263
a character called Mangiafuoco,
253
00:13:26,347 --> 00:13:28,682
is a very large character,
254
00:13:28,766 --> 00:13:31,519
and I had a bad feeling about it.
I didn't like it.
255
00:13:31,602 --> 00:13:33,437
I thought it was very much a cliché.
256
00:13:33,521 --> 00:13:36,398
Guillermo called whoever was working
on the show at that point,
257
00:13:36,482 --> 00:13:38,526
and he looked at us,
and he said, "Hey, guys."
258
00:13:38,609 --> 00:13:42,196
"I think our main villain is crap,
and I want to change it."
259
00:13:42,780 --> 00:13:46,200
[del Toro] And I said, "I really think
this should be the guy."
260
00:13:46,283 --> 00:13:49,286
"Can we make him the main antagonist?"
261
00:13:49,370 --> 00:13:52,873
And that was just, "Okay. All right.
We've already built the villain."
262
00:13:52,957 --> 00:13:55,334
-[laughing] So, what do we do?
-[talking over each other]
263
00:13:55,417 --> 00:13:57,545
So, what was your answer to his question?
264
00:13:57,628 --> 00:14:00,840
It was one of those moments where
once you see it, you can't unsee it,
265
00:14:00,923 --> 00:14:03,467
and you work with the amazing team
to figure it out.
266
00:14:03,551 --> 00:14:07,513
[Hayns] There was a lot of time
that was spent designing Mangiafuoco
267
00:14:07,596 --> 00:14:11,016
with a huge beard, and this puppet,
268
00:14:11,100 --> 00:14:14,645
we finished making him, and he's now
a background character for the circus.
269
00:14:14,728 --> 00:14:16,146
[all cheering and clapping]
270
00:14:16,230 --> 00:14:19,692
Go away! This is not a spectacle.
271
00:14:19,775 --> 00:14:21,318
But it is!
272
00:14:21,402 --> 00:14:26,490
Volpe is one of the more
over-the-top characters.
273
00:14:26,574 --> 00:14:28,951
He's really fun because
he's kind of the devil.
274
00:14:29,034 --> 00:14:30,703
He's very transactional.
275
00:14:30,786 --> 00:14:32,454
He's just what's best for him.
276
00:14:32,538 --> 00:14:34,748
One last detail to take care of.
277
00:14:35,499 --> 00:14:37,042
[Cricket] Whoa!
278
00:14:37,126 --> 00:14:38,919
[del Toro]
When we were thinking about the cricket
279
00:14:39,003 --> 00:14:42,756
I was thinking of a cricket
that has traveled all over the world,
280
00:14:42,840 --> 00:14:45,426
and lived with a sculptor and a barrister.
281
00:14:46,010 --> 00:14:47,803
And I thought of the name
282
00:14:47,887 --> 00:14:50,848
Sebastian J. Cricket.
283
00:14:50,931 --> 00:14:54,018
That sounded so sophisticated.
284
00:14:54,101 --> 00:14:57,438
[Gustafson] Cricket was really driven
by Guillermo.
285
00:14:57,521 --> 00:15:01,108
He takes this character
who is a little bit arrogant,
286
00:15:01,191 --> 00:15:04,028
and he makes you really like him
and want to follow him.
287
00:15:04,612 --> 00:15:08,407
[del Toro] The animation on the cricket is
very simple in appearance,
288
00:15:08,490 --> 00:15:12,494
but that means
you have to be very judicious with that.
289
00:15:12,578 --> 00:15:14,330
He uses the hands a lot
290
00:15:14,955 --> 00:15:16,290
to explain, to…
291
00:15:16,373 --> 00:15:18,042
You know, he's very righteous.
292
00:15:18,125 --> 00:15:21,420
So, he uses the hands
to demand an explanation,
293
00:15:21,503 --> 00:15:23,422
to accuse somebody,
294
00:15:23,505 --> 00:15:24,548
to signal.
295
00:15:24,632 --> 00:15:27,384
He's a character that uses
his whole body as a face.
296
00:15:27,468 --> 00:15:29,178
[Cricket] I'm not a governess, madam.
297
00:15:29,261 --> 00:15:31,555
And then, you know, it's a creature design
298
00:15:31,639 --> 00:15:33,682
which is a completely different thing,
299
00:15:33,766 --> 00:15:36,769
and that is Guillermo's true wheelhouse.
300
00:15:36,852 --> 00:15:39,229
[fantastical music playing]
301
00:15:48,113 --> 00:15:49,198
[dogfish moaning]
302
00:15:49,823 --> 00:15:53,535
[del Toro] The dogfish, Death, the sprite,
303
00:15:54,036 --> 00:15:56,163
the cricket, the rabbits
304
00:15:56,246 --> 00:15:59,458
all have the same
unworldly blue violet skin
305
00:15:59,541 --> 00:16:01,335
because they are all related.
306
00:16:01,418 --> 00:16:05,089
The rabbits take the dead
to the other side.
307
00:16:05,172 --> 00:16:08,717
And they're an extension of Death,
which is the sister of life,
308
00:16:08,801 --> 00:16:10,052
which is the sprite.
309
00:16:10,552 --> 00:16:12,554
The concept art was
never clean or stylized.
310
00:16:12,638 --> 00:16:15,933
It wasn't a very polished looking like…
look to a character.
