![]() ![]() And we understand there's still love between us. And I really think that everybody should know we waver and fail at that. It's a story explicitly about imperfect fathers and imperfect sons. This is the darkest point of their relationship. MARTIN: I mean, honestly, how did you not break your heart every time you - every day making this this film? I just - I'm just trying to imagine what it was like.ĭEL TORO: You know, that scene, particularly the scene that I stood very firm with my closest collaborators, a lot of people felt very shaken by this scene. MANN: (As Pinocchio) Because I'm not Carlo. We'll just play it.īRADLEY: (As Geppetto) Yeah. Here's a scene where, you know, Pinocchio is not the easiest, but here's a clip where Geppetto is talking about his sacrifices for him. It was very profound.īRADLEY: So let me play a short clip that actually speaks to that. And I wanted to call my mother or my father or call my kids. And I have the feeling every time I see the movie, every time we went through the screenplay, every time we saw the dailies, I would tear up. And in this one, you know, Pinocchio doesn't transform, and it's Geppetto that learns to be a real father. ![]() In the traditional story, "Pinocchio" learns to be a real boy and transforms. I think that the movie talks very, very deeply with great eloquence about life and how precious and brief it is and how we can love each other exactly as we are and how we make the mistake of not appreciating our uniqueness. I have failed or been failed on both to some degree. And it's a movie that tries to sum up - I'm 58. I mean, it's a movie that is deeply personal. I mean, it's - as I said, I'm like actually struggling to kind of hold on to myself while I'm talking to you about it.ĭEL TORO: Same thing happens to me. I mean, honestly, the ideas are so profound about what it means to love, what it means to love as a parent, what it means to lose a child. MARTIN: I mean, the film is lovely and funny, but there are points in it that are so deeply sad. And it's set in parallel stories of fathers and sons and against the backdrop of the darkest form of paternal structure, which is fascism, all of this rendered in breathtaking stop motion animation, technologically and artistically as advanced as you can get, but very tactile and artisanal and beautiful at the same time. It is a movie that really talks about disobedience as a virtue, disobedience with a conscience as a virtue, and the fact that you can actually be loved the way you are. And this one, which I believe, even though it's set in the past, it reflects the present. There is Disney's "Pinocchio," which is a masterpiece that reflects the time it was made in. For me, there is Collodi's "Pinocchio," which reflects the time it was created in. So why did you want to make another? Was there something missing for you from the other versions?ĭEL TORO: Well, it's not another one. is the Disney animated version that came out in 1940. MARTIN: Would you tell me a little bit more about that? As you've mentioned, there have been a lot of adaptations of "Pinocchio," maybe the most famous in the U.S. And I wanted to make a very, very different version of "Pinocchio." So I started trying to make it when I was in my teens and then 20s and then 30s. I didn't like that, even as a kid, and it stuck with me. But it left me with a lot of questions and with some thoughts about changing in order to please people into loving you. And that left a lasting impression because I felt that it was not a sanitized vision of childhood. And the first time I saw Walt Disney's "Pinocchio," I was both terrified and elated that somebody have captured how scary I thought childhood was. Would you mind telling us what so struck you about it when you first saw it as a child?ĭEL TORO: The very first time - it was the second or third movie I saw with my mother. MARTIN: I've heard you say that "Pinocchio" has been sort of a passion project for you. MARTIN: And Guillermo del Toro is with us now to tell us more about his latest and perhaps most personal film. MANN: (As Pinocchio) My name is Pinocchio. MANN: (As Pinocchio) You wanted me to live. ![]() GREGORY MANN: (As Pinocchio) Good morning, Papa.ĭAVID BRADLEY: (As Geppetto) What is this? What kind of sorcery? (SOUNDBITE OF FILM, "GUILLERMO DEL TORO'S PINOCCHIO") That's because del Toro's stop motion animated film, set in 1930s Italy during Mussolini's fascist dictatorship, elevates the painful dilemmas at the heart of the enchanting story, surfacing difficult questions about love and loss and the purpose of life. But a new adaptation by Academy Award-winning director Guillermo del Toro is like nothing you've seen before. Of course, we're talking about "Pinocchio," Carlo Collodi's 19th-century fairy tale. And all he really wants is to be a real boy and to make his father proud. He begins life as a wooden puppet, his best and sometimes only friend, a mouthy cricket. ![]()
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