Issue link: https://digital.copcomm.com/i/1490572
I think the third thing is that this story could not have been told in this way up until this very moment. While Guillermo has been working on his version of Collodi's Pinocchio parables for "half of his career," many things have had to come together to realize this work of art. Some of that is personal for Guillermo and the story he wanted to tell and the maturity of his storytelling tools which we were able to lean into in our style. Some of that is related to the world we live in—this feels like the right time to retell this story. Some of it is technological. Mackinnon and Saunders had tested a version of Pinocchio with a mechanical face a few years prior when funding seemed to be coming together. While the puppet was interesting, the performance was more unsettling than your typical stop motion. With the development of 3d printing of replacement faces, our team was able to coax a believable life out of an apparent chunk of wood with a color and texture richness and complexity that would not have been possible except for the accumulated knowledge of the team and the evolution of the technology. Guillermo's work has been described as "filmic alchemy." He is able to bring fantasy, horror, noir, anime, comic books and emotion together in truly D. THIS IMAGE BY SIMON KNOTT SPARKED THE IDEA THAT GUILLERMO'S MONSTERS WERE NOT SO DIFFERENT THAN THE CHURCH'S INTERPRETATION OF EVIL IN EARLY STAINED GLASS. E. SOME EARLY CONCEPTS RESURFACED AS CARNIVAL ILLUSTRATIONS. REFERENCE AND COLOUR DETAILS BY ROB DESUE AND CURT ENDERLE. F. GUY'S SKETCH OF VOLPE'S PUPPET WAGON STAGE WAS USED BY CURT ENDERLE AND ILLUSTRATOR JESSE GREGG TO FLESH OUT ADDITION VIEWS. unique ways. With Guy's revision of the original Gris Grimley Pinocchio design and additional new characters, the film became tied to the signature style of Guillermo del Toro. His voice as a director had evolved and matured and I think that is reflected in the character designs. There is definitely a range. We have Geppetto and Carlo as most realistic but still stylized, we have Volpe who is stylized and caricature, we have a Fellini-esque collection of carnival extras and we have the supernatural and distinctly imaginative inhabitants of the other world. The world, or rather worlds, that we then created had to embrace and support this wide range of styles. And while it is a realistic world in early 20th century Italy, it is not realism. It's stylized, curated to speak to what were our four different "worlds" D E F