311
00:16:16,016 --> 00:16:18,060
They would have dirt
under their fingernails.
312
00:16:18,143 --> 00:16:19,895
They would have, you know, blemishes,
313
00:16:19,979 --> 00:16:23,190
and it was like he wanted every character
to feel like it lived a life
314
00:16:23,273 --> 00:16:24,400
before in the film.
315
00:16:24,483 --> 00:16:26,652
[Saunders] You know,
we would create a character,
316
00:16:26,735 --> 00:16:30,739
uh, make a beautiful costume,
you know, for Geppetto
317
00:16:30,823 --> 00:16:32,825
or one of the other characters,
318
00:16:32,908 --> 00:16:34,618
and you get a message back.
319
00:16:34,702 --> 00:16:36,245
Guillermo's seen it.
320
00:16:36,829 --> 00:16:38,497
It's gotta look dirty. [chuckles]
321
00:16:38,580 --> 00:16:40,290
You see, you make a beautiful puppet,
322
00:16:40,374 --> 00:16:43,210
but it looks like it's come straight out
of the shop when you finish it.
323
00:16:43,293 --> 00:16:47,047
It doesn't look
like it's a character in a story.
324
00:16:47,548 --> 00:16:50,259
[del Toro] You don't have to believe
they are real people.
325
00:16:50,342 --> 00:16:52,636
You have to believe in them as characters,
326
00:16:52,720 --> 00:16:57,349
and we wanted to embody the form
and the character into one.
327
00:16:57,433 --> 00:16:58,976
We wanted to fuse them.
328
00:16:59,059 --> 00:17:03,772
Volpe with his sort of demonic,
horn-like wings on the hair.
329
00:17:03,856 --> 00:17:06,608
The innocence of Pinocchio,
his simplicity.
330
00:17:06,692 --> 00:17:11,363
The sort of earthiness
and beautiful old-world grace in Geppetto.
331
00:17:11,447 --> 00:17:15,492
We wanted to do a labor of design
that told the story.
332
00:17:17,202 --> 00:17:22,708
[Cricket] Stridulations of My Youth
by Sebastian J. Cricket.
333
00:17:24,168 --> 00:17:25,919
[del Toro] In terms of scale,
334
00:17:26,003 --> 00:17:30,132
we use different size of puppets
for different needs.
335
00:17:30,215 --> 00:17:35,971
This is our Pinocchio to interact with
the cricket, which is this height,
336
00:17:36,472 --> 00:17:37,931
Sebastian J. Cricket.
337
00:17:38,432 --> 00:17:42,811
And in order for him to be the right size
in very few shots,
338
00:17:42,895 --> 00:17:46,440
we need the cricket
and the shoulder of Pinocchio
339
00:17:46,523 --> 00:17:48,567
talking to him, whispering in his ear.
340
00:17:48,650 --> 00:17:50,861
So, we use this big Pinocchio.
341
00:17:50,944 --> 00:17:54,990
And then in certain shots,
we use this small Pinocchio.
342
00:17:55,574 --> 00:17:56,909
Then we have this
343
00:17:57,534 --> 00:17:58,827
small crickets
344
00:17:59,536 --> 00:18:00,579
for other shots,
345
00:18:01,163 --> 00:18:02,748
particularly when he gets crushed.
346
00:18:02,831 --> 00:18:04,541
[Cricket] Oh!
347
00:18:04,625 --> 00:18:06,043
The pain.
348
00:18:06,126 --> 00:18:08,962
[Gustafson] You can only build a puppet
so small
349
00:18:09,046 --> 00:18:11,924
and still have good control over it
in terms of the animation.
350
00:18:12,508 --> 00:18:16,762
So we built Pinocchio
as small as we could and still
351
00:18:16,845 --> 00:18:18,764
have really good control over him.
352
00:18:18,847 --> 00:18:22,601
And then everybody else's scale is
in relation to that.
353
00:18:22,684 --> 00:18:24,686
And then the sets are in relation to that.
354
00:18:24,770 --> 00:18:26,772
[musical flourish]
355
00:18:28,607 --> 00:18:30,275
[Enderle] Everything has to be built.
356
00:18:30,359 --> 00:18:33,403
That's sort of the blessing
and the curse of stop-motion.
357
00:18:33,487 --> 00:18:37,324
You know, you can make things look
exactly as you need them to look.
358
00:18:37,407 --> 00:18:38,700
I think that's exciting
359
00:18:38,784 --> 00:18:40,577
because you fully create a world
360
00:18:40,661 --> 00:18:43,831
and a world that's unlike any other
or very much like another.
361
00:18:43,914 --> 00:18:46,875
And that's kind of really powerful.
362
00:18:46,959 --> 00:18:49,169
It helps you best tell the story.
363
00:18:49,753 --> 00:18:54,007
So we looked at a lot of Guillermo's films
and picked up key things.
364
00:18:54,883 --> 00:18:57,344
Colors, textures,
365
00:18:57,427 --> 00:19:00,889
shapes of windows,
and just general atmosphere.
366
00:19:01,640 --> 00:19:05,811
You can probably tell within three seconds
that you're watching a Guillermo film,
367
00:19:05,894 --> 00:19:07,646
and we wanted that to be true of this.
368
00:19:08,230 --> 00:19:10,440
[Bradley] The sets are evocative
369
00:19:10,524 --> 00:19:14,444
of the beauty
of these little Italian towns,
370
00:19:14,528 --> 00:19:16,321
and I know places just like this.
