Issue link: https://digital.copcomm.com/i/1490572
Stop-motion animation would seem the perfect medium for an auteur director. They design their perfect physical cast, build everything they need to inhabit and carefully compose the shots to their visually distinctive style. It has served other such directors and seems like the ultimate meta-choice for a tale of puppet behavior for Guillermo del Toro's Pinocchio, which he co-directed with Mark Gustafson and was produced in Portland, Oregon (ShadowMachine), Guadalajara, Mexico (Taller del Chucho) and Altrincham, England (Mackinnon & Saunders). Production Designers Guy Davis and Curt Enderle united to the challenge of visually supporting this retelling of a "story you think you know." Guy Davis: Working with Curt was a wonderful collaboration of ideas and duties throughout the production and involved also learning to combine our individual processes into a unified direction. And on a film of this scope, I think having two Production Designers working together with the same focus for the end result was beneficial to the various departments and for both of us as well. While we both shared duties, we each had our strengths, mine in character and concept design and Curt with a wealth of hands-on experience in stop-motion and a wonderful eye for research and detail. We had a nice balance of communication G U I L L E R M O D E L T O R O ' S P I N O C C H I O C R A F T I N G T H E W O R L D B Y G U Y D AV I S A N D C U R T E N D E R L E , P R O D U C T I O N D E S I G N E R S A. 2500 YEARS OF HISTORY FOR GEPPETTO'S TOWN SHOWING THE RISE AND FALL OF POPULATION AND WEALTH AS THE TOWN GREW, WAS ATTACKED, FORTIFIED AND ULTIMATELY WAS SLOWLY DESTROYED BY PLAGUE, EARTHQUAKES AND WARS. A