Guillermo del Toro’s Cabinet of Curiosities 2022
Netflix poster
The Museum of Modern Art, New York
Blade II 2002
New Line Cinema posters
The Museum of Modern Art, New York
Crimson Peak 2015
Universal Pictures poster
The Museum of Modern Art, New York
Sara Deck
Canadian, born 1977
Crimson Peak 2015
Screenprinted poster
The Museum of Modern Art, New York
Hellboy 2: The Golden Army 2008
Universal Pictures poster
The Museum of Modern Art, New York
Pacific Rim 2013
Warner Bros. posters
The Museum of Modern Art, New York
Hellboy 2004
Sony Pictures posters
Jay Shaw
American, born 1977
Mimic 1997
Screenprinted poster
The Museum of Modern Art, New York
James Jean
American, born Taiwan 1979
The Shape of Water 2022
Poster printed on cotton-rag paper with
pigment-based ink and screenprinted enhancement
The Museum of Modern Art, New York
Guillermo del Toro’s Pinocchio 2022
Netflix poster
The Museum of Modern Art, New York
El laberinto del fauno (Pan’s Labyrinth) 2006
Warner Bros. posters
The Museum of Modern Art, New York
Cronos 1993
October Films poster
The Museum of Modern Art, New York
Martin Ansin
Puss in Boots 2011
Paramount Pictures posters
The Museum of Modern Art, New York
PLAYING IN THIS GALLERY:
Nathan Robitaille
Canadian, born 1978
Stefana Fratila
Romanian, born 1991
Passing through the Worlds of Guillermo del Toro 2022
Audio 12:30 min.
The Museum of Modern Art, New York
Introduction
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Who is Guillermo del Toro?
The winner of three Academy Awards – including 2023 Academy Award for Best Animated Feature for Guillermo del Toro’s Pinocchio – Guillermo del Toro is among the most creative and visionary artists of his generation whose distinctive style as a filmmaker, screenwriter, producer and author is showcased throughout his work. Born in Guadalajara, Mexico, del Toro began his career as a special-effects makeup artist. He first gained worldwide recognition as a filmmaker for the 1993 Mexican-American co-production Cronos, a supernatural horror film. Del Toro went on to earn international acclaim with the Academy Award–winning films Pan’s Labyrinth (2006), The Shape of Water (2017), and Guillermo del Toro’s Pinocchio (2022).
In animation, del Toro executive produced the animated DreamWorks films Kung Fu Panda 2 and 3, Puss in Boots and The Book of Life. His DreamWorks/Netflix animated series Trollhunters: Tales of Arcadia has been both a critical and popular success. In addition to his movie projects, del Toro co-authored the New York Times bestselling vampire horror trilogy The Strain, which has been turned into a hit series on FX Network.
His next project is a stop-motion feature based on Kazuo Ishiguro’s novel The Buried Giant.
Video Essays
Filmmaker Javier Soto has been working with del Toro since the latter’s feature film Devil’s Backbone (2001). These newly commissioned video essays by Soto explore motifs that Pinocchio shares with del Toro’s earlier work, including the use of spaces on screen, death and resurrection, and the monstrous.
Posters
Featuring a selection of all twelve feature films directed by del Toro, these original studio editions are paired with alternative representations by the artists Martin Ansin, Daniel Danger, Guy Davis, Sara Deck, Aaron Horkey, James Jean, Jock (Mark Simpson), Doug LaRocca, Jay Shaw, and Vania Zouravliov. They demonstrate how del Toro has inspired generations of artists and graphic designers.
Soundscape
To underscore the immersive nature of this installation, the sound editor and designer Nathan Robitaille, who worked with del Toro on The Shape of Water (2017), has created a site-specific soundscape featuring acoustic references to the director’s films.