371
00:19:16,405 --> 00:19:18,574
[del Toro] We did a huge amount
of research.
372
00:19:18,657 --> 00:19:22,536
Photographs and posters,
we copied typography
373
00:19:22,619 --> 00:19:24,872
because I wanted the world to feel real.
374
00:19:24,955 --> 00:19:27,332
All the structures in the town
375
00:19:27,416 --> 00:19:29,501
have the remnants of their origins
376
00:19:29,585 --> 00:19:32,588
like medieval ruins,
and then on top of that
377
00:19:32,671 --> 00:19:34,590
you have 18th-century carvings,
378
00:19:34,673 --> 00:19:40,637
and then you have murals
that were frescoes from the 1500s, 1400s.
379
00:19:41,305 --> 00:19:43,015
So, it feels layered.
380
00:19:43,098 --> 00:19:46,518
[man] Once you're translating script
to storyboards,
381
00:19:46,602 --> 00:19:49,646
those decisions can define
how massive the vision can be,
382
00:19:49,730 --> 00:19:52,691
and you can make choices in story
where you put the camera,
383
00:19:52,774 --> 00:19:54,443
how much the camera's moving.
384
00:19:55,110 --> 00:19:57,654
[Gustafson] One of the unique challenges
that we have is
385
00:19:57,738 --> 00:20:00,032
the animator has to actually
be able to get in
386
00:20:00,115 --> 00:20:01,783
and reach the puppets and animate.
387
00:20:01,867 --> 00:20:04,453
So, we have to design these sets
388
00:20:04,536 --> 00:20:07,998
so that they can be pulled apart
in many different ways.
389
00:20:08,081 --> 00:20:11,585
It's all a big, like, teamwork,
and we're all sitting there together
390
00:20:11,668 --> 00:20:13,545
talking about how this is gonna look.
391
00:20:14,254 --> 00:20:15,631
The film looks a certain way,
392
00:20:15,714 --> 00:20:19,676
and then the animation
needs to fit into that world as well.
393
00:20:20,677 --> 00:20:23,513
[Gustafson] Early on,
you have to find out the aesthetic,
394
00:20:23,597 --> 00:20:25,224
like exactly what it is.
395
00:20:25,307 --> 00:20:27,976
And we'll base it on
something very simple.
396
00:20:28,060 --> 00:20:30,312
You know,
we have a pine cone in the movie that,
397
00:20:30,395 --> 00:20:32,940
it's a… it's a charming little…
little object,
398
00:20:33,023 --> 00:20:36,860
and we looked at it over and over
for months at different intervals,
399
00:20:36,944 --> 00:20:39,863
and we would look at other things
through the lens of
400
00:20:39,947 --> 00:20:42,824
like how did we make this pine cone?
We like this look.
401
00:20:42,908 --> 00:20:46,578
If you know how the lines of
a simple, organic pine cone works,
402
00:20:46,662 --> 00:20:48,664
you start to learn the line language
403
00:20:48,747 --> 00:20:52,584
and the level of detail
and the level of reality
404
00:20:52,668 --> 00:20:54,670
that we're trying to infuse
into this movie.
405
00:20:54,753 --> 00:20:57,547
You just kind of get a feel for
what this world looks like.
406
00:20:58,257 --> 00:21:03,053
[DeSue] The Death puppet left room
for certain aspects to be explored.
407
00:21:03,136 --> 00:21:06,848
Yeah. 'Cause I mean, I think originally
the Death, we had the snake tail,
408
00:21:06,932 --> 00:21:09,059
and it was you and Toby
409
00:21:09,142 --> 00:21:14,523
saw that scaling as a pine cone texture.
And that was so brilliant.
410
00:21:14,606 --> 00:21:18,652
It was a great way of tying it into
the pine cone that Death represented
411
00:21:18,735 --> 00:21:19,820
every living thing.
412
00:21:21,238 --> 00:21:23,198
[Gustafson] There were some pants
for Spazzatura.
413
00:21:23,282 --> 00:21:25,117
And the line in the pants…
414
00:21:25,200 --> 00:21:27,744
-Had to be handmade.
-It had to be handmade.
415
00:21:27,828 --> 00:21:31,331
But it didn't wanna be overt, you know.
416
00:21:31,415 --> 00:21:33,333
It wanted to feel real in a sense,
417
00:21:33,417 --> 00:21:36,211
but it sort of reflected
into everything else,
418
00:21:36,295 --> 00:21:38,547
this notion of it's not perfect.
419
00:21:39,047 --> 00:21:40,841
It's got a character to it.
420
00:21:40,924 --> 00:21:43,844
[DeSue] We'd all seen the sample.
It had come from Mackinnon and Saunders.
421
00:21:43,927 --> 00:21:47,264
They gave us a swatch board. If we
can handle these stripes nine ways.
422
00:21:47,347 --> 00:21:49,933
Here's ones that we like,
and we were all, "That one."
423
00:21:50,017 --> 00:21:52,227
And we laughed.
We're like, "We all agree."
424
00:21:52,311 --> 00:21:54,104
"That's so great. It must be that one."
425
00:21:54,187 --> 00:21:56,648
Then the next step was
to talk about well, why?
