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These are the shades of the movie and this is why. And then, lest I forget, The Devil’s Backbone bore a companion piece you may like to get familiar with—it’s called Pan’s Labyrinth. I learned a lot about technique and new toys and new camera rigs and simple digital effects and I applied all of that in a much smaller budget of less than 6 million dollars. We’re both Catholic and repressed and we like to murder people. I create these significant memos where I describe the color palette of the movie and this is why. [ Inaudible Discussion ] You signed in with another tab or window. We spoke about our ideas and drew a lot of pictures.” —Guillermo Navarro. - Ryo, do you like monsters? Unburdened with any studio interference, with tight grips on the reigns and enjoying unlimited faith and support from his partners on the project, del Toro made The Devil’s Backbone (El espinazo del diablo), a gothic horror film set in a creaking, creepy little orphanage in the dusty Spanish middle of nowhere during the final period of the extremely bloody Civil War. “If you want to make a personal film, don’t fuck around; make a personal film. Just to illustrate how much of a scar the collaboration with Miramax left, it’s enough to note that, simultaneously with the professional turmoil, del Toro also endured a personal crisis: his father was kidnapped in Mexico and held for ransom for more than two months. Not only do they take care of the children, they are also hiding a large treasure used to support the Republican cause in the war. Learn more, We use analytics cookies to understand how you use our websites so we can make them better, e.g. I have two options, one in English, which is called Mephisto’s Bridge, the story of a billboard designer that sells his soul to the devil. Absolutely our highest recommendation. conditioners fighting a losing battle. Those are the two prospects. Adam! Then I talk to my DP and my wardrobe designer, and production designer and my art director—those are the four points of the entire structure. They are “mirrored movies,” which reveal symmetries and reflections if you ever watch them together… and I love them both with equal passion. No Mimic; Guillermo del Toro declares his independence with Devil’s Backbone, by Anthony Kaufman. This article was originally published in Indiewire, Nov 27, 2001. A tragedy condemned to repeat itself time and time again. Our Outpost Tap Room & Kitchen, located on a beautiful hillside in Lexington, VA and our Basecamp Brewpub and Meadows, nestled in Nelson County, VA, just over the Blue Ridge Mountains, we’ll make sure you get your fix of fun. had you for breakfast. 'Cause you're my best friend. 0000004901 00000 n “The only time I have experienced bad behavior, and it remains one of the worst experiences of my life, was in 1997, when I did Mimic for Miramax,” del Toro confessed. I’m thankful for Mimic. I am as grateful as I’ve ever been to Pedro. about how To tell a truly great story you need time. “What is a final cut?” he asked me. Making The Devil’s Backbone, I finally felt in command of my visual style, my narrative rhythm, and was able to work in a profound manner with my cast and crew to craft a beautiful genre-masher: a Gothic tale set against the backdrop of the greatest ghost engine of all—war. If you find Cinephilia & Beyond useful and inspiring, please consider making a small donation. Mrs.! Carlos stays up late with the other boys. “You’re the director!”. I’m a 52. Gentlemen, our joy is mixed with tell me a story Because at the end of Mimic’s underground tunnels there was a light that keeps on shining. 0000000656 00000 n How do you feel being compared to Alfred Hitchcock? (VIDEO CAMERA WHIRRI... 1 You sing real good, Ste... 1 That was... [ Squeaks ] He disproves Carlos’ encounter with the ghost. Welcome all folks, Subscribe! Storyboards are a great tool for making decisions like that.” —Guillermo del Toro, “Del Toro and I don’t have to look at other movies or pictures in books when we are planning a film. Huge fan of Simon & Garfunkel, a mediocre table tennis player and passionate fridge magnet collector, he’s interested in fulfilling his long-term goal of interviewing Jack Nicholson while Paul Simon sings ‘April Come She Will’ quietly in the background. The restrained but engrossing script was written by David Muñoz, Antonio Trashorras and the director himself, and it stands as one of the brightest examples of what a horror screenplay should look like in terms of pace and character development. Because I can edit on the page while I’m shooting. Daddy? It’s in my nature. With this in mind I started trying to make a movie that would join these two strands and make one thing clear: The ghost is not the scariest thing in the tale. - Lance... Lance Poole! "The living will always be more dangerous than the dead.". I bust my ass for the movies I do to, at least, look really good. I always say, even as an ex-Catholic, that God sends the letter but not the dictionary. When he was a kid, del Toro once heard sighs coming from his deceased uncle’s room. [ Continues ] By making a film on his own terms, del Toro was able to delve into matters close to his heart, considering and investigating themes and notions that tingled both his mind and soul. 0000003207 00000 n So you can learn more from a hard experience than a nice one. The visual and narrative rules I set out to meet were a bit crazy—I wanted to combine the look of a Western with the flair of a horror film and the austerity of a war chronicle. “It was a horrible, horrible, horrible experience.”