{"id":161401,"date":"2022-12-18T15:05:02","date_gmt":"2022-12-18T15:05:02","guid":{"rendered":"https:\/\/harchi90.com\/guillermo-del-toro-explains-why-pinocchio-is-now-one-of-his-monsters\/"},"modified":"2022-12-18T15:05:02","modified_gmt":"2022-12-18T15:05:02","slug":"guillermo-del-toro-explains-why-pinocchio-is-now-one-of-his-monsters","status":"publish","type":"post","link":"https:\/\/harchi90.com\/guillermo-del-toro-explains-why-pinocchio-is-now-one-of-his-monsters\/","title":{"rendered":"Guillermo del Toro explains why Pinocchio is now one of his monsters"},"content":{"rendered":"
Guillermo del Toro always knew he wanted to make pinocchio<\/em> as a stop-motion animated movie. The medium suited the story of a puppet brought to life, and it would fulfill his dream of making an animated feature, thwarted 30 years ago by a break-in and a vandal who literally shat on his dreams. His version of pinocchio <\/em>would allow him to explore what he saw as the \u201csacred\u201d bond between puppet and animator through the arcane practical techniques of stop-motion.<\/p>\n But he also knew he wanted to make profound changes to the source material, Carlo Collodi’s 19th-century children’s book about a naughty puppet who learns obedience and selflessness. In fact, he wanted to subvert it, and stop-motion would help him do that. Del Toro found a poetic irony in telling Pinocchio’s tale this way, he recently told Polygon.<\/p>\n \u201cVery poignantly, it becomes a movie about a puppet in a world of people that don’t know they’re puppets,\u201d he says. \u201cBut they are <\/em>puppets Everybody is a puppet in there. And the one that behaves less like a puppet is the one everybody thinks is a puppet! I thought there was something delicious in that.\u201d<\/p>\n That irony is at the heart of del Toro’s distinctive Netflix take on the tale, which redefines both the setting and the morality of Collodi’s pinocchio<\/em>. He relocates the action to Mussolini’s Italy, and re-creates Pinocchio himself as an anarchic force who liberates the humans he meets, rather than learning to conform with them. It has much in common with del Toro’s Spanish-set horror movies The Devil’s Backbone <\/em>and Pan’s Labyrinth<\/em>both of which present a child’s-eye view of midcentury fascism.<\/p>\n