426
00:21:56,732 --> 00:21:58,567
Because if you talk about why,
427
00:21:58,650 --> 00:22:01,445
then maybe those rules
can inform other things.
428
00:22:01,528 --> 00:22:03,739
[Death] There are rules, you see.
429
00:22:03,822 --> 00:22:05,699
[Gustafson] We had to find
the language of it,
430
00:22:05,782 --> 00:22:08,577
how cartoony is it, how real is it.
431
00:22:08,660 --> 00:22:11,538
And there was sort of a sweet spot
I think we landed in.
432
00:22:12,122 --> 00:22:14,750
Having a magical element like Pinocchio
433
00:22:15,292 --> 00:22:19,755
required that we had
a more grounded world around Pinocchio.
434
00:22:19,838 --> 00:22:22,382
If everything is magical,
nothing is magical.
435
00:22:22,466 --> 00:22:26,219
We needed to ground the world.
Proportions needed to be correct.
436
00:22:26,303 --> 00:22:28,180
The physics needed to be correct.
437
00:22:28,263 --> 00:22:32,434
It provided stakes for the emotional story
and arc of Pinocchio.
438
00:22:32,517 --> 00:22:34,603
Guillermo has a very good eye for that.
439
00:22:34,686 --> 00:22:39,316
He notices when something
is not going to fit into the world.
440
00:22:39,900 --> 00:22:42,444
[del Toro] This is no different
than designing
441
00:22:42,527 --> 00:22:45,030
and decorating a full-size,
442
00:22:45,113 --> 00:22:46,823
live-action movie set.
443
00:22:47,324 --> 00:22:49,993
That's the beauty
of stop-motion animation.
444
00:22:50,077 --> 00:22:52,662
Set dec, set design, decoration,
445
00:22:52,746 --> 00:22:56,291
cinematography, they're completely
like a live-action film.
446
00:22:56,375 --> 00:22:59,419
Guillermo's very concerned that
things feel and look real.
447
00:22:59,503 --> 00:23:03,465
And so we do reference a lot of
period images if we can find them.
448
00:23:03,548 --> 00:23:05,092
[del Toro] For example, this interior.
449
00:23:05,175 --> 00:23:09,262
If you imagined that
the main source of energy was coal
450
00:23:09,346 --> 00:23:13,141
and wood,
we stained all the walls with coal stains.
451
00:23:13,225 --> 00:23:16,686
So you have to really run it
not by a design machine,
452
00:23:16,770 --> 00:23:19,022
but as a reality machine.
453
00:23:20,107 --> 00:23:21,775
[Enderle] I remember
one of his first visits.
454
00:23:21,858 --> 00:23:23,193
He was looking at the church set
455
00:23:23,276 --> 00:23:26,947
that we had just sort of barely
gotten together by the time he got here,
456
00:23:27,030 --> 00:23:29,908
and he was like, "Yes. We should
age the hell out of this." [chuckles]
457
00:23:29,991 --> 00:23:35,122
[del Toro] We started with the fact that
churches took decades, if not centuries
458
00:23:35,205 --> 00:23:36,456
to be completed.
459
00:23:36,540 --> 00:23:41,378
So, the woodwork would be a little lighter
than the frescoes on the walls,
460
00:23:41,461 --> 00:23:46,258
or the stained-glass windows would be
of a different decade or a century,
461
00:23:46,341 --> 00:23:49,469
and the carving of the Christ
took a while.
462
00:23:49,553 --> 00:23:52,180
It needed to feel like the same handiwork
463
00:23:52,264 --> 00:23:55,517
of all the other stuff
in Geppetto's household.
464
00:23:55,600 --> 00:23:59,396
You needed to feel the shaving
of the wood, the shape,
465
00:23:59,896 --> 00:24:04,067
which I wanted to have a parallel
with Pinocchio being carved of wood
466
00:24:04,151 --> 00:24:07,028
and Pinocchio has a hard time figuring out
467
00:24:07,112 --> 00:24:09,448
why the townspeople hate him
468
00:24:09,531 --> 00:24:12,409
if he's made of wood and they love Him,
469
00:24:12,492 --> 00:24:14,369
as he says, who is also made of wood.
470
00:24:14,453 --> 00:24:17,164
So, that point could only be done
at the church.
471
00:24:17,247 --> 00:24:18,415
[jaunty music playing]
472
00:24:18,498 --> 00:24:20,292
[seagulls cawing]
473
00:24:20,375 --> 00:24:22,377
[Spazzatura hooting]
474
00:24:23,503 --> 00:24:25,046
[indistinct chatter]
475
00:24:28,633 --> 00:24:31,094
My only worry on this movie was
476
00:24:31,178 --> 00:24:34,306
will I have enough motion control kit
477
00:24:34,389 --> 00:24:39,686
to do all the camera movement
that Guillermo will expect on this movie.
478
00:24:39,769 --> 00:24:43,482
Because the later Guillermo films,
the camera just doesn't stop.
479
00:24:43,565 --> 00:24:45,484
[del Toro] We wanted to stage
with the characters
480
00:24:45,567 --> 00:24:46,735
moving around on the camera,
481
00:24:46,818 --> 00:24:50,113
moving around the way you would stage
with actors on a set.
482
00:24:50,197 --> 00:24:53,158
In some instances,
we move the camera quite a bit.
483
00:24:53,241 --> 00:24:56,703
For example, one single shot
took three months.