. Oh, God. Nevertheless, it is so often being considered as horror since it has a ghost in it, that I felt like it deserves a word here. : You are free: to share – to copy, distribute and transmit the work; to remix – to adapt the work; Under the following conditions: attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made. - How are you, Bob. Some of your readers might think that they can access Hollywood on the first try and keep their independence and their spirit, and you may perhaps, but it’s really hard. CAPSULE REVIEW: A. Pushing the project to GitHub's master will automatically compile the project. Do it again. Adam! Welcome to a platform where professionals can meet and exchange information and ideas. - $200! If u're not contributing to this wonderful inspiring site, please don't be shocked when it vanishes. - Adam! So he essentially kept control. The entire history of humankind is built on our mistakes and our tragic failure to learn from them, and this is something the filmmaker is clearly very familiar with. I tried to keep the truth unadorned and unvarnished by nostalgia. Sometimes, she said, Blogs archive. It will be an arthouse movie, most probably. Advanced search. he isn't a writer of mess 0000002338 00000 n Oh, god! If I have sixteen or twenty setups I can put them all out on a sheet of paper and decide if I want to go from this one to that one, or if I have to skip one—you know, as time gets tighter. I wrote your name. Shit. The Devil’s Backbone (2001) Review: The Devil’s Backbone is hardly a horror film and even though it has some supernatural element, it is really a drama instead. This ambition/budget imbalance has been a constant in my quarter-of-a-century career. The container should now be running on your computer, with it's attached database. w... Criminal Minds Season 6: Crime Scene - Devil in. Clint! And he applies his same intensity and focus to both: a week of production for del Toro equals six days of shooting and one day of editing. Because I had enough money and all the fucking freedom in the world. | The Devil’s Backbone is an exploration of our history, the burden of memory, the dynamics of family, of human nature in general. It’s a studio process, which is completely different and quite frankly, I did not enjoy it. Adam! The second greatest ghost engine is, in my opinion, memory. I have a reall... Where the hell is Mrs. Sulee's house! The production values on Devil’s Backbone look like a studio film. ... Add a Script. I’m sure Amenabar, being as smart as he is, made the movie he wanted. In your face, in your hair. Don’t go and try to do it in a studio. [ Birds Chirping ] Contact us | Logos and banners | Change privacy settings, Mission | Structure | Partners | Team | Participate | Donations | Terms and conditions, (The article continues below - Commercial information), Two new projects in pipeline for Telecinco Cinema, Strong British presence in Sundance line-up, Bayona's four-time EFA nominee opens tomorrow, We talked to Czech filmmaker Petr Zelenka about, We caught up with Carice van Houten and Halina Reijn, creators of and actresses in the Belgian-Dutch series. Watch the full video now on the Channel, and dive into the nine films that del Toro has selected to accompany the program, including mind-bending works by Jean Cocteau, Terry Gilliam, and Luis Buñuel. you go back - To say Bob Weinstein simply interfered would be a deceiving understatement: after seeing the early footage, he considered del Toro’s film to be severely lacking in the fright-inducing department and made sure to storm the set to teach the Mexican director how to do his job properly. - Writer credits: Don’t go and try to do it in a studio,” says Mexican director Guillermo del Toro. They pushed me to try new stuff, and I realized I was good at certain things that I never tried. four brilliant criminals But that's not a crime. When I was a child, The film authorities in charge viewed it with great displeasure, as they did Cronos, and the shelfful of national and international awards the latter title had garnered was not helpful at all. Screenplay by Guillermo Del Toro, Antonio Trashorras, and David Munoz. Absolutely our highest recommendation. Donate to Cinephilia & Beyond!”, Play for Play: How The Color of Money’s ‘One For Them’ Assignment Reignited Martin Scorsese’s Hunger for the Work, ‘DOES THIS LOOK LIKE A SICK MAN TO YOU?’: The Horror of Identity and the Identity of Horror in David Cronenberg’s ‘The Fly’, ‘Charley Varrick’ (1973): Don Siegel’s Masterclass in Seamless Storytelling, 40 Years of Hurt, Face-Hugging Dreams of Breathing: Ridley Scott’s ‘Alien’, To the Wonder: The Lyrical Appeal and Influence of Richard Donner’s ‘Superman’, ‘JFK’: Oliver Stone’s Emotionally Accurate and Masterfully Crafted Trip Down the Rabbit Hole, Approaching Menace: The American Pathology of Martin Scorsese’s ‘Taxi Driver’, ‘The Devil Needs a Fix’: Ian Ebright’s Sophomore Film Proves His Debut Was No Coincidence, ‘The Line’: Luke Wallace’s Gripping Crime Drama With a Terrific Cast, ‘Cool Hair’: William Orozco-Cubbon’s Bonnie-and-Clyde-Like Thriller that Leaves Us Wanting More, Guillermo del Toro in his foreword to Matt Zoller Seitz and Simon Abrams’ book, ‘The Last of the Mohicans’: Michael Mann’s Riveting Love Story as the Formation of American Identity, Terrence Malick’s ‘The Thin Red Line’: The Traumatic and Poetic Journey into the Heart of Man, ‘Notorious’: Hitchcock’s Mature and Intricate Espionage Masterpiece, ‘Pan’s Labyrinth’: A Richly Imagined, Dreamlike Voyage of Self-Discovery and Character Formation.

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