Jay Shaw
American, born 1977
Mimic 2012
Screenprinted poster
The Museum of Modern Art, New York
Troll Hunters 2016
Troll Hunters 2017
Netflix posters
The Museum of Modern Art, New York
Jay Shaw
American, born 1977
Mimic 2012
Screenprinted poster
The Museum of Modern Art, New York
Nightmare Alley 2021
Searchlight Pictures poster
The Museum of Modern Art, New York
The Strain 2015–16
FX posters
The Museum of Modern Art, New York
Jock (Mark Simpson)
British, born 1972
El laberinto del fauno (Pan’s Labyrinth) 2014
Screenprinted poster
The Museum of Modern Art, New York
Daniel Danger
American, born 1982
The Shape of Water 2018
Crimson Peak 2015
Screenprinted posters
The Museum of Modern Art, New York
Daniel Danger
American, born 1982
Nightmare Alley 2021
Silkscreen posters
The Museum of Modern Art, New York
Jock (Mark Simpson)
British, born 1972
El laberinto del fauno (Pan’s Labyrinth) 2014
Screenprinted poster
The Museum of Modern Art, New York
Guy Davis
American, born 1966
El espinazo del diablo (The Devil’s Backbone) 2013
Screenprinted poster
The Museum of Modern Art, New York
Sara Deck
Canadian, born 1977
Crimson Peak 2015
Screenprinted poster
The Museum of Modern Art, New York
Martin Ansin
Uruguayan, 1977
Cronos 2011
Screenprinted poster
The Museum of Modern Art, New York
Introduction
“No art form has influenced my life and my work more than animation, and no single character in history has had as deep of a personal connection to me as Pinocchio.”
—Guillermo del Toro
For the film director, animation is not a genre reserved exclusively for the entertainment of children; it is a medium fully capable of engaging people of all ages. This belief inspired Pinocchio, del Toro’s first work in stop-motion, a technique in which objects are positioned and photographed then manipulated slightly and photographed over and over to produce the appearance of movement.
The Adventures of Pinocchio (1883), a fairytale by the Italian writer Carlo Collodi, has been published in countless editions (242 in Italian alone), translated into more than 135 languages, and illustrated repeatedly for generations of readers. Setting his adaptation in Fascist-era Italy, del Toro connects this classic story about a wooden boy in the adult world with themes central to all his work: youth and maturity, authority and disobedience, aloneness and spirituality.
Organized while the film was being made in Portland, Oregon; Guadalajara, Mexico; and Altrincham, England, this exhibition focuses on the crafts employed in the process of bringing del Toro’s vision to the screen.
Materials from the look development phase reveal the diverse approaches and mediums used in fabricating the handmade physical world of the film, the historical research grounding it in reality, and the different forms the puppet characters took before they appeared before the camera. Large-scale working sets from the film’s production offer a behind-the-scenes experience. The layer of time-lapse, motion study, and animation software video demonstrates the coordinated efforts that empower the art of stop-motion to be as expressive and resonant as live performance.
Guillermo del Toro, the Artist
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James Jean
American, born Taiwan 1979
Guillermo del Toro’s Pinocchio 2022
UV inks on Hahnemühle fine art printing paper
Printer: Gant Keech at Pressure Printing,
Denver
The Museum of Modern Art, New York
Guillermo del Toro: Crafting Pinocchio
“Animation isn’t a genre. Animation is cinema. Animation is a medium for art.” —Guillermo del Toro
Guillermo del Toro: Crafting Pinocchio is a celebration and exploration of the inventiveness, passion, and artistic cooperation that go into making a timeless and timely cinematic vision come to life.
Guillermo del Toro’s Pinocchio won the 2023 Academy Award Winner for Best Animated Feature. The Portland Art Museum’s enhanced exhibition and extended programming showcase the many layers of animation, craft, and innovation that went into creating the film. It reflects the inspirations and inventiveness of the hundreds of artists who helped bring the story to life—more than four hundred of whom live in our community and create at the Portland-based animation studio ShadowMachine – the Portland Art Museum’s enhanced exhibition and extended programming showcase the many layers of animation, craft and innovation found within the film made right here in Oregon,
Guillermo del Toro: Crafting Pinocchio is organized by the Museum of Modern Art, New York. The exhibition is organized by Ron Magliozzi, Curator, and Brittany Shaw, Curatorial Assistant, with Kyla Gordon, Research Assistant, Department of Film, the Museum of Modern Art. The Portland Art Museum’s expanded presentation is curated by Amy Dotson, Curator of Film and New Media and Director of PAM CUT // Center for an Untold Tomorrow.