484
00:24:57,287 --> 00:25:00,582
[Passingham] There's a shot where
Spazzatura is headed back to the carnival
485
00:25:00,665 --> 00:25:03,335
where he sort of runs down,
and the camera follows him
486
00:25:03,418 --> 00:25:05,629
traversing the carnival grounds
487
00:25:05,712 --> 00:25:07,756
and ending up in Volpe's wagon.
488
00:25:07,839 --> 00:25:08,924
[Spazzatura hooting faintly]
489
00:25:09,007 --> 00:25:11,009
[Passingham] A shot like that,
it tells you so much
490
00:25:11,092 --> 00:25:14,554
'cause you really see
the way that Spazzatura moves.
491
00:25:14,638 --> 00:25:17,098
It tells you something
about his character.
492
00:25:17,182 --> 00:25:20,685
It also tells you about
the environment that he's from.
493
00:25:20,769 --> 00:25:22,312
It tells you about the circus.
494
00:25:22,395 --> 00:25:25,440
And we also get to meet
some of the other characters
495
00:25:25,524 --> 00:25:28,693
who are in the background
as he sort of passes through.
496
00:25:29,277 --> 00:25:32,948
A lot of Guillermo's movies
are hyperreality.
497
00:25:33,031 --> 00:25:35,075
So, you use the light
498
00:25:35,158 --> 00:25:38,954
just to accent
the emotional content of a scene,
499
00:25:39,037 --> 00:25:43,375
so having some cloud movement
is such an assist for telling the story.
500
00:25:43,458 --> 00:25:47,629
Like with Geppetto
when he is chopping down the tree.
501
00:25:47,712 --> 00:25:51,758
It helps to reflect
Geppetto's agonized state,
502
00:25:51,841 --> 00:25:54,135
so we can really amp up the drama.
503
00:25:55,220 --> 00:25:58,181
One of the things
which we had not done before
504
00:25:58,723 --> 00:26:04,104
was when Volpe is
burning Pinocchio on the fire.
505
00:26:04,187 --> 00:26:08,692
We were able to have a torch
with LED lights inside the torch,
506
00:26:08,775 --> 00:26:12,487
so that as Volpe moves the torch around,
507
00:26:12,571 --> 00:26:15,532
we were able to have
a separate pass for that light
508
00:26:15,615 --> 00:26:17,409
and to give it multiple exposures.
509
00:26:18,368 --> 00:26:19,786
Give me that torch, Spazzatura.
510
00:26:20,370 --> 00:26:22,872
Because normally,
you'd always have to fake that up
511
00:26:22,956 --> 00:26:24,499
with moving lights or stage,
512
00:26:24,583 --> 00:26:26,167
and this was an opportunity for us
513
00:26:26,251 --> 00:26:29,004
to really control that
in the post process.
514
00:26:29,087 --> 00:26:31,047
We could keep the moonlight separate
515
00:26:31,131 --> 00:26:34,634
and just have all of that
torch light and fire light
516
00:26:34,718 --> 00:26:36,094
on separate passes.
517
00:26:36,177 --> 00:26:38,513
You will burn. Burn bright!
518
00:26:39,222 --> 00:26:40,849
Like a star!
519
00:26:41,808 --> 00:26:44,060
-[Volpe laughs evilly]
-[Pinocchio] Ow! Help!
520
00:26:44,144 --> 00:26:47,897
[Hayns] It's amazing how the character
designs and the actors themselves
521
00:26:47,981 --> 00:26:49,399
inform each other,
522
00:26:49,482 --> 00:26:52,652
and then the actual animator
informs it as well.
523
00:26:52,736 --> 00:26:55,322
By the time that
the animator gets the puppet,
524
00:26:55,405 --> 00:26:57,657
the animator has the voice tracks.
525
00:26:58,241 --> 00:27:00,785
[del Toro] The thing with Pinocchio
that I love
526
00:27:00,869 --> 00:27:03,538
is the idea of it embodying
527
00:27:03,622 --> 00:27:07,751
any four-year-old, six-year-old
that are balls of energy
528
00:27:07,834 --> 00:27:09,753
-that nobody can control.
-[Cricket] Oh!
529
00:27:09,836 --> 00:27:11,963
[del Toro] When they're sad,
you understand they're sad,
530
00:27:12,047 --> 00:27:14,674
and they can be
on the verge of tears one second
531
00:27:14,758 --> 00:27:17,093
and incredibly happy two seconds later.
532
00:27:17,761 --> 00:27:20,555
As we came to find out with Gregory,
533
00:27:20,639 --> 00:27:24,476
you have a very short lifespan
in the recording sessions,
534
00:27:24,559 --> 00:27:25,769
but it was all true.
535
00:27:25,852 --> 00:27:28,813
[boy] My process at the beginning,
I was very nervous.
536
00:27:28,897 --> 00:27:29,814
I've never done
537
00:27:30,398 --> 00:27:34,235
anything where I was a really big,
substantial part in the movie.
538
00:27:34,319 --> 00:27:36,404
It was like shooting a documentary.
539
00:27:36,488 --> 00:27:38,573
Whenever he started acting,
540
00:27:38,657 --> 00:27:41,743
we did a little thing that… [chuckles]
541
00:27:41,826 --> 00:27:45,038
…it was very easy for him
to shake out the acting.
