Issue link: https://digital.copcomm.com/i/1490572
I think the color story is another extension of this familiarity. Rob also distilled the colors used in Guillermo's previous work into broad categories. In a very early studio visit, Guillermo opened the Pantone book and identified a large section of the spectrum. "These colors we will use very selectively" as he removed a swath from warm orange through cool red. It would be our color of danger. Blue on the other hand was our color of hope. Seen in Carlo's scarf, the door of Geppetto's house, the bones of the rabbits, it reassures us through the story. This resulted in our palette guides where we took an image that represented pure colors in white light and then digitally altered that image to reflect each of our worlds. This wasn't our exact palette, but a guide for how we would select color. The town had a strong blue and very little red, but a lot of warmth. The carnival was a distortion of the purity and approaching our color of danger while not being the most dangerous of our reds. That was reserved for the fascist palette which greyed out our world but kept the red. Our other world was the embodiment of Guillermo del Toro. Blues, greens D. GUILLERMO DEL TORO OUTSIDE THE WINDOW OF GEPPETTO'S WORKSHOP WHERE PINOCCHIO HAS BEEN CREATED. Guy Davis, Curt Enderle, Production Designers Robert DeSue, Andy Berr y, Karla Castañeda, Juan J. Medina, Art Directors Alexandra Friedman, Jessica Ann Moretti, Mer ve Caydere Dobai, Set Designers Mattie Bowden, KC Englander, Jesse Gregg, Gillian Hunt, Samantha Levy, Molly Light, Laura Savage, Zach Sheehan, Set Decorators and purples which spoke to our hopeful slant to the creatures of the other world. Recently, animation has been treated more like a stepchild to "serious" filmmaking. A profit center of IP to exploit. As an advocate for "Animation is film. Animation is art." Guillermo has helped focus the attention on the story. We go through all of the same steps of live-action filmmaking. We make choices to support what the film is trying to say. In some respects, given that EVERYTHING is fabricated by artists, it is perhaps a MORE pure form of telling a story. Nothing is a given. You aren't making choices of what to feature and what to ignore with a location. Because there is no location. You are building the location. What color is the dirt? What if anything grows in it? Is there a building? What does that building look like? What are its materials? What is its history? What is the light revealing? What is the darkness concealing? Do we see the sky? Or is the space claustrophobic? You make every choice so that they all seem like the right choices. An unnoticed choice. The only possible choice. ADG D