MoMA
Javier Soto
American, born 1969
Death and Resurrection 2022
Excerpts from Blade II, Crimson Peak, The Devil’s Backbone, Hellboy, Hellboy II: The Golden Army, Nightmare Alley, Pacific Rim, Pan’s Labyrinth, Pinocchio, and The Shape of Water
Video (color, silent)
7 min.
Courtesy Lionsgate, Netflix, New Line
Cinema, Picturehouse, Searchlight, Sony
Pictures, Sony Pictures Classic, Universal
Pictures, and Warner Bros.
Javier Soto
American, born 1969
The Worlds of Guillermo del Toro 2022
Excerpts from Blade II, Crimson Peak, Cronos, The Devil’s Backbone, Hellboy, Hellboy II: The Golden Army, Mimic, Nightmare Alley, Pacific Rim, Pan’s Labyrinth, Pinocchio, and The Shape of Water
Video (color, silent)
9 min.
Courtesy Lionsgate, Miramax, Netflix, New
Line Cinema, Picturehouse, Searchlight, Sony
Pictures, Sony Pictures Classic, Universal
Pictures, and Warner Bros.
Javier Soto
American, born 1969
An Exploration of Monsters 2022
Excerpts from Crimson Peak, The Devil’s Backbone, Hellboy, Hellboy II: The Golden Army, Mimic, Pacific Rim, Pan’s Labyrinth, Pinocchio, and The Shape of Water
Video (color, silent)
7 min.
Courtesy Lionsgate, Netflix, Picturehouse,
Searchlight, Sony Pictures, Sony Pictures
Classic, Universal Pictures, and Warner Bros.
Guillermo del Toro: Crafting Pinocchio
Presenting Sponsor: Grace Serbu and Ivan Gold
Lead Sponsors: Mary and Ryan Finley, Manitou Fund
Major Sponsors: The Clark Foundation, Cooper DuBois, Zidell Family Foundation
Sponsors: Ed Cauduro Fund of the Oregon Community Foundation, Dan Wieden* and Priscilla Bernard Wieden, Netflix, Wells Fargo
Supporters: The Reserve Vineyards and Golf Club – The Park Family
Exhibition Series Sponsors:
Presenting Sponsors: William G. Gilmore Foundation, The Laura and Roger Meier Family, The James F. and Marion L. Miller Foundation, M.J. Murdock Charitable Trust
Lead Sponsors: Mary and Cheney Cowles, Mary and Ryan Finley, Flowerree Foundation, Dorothy Piacentini
Major Sponsors: Mary and Tim Boyle, Travers and Vasek Polak, Pat and Trudy Ritz, The Smidt Foundation, The Standard, Darci and Charlie Swindells, Mr. and Mrs. William A. Whitsell
Sponsors: Allen Trust Company, Sharon and Keith Barnes Endowment, Northern Trust, Robert Trotman Interior Design
Arts Tax, Oregon Cultural Trust, Regional Arts and Culture Council
Harold B. Lentz
American, 1896–1980
The “Pop-Up” Pinocchio: Being the Life and
Adventures of a Wooden Puppet Who Finally
Became a Real Boy, by Carlo Collodi
Pop-up book
Published by Blue Ribbon Books, New York, in
1932
Sara Fanelli
British, born Italy 1969
Pinocchio, by Carlo Collodi 2003
Book and slipcase
Publishers: Walker Books, United Kingdom,
and Candlewick Press, Somerville,
Massachusetts
The Museum of Modern Art, New York
Jarõna Ilo
Estonian, born Ukraine 1955
Pinocchio, by Carlo Collodi 1985
Book
Publisher: Eesti Raamat, Tallinn
The Museum of Modern Art, New York
Gris Grimly
American, born 1975
Pinocchio, by Carlo Collodi
Book
Published by Tor, New York, in 2002
Liam Anne Garner
Politically Correct Pinocchio, by James Finn
Garner 2018
Book
Self-published
Maud Petersham
American, 1890–1970
Miska Petersham
American, born Hungary. 1888–1960
Pinocchio, by Carlo Collodi
Book
Published by Garden City Pub., Garden City,
New York, 1932
The Museum of Modern Art, New York
Louise Beaujon
Pinocchio, by Carlo Collodi
Book
Published by Books, Inc., Boston, 1939
Gretta
American, 1904–1988
Pinocchio, by Carlo