542
00:27:45,121 --> 00:27:48,291
I said… I would say
he would call me a dummy.
543
00:27:48,375 --> 00:27:51,544
He said that
if I said "dummy" at the end of a line,
544
00:27:51,628 --> 00:27:54,297
even though we wouldn't
probably put it in the final cut,
545
00:27:54,381 --> 00:27:56,591
it made me put
a lot more emphasis into it,
546
00:27:56,675 --> 00:27:58,551
especially on some of the funnier lines.
547
00:27:58,635 --> 00:28:01,471
And every time he got a little too actory,
548
00:28:01,554 --> 00:28:03,473
he would say, "Shut up, dummy!"
549
00:28:03,556 --> 00:28:06,101
And then he would laugh it out,
and he would continue.
550
00:28:06,184 --> 00:28:09,354
I'm made of flesh and bone and meaty bits.
551
00:28:09,437 --> 00:28:10,605
I'm a real boy.
552
00:28:11,106 --> 00:28:13,233
He's really good at being natural,
553
00:28:13,316 --> 00:28:16,569
but he is incredibly intimate
when he's whispering
554
00:28:16,653 --> 00:28:18,697
or talking to the cricket
555
00:28:18,780 --> 00:28:20,365
or talking to Candlewick.
556
00:28:20,949 --> 00:28:24,369
There is an absolute pure emotion there.
557
00:28:24,452 --> 00:28:26,996
Fathers feel despair, like everyone else.
558
00:28:27,539 --> 00:28:31,084
And they say things
they only think they mean in the moment.
559
00:28:31,835 --> 00:28:33,670
But inside they love you.
560
00:28:34,337 --> 00:28:37,966
[del Toro] Well, I think this is
my third project with David Bradley,
561
00:28:38,049 --> 00:28:40,969
and it's because I admire him very much.
562
00:28:41,052 --> 00:28:45,348
I think he's an actor that has
an easily identifiable sound.
563
00:28:45,432 --> 00:28:48,309
No one talks to the Podestà like that.
564
00:28:49,102 --> 00:28:55,316
I approached the script by finding
some kind of vocal quality
565
00:28:55,400 --> 00:28:57,819
that was believable and truthful,
566
00:28:57,902 --> 00:29:02,323
[grittier voice] but something that tells
the story and it's more vivid
567
00:29:02,407 --> 00:29:05,076
and more capturing
568
00:29:05,160 --> 00:29:08,288
the essence of this character.
569
00:29:08,371 --> 00:29:12,250
He goes high, and he goes low really fast.
[imitating] "Why are you saying that?"
570
00:29:12,333 --> 00:29:13,877
You know, he really is…
571
00:29:14,711 --> 00:29:17,756
It's almost like a musical thing he has.
572
00:29:17,839 --> 00:29:21,050
A son knows when his father is alive.
573
00:29:21,760 --> 00:29:23,845
He will look for us. You'll see.
574
00:29:23,928 --> 00:29:26,431
You have nothing to worry about. [coughs]
575
00:29:26,514 --> 00:29:28,850
[Cricket] Easy for you to say. [shouts]
576
00:29:28,933 --> 00:29:32,187
I wasn't convinced of Cricket
when we started the film.
577
00:29:32,270 --> 00:29:33,646
Just as a character.
578
00:29:33,730 --> 00:29:38,359
As soon as Ewan started voicing it,
I was like, "Okay. I'm on board."
579
00:29:40,028 --> 00:29:44,073
[coughs water] We… We made it!
[laughs jubilantly]
580
00:29:44,157 --> 00:29:45,617
I can't believe it!
581
00:29:45,700 --> 00:29:48,495
[del Toro] I'm a massive fan
of Ewan McGregor,
582
00:29:48,578 --> 00:29:51,873
and when he talks,
he's so relatable but warm.
583
00:29:51,956 --> 00:29:55,502
And I said,
"We cannot have enough of this voice."
584
00:29:55,585 --> 00:29:57,086
Well, I've tried my best,
585
00:29:57,587 --> 00:29:59,380
and that's the best anyone can do.
586
00:29:59,464 --> 00:30:00,840
Pinocchio taught me that.
587
00:30:00,924 --> 00:30:04,469
And I thought that should be
the main character of the film,
588
00:30:04,552 --> 00:30:06,387
the narrator character.
589
00:30:06,471 --> 00:30:09,682
And we rewrote the scenes
emphasizing the cricket
590
00:30:09,766 --> 00:30:11,559
even if he was just watching.
591
00:30:12,143 --> 00:30:16,773
I think the sessions with Ewan have been
the best character voice sessions
592
00:30:16,856 --> 00:30:18,358
I've ever had in my life.
593
00:30:18,441 --> 00:30:21,736
I am Count Volpe. You have been chosen!
594
00:30:21,820 --> 00:30:25,573
Come partake in the fun,
fanciful, carefree carnival life
595
00:30:25,657 --> 00:30:29,077
as the star of my puppet show.
596
00:30:29,160 --> 00:30:34,791
[del Toro] We knew that Volpe needed to be
glitzy, cosmopolitan, appealing,
597
00:30:34,874 --> 00:30:36,751
sound like a man of the world.
598
00:30:36,835 --> 00:30:39,295
We wanted him to have an accent,
599
00:30:39,379 --> 00:30:42,423
but have a voice
that could pronounce flawlessly
600
00:30:42,507 --> 00:30:45,718
a word in French,
a word in Italian, a word in German.
