![]() And always a bit of a mess with things left over for the evolving show.ĭavis: Overall, I really love how all the different locations of the film embraced unique styles, moods and atmosphere but always felt cohesive. Painted drops, cut shapes, lots of ropes and slightly dodgy construction. Not too slick or modern for a down-on-it’s-luck carnival. The inspiration of the scenery, the backstage dressing and the details feel right. The crew looks back on their favorite creations.Įnderle: I enjoyed bringing the detail of theater to the carnival. Years after it entered production, Guillermo del Toro’s Pinocchio is finally complete. So we’ll have to go in and literally get into the skeleton of the puppet through the costume and adapt that puppet for the animator’s needs. They’ll come to us and say, “Oh, can you loosen the neck? Can you tighten the wrist?” Depending on what the action is, for that shot. And each different animator wants a different tension of the puppet. We’ll add an extra joint to help it stretch that far. So maybe a puppet will need to stretch really far, and its arm just doesn’t stretch that far. Our puppet hospital is adapting puppets for each individual shot. Hayns: We are constantly adapting the puppets. The world has a visceral texture and feeling of age that gives everything a sense of history. It’s basically sitting down with the teams of puppet makers with a visual concept of what the puppet needs to look like, but then, also: how are we going to break that down, and turn it into a fully animated, moveable puppet?ĭavis: Guillermo described the world and look he wanted as “perfectly imperfect,” so that the characters were never uncannily realistic. That essentially means that I’m overseeing the look and the build of all of the puppets in the movie. ![]() Hayns: I’m the director of character fabrication on the movie. If you want a location, you have to decide: what color is the dirt? What if anything grows in it? Are there buildings? What are they made of? What condition are those buildings in? Nothing is free. For stop-motion animation, you don’t have those options. ![]() For live action, you could use or modify a location, you can purchase or rent and modify. So each animator is working with Pinocchio, because he’s the one that’s in most of the shots.Įnderle: I’d say it’s actually more designed than live action. Hayns: We actually made 32 Pinocchio puppets. On Pinocchio, everything from the design, research and fabrication was approached with the same hands-on care and attention to detail. For me, that approach and collaboration from live action to stop-motion was the same. He brought along a team of craftspeople new and old, some of whom had more experience in animation than others.ĭavis: This was my first stop-motion film and an incredible experience, having primarily worked in live action and some 2D animated projects. Years after the project’s inception, del Toro finally signed on to co-direct Pinocchio with Mark Gustafson for Netflix. I was just starting to work on stop-motion film after a decade of doing primarily commercials, so, while I wanted to work to bring those images to life, I had no idea how to make that happen. I was brought on board to redesign the characters from Gris Grimly’s original pass with concept artists Huy Vu and Rustam Hasanov, who would also come back in 2019 for the current version.Ĭurt Enderle (production designer): When some of the images were released from the nearly-to-production version, I was mesmerized. Guy Davis (character designer): I originally started working on Pinocchio back in 2012. So Guillermo got Guy Davis to work on Gris’ illustrations just to bring it into a place that we were all happy with –– to get the performance, but still keep the magic of Gris’ Pinocchio. The original illustration had a much simpler face. Because he was going to be the lead character in a feature, we wanted to be able to get more emotion. When he saw Gris’ illustration, he fell in love with it… We did change the head –– that was really to get the performance that we needed out of our wooden boy. Georgina Hayns (character animator): Guillermo had always wanted to make Pinocchio, but he didn’t want to do the Pinocchio we’ve all seen before. NETFLIX Getting Startedĭel Toro’s iteration of The Adventures of Pinocchio draws inspiration from author Gris Grimly’s illustrated edition of Carlo Collodi’s original novel.
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