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