601
00:30:45,802 --> 00:30:49,556
Puppets are le meilleur qui soit.
The tops!
602
00:30:50,473 --> 00:30:51,391
Lift your arm.
603
00:30:51,474 --> 00:30:54,352
Puppets are well respected
in every station of life.
604
00:30:54,435 --> 00:30:58,606
The only voice that came to mind
was Christoph Waltz.
605
00:30:58,690 --> 00:31:01,526
Talk about a guy that can change
606
00:31:01,609 --> 00:31:04,487
the rhythm and the intention of a sound
in mid-phrase.
607
00:31:04,571 --> 00:31:07,699
[Waltz] That's a dramatic function,
so to say.
608
00:31:08,283 --> 00:31:12,120
And I always look for
the function in the story.
609
00:31:12,203 --> 00:31:14,622
He really knows how to vary things
610
00:31:14,706 --> 00:31:16,833
and then just punch at the right moment.
611
00:31:16,916 --> 00:31:19,919
-[clattering]
-What are you doing here?
612
00:31:20,003 --> 00:31:22,255
[hooting, blows raspberry]
613
00:31:22,338 --> 00:31:26,134
The voice of Spazzatura,
which will come as a big surprise,
614
00:31:26,217 --> 00:31:31,264
was almost a blessing and an accident
that I could not foresee.
615
00:31:31,347 --> 00:31:33,099
We were shooting Nightmare Alley.
616
00:31:33,182 --> 00:31:35,685
Cate Blanchett and I
were having such a good time
617
00:31:36,227 --> 00:31:39,439
that she said,
"You gotta give me a part on Pinocchio."
618
00:31:39,522 --> 00:31:42,317
I go, "The only part left is a monkey."
619
00:31:42,859 --> 00:31:44,861
And… [laughing]
620
00:31:44,944 --> 00:31:46,905
And I went, "I would do anything."
621
00:31:46,988 --> 00:31:50,575
"I would play a pencil
in a movie for you."
622
00:31:50,658 --> 00:31:53,703
[del Toro] And I showed her the design
for Spazzatura, and she said,
623
00:31:53,786 --> 00:31:56,247
"I think this is my spirit animal."
624
00:31:56,331 --> 00:31:59,042
When Spazzatura gets shot out of the sky,
625
00:31:59,125 --> 00:32:01,002
do you want a little [squeaky moan].
626
00:32:01,544 --> 00:32:03,212
Like in the distance.
627
00:32:03,296 --> 00:32:05,882
I think there's something of
Guillermo's laugh… [chuckles deeply]
628
00:32:07,300 --> 00:32:09,010
…that's in Spazzatura.
629
00:32:09,093 --> 00:32:11,804
But I think all the characters
in Guillermo's movies,
630
00:32:11,888 --> 00:32:15,558
all of us feel that they're in the eye of
Guillermo as the beholder.
631
00:32:15,642 --> 00:32:18,686
So, I think there's probably
qualities of Guillermo
632
00:32:18,770 --> 00:32:22,732
in all of the characters.
And Spazzatura is, yeah, case in point.
633
00:32:23,608 --> 00:32:27,362
[Pinocchio singing] ♪ Ciao, Papa
Mio papa… ♪
634
00:32:27,445 --> 00:32:29,739
[Blanchett] Normally, when you're watching
a piece of animation
635
00:32:29,822 --> 00:32:31,199
which has music in it,
636
00:32:31,282 --> 00:32:33,534
you can feel the songs coming up.
637
00:32:33,618 --> 00:32:36,746
It's almost like the dialogue is
a ramp for the music.
638
00:32:36,829 --> 00:32:40,333
♪ No one knows, no one can tell… ♪
639
00:32:40,416 --> 00:32:45,254
[Blanchett] Whereas the songs spring out
of Guillermo's Pinocchio
640
00:32:45,338 --> 00:32:46,923
completely by surprise.
641
00:32:47,006 --> 00:32:48,049
Meh.
642
00:32:48,633 --> 00:32:51,260
These puppets gave me the desire of not
643
00:32:52,136 --> 00:32:56,975
doing an animation movie,
but doing like a real live-action film.
644
00:32:57,058 --> 00:32:59,143
It's the same for me
'cause they look alive.
645
00:32:59,227 --> 00:33:01,270
They all look like real people.
646
00:33:01,980 --> 00:33:05,149
So, I tried the music to be playing
like it was a real person's.
647
00:33:05,233 --> 00:33:07,860
We like to describe this
not necessarily as a musical.
648
00:33:07,944 --> 00:33:09,946
It's a film with musical moments.
649
00:33:10,029 --> 00:33:12,490
They're not traditional musical songs,
they're not pop songs.
650
00:33:12,573 --> 00:33:15,368
They're just sort of
what you would think of, if you think
651
00:33:15,451 --> 00:33:17,412
of Alexandre and Guillermo and Mark.
652
00:33:17,495 --> 00:33:20,915
All those genius minds together
is something totally unique.
653
00:33:20,999 --> 00:33:25,169
When Alexandre and I were talking,
I thought it would be interesting
654
00:33:25,253 --> 00:33:28,214
to start the movie
with characters that sing
655
00:33:28,297 --> 00:33:29,549
but end up…
656
00:33:29,632 --> 00:33:34,053
The second half of the movie has
fascist-era songs and marches.
657
00:33:34,137 --> 00:33:35,763
This movie was a very long process
658
00:33:35,847 --> 00:33:38,975
because, of course,
the animation takes a lot of time,
659
00:33:39,058 --> 00:33:40,435
but also because
660
00:33:40,518 --> 00:33:43,229
Guillermo wanted me to write songs
for the characters,
661
00:33:43,896 --> 00:33:46,649
and a song has this capacity
662
00:33:46,733 --> 00:33:50,820
in a few seconds
to explain the life of a character.
663
00:33:51,612 --> 00:33:53,781
They give the tone musically.
664
00:33:53,865 --> 00:33:57,326
Also, they give information about
who they are, where they are,
665
00:33:57,410 --> 00:33:59,579
where they come from,
and where they're going.
666
00:33:59,662 --> 00:34:03,041
I admire Alexandre Desplat.
667
00:34:03,124 --> 00:34:06,961
He is a consummate movie composer.
668
00:34:07,045 --> 00:34:10,840
He does the same thing
that I do with parts.
669
00:34:10,923 --> 00:34:12,675
He looks at the story.
670
00:34:13,342 --> 00:34:17,388
[Desplat] For the whole film,
I've chosen to use only wood instruments.
671
00:34:17,972 --> 00:34:21,225
So, you have the guitars, the mandolin,
672
00:34:21,309 --> 00:34:24,395
the piano, the harp,
and all the woodwinds.
673
00:34:24,479 --> 00:34:26,814
The bassoons, the clarinets,
the oboes, the flutes.
674
00:34:26,898 --> 00:34:28,399
All these instruments are in wood
675
00:34:28,483 --> 00:34:32,445
which creates a very strange environment
that belongs to Pinocchio.
676
00:34:34,489 --> 00:34:36,365
No!
677
00:34:39,952 --> 00:34:42,288
[del Toro] This movie, you could watch
in a double program
678
00:34:42,371 --> 00:34:44,457
with Pan's and Devil's Backbone easily.
679
00:34:46,084 --> 00:34:49,545
It has a lot of elements
with a pure soul being tested
680
00:34:49,629 --> 00:34:52,340
and coming out on the other side strong.
681
00:34:52,423 --> 00:34:55,426
[Death] As I see it,
you were charged with a burden.
682
00:34:56,010 --> 00:34:58,221
This is a film about death.
683
00:34:58,304 --> 00:35:01,390
You don't have a film about life
if you don't have a film about death.
684
00:35:02,058 --> 00:35:03,059
[Wood Sprite] Very well then.
685
00:35:03,851 --> 00:35:06,187
[del Toro] When we started to tackle
this Pinocchio,
686
00:35:06,270 --> 00:35:08,940
I knew I wanted to do my own version.
687
00:35:09,023 --> 00:35:12,568
I didn't want to address
just an adaptation.
688
00:35:13,069 --> 00:35:17,365
I wanted to talk about things that
touched me personally very deeply.
689
00:35:17,448 --> 00:35:21,202
Most of my movies, one way or another,
deal with me and my father,
690
00:35:21,285 --> 00:35:23,329
and this is not an exception.
691
00:35:23,913 --> 00:35:29,335
[Froud] You watch this boy grow up,
never physically changing.
692
00:35:29,418 --> 00:35:30,670
But yet,
693
00:35:30,753 --> 00:35:34,382
the realization that he can do far more
than anyone else around him.
694
00:35:34,966 --> 00:35:37,218
[Death] Now, make the most of it.
695
00:35:37,301 --> 00:35:41,055
[del Toro] Normally, Pinocchio is about
what Pinocchio learns in the world
696
00:35:41,139 --> 00:35:44,267
and then becomes a good boy
and therefore becomes a real boy,
697
00:35:44,350 --> 00:35:46,185
and our Pinocchio is not that.
698
00:35:46,269 --> 00:35:49,647
He changes everyone because he is so pure.
699
00:35:50,648 --> 00:35:51,858
He changes Geppetto.
700
00:35:52,567 --> 00:35:53,818
He changes the cricket.
701
00:35:54,402 --> 00:35:57,113
He changes Spazzatura.
He changes everyone.
702
00:35:57,196 --> 00:36:01,367
And he learns who he is as a human being.
703
00:36:06,414 --> 00:36:08,916
I think the film exceeded
everything I wanted.
704
00:36:09,917 --> 00:36:12,378
It's a movie
I would've loved to have as a kid.
705
00:36:12,879 --> 00:36:15,423
It's a movie I'd love to have as an adult.
706
00:36:15,506 --> 00:36:18,551
It's a movie I would love to have
to discuss with the family,
707
00:36:18,634 --> 00:36:21,846
and the possibility of seeing it
on command
708
00:36:21,929 --> 00:36:24,223
after experiencing it for the first time,
709
00:36:24,307 --> 00:36:26,559
it's something that creates
an intimate bond
710
00:36:26,642 --> 00:36:28,269
between the viewer and the film.
711
00:36:28,352 --> 00:36:31,939
It certainly grows for me
with every viewing,
712
00:36:32,023 --> 00:36:34,525
and I hope it does that with the audience.
713
00:36:34,609 --> 00:36:36,611
[whimsical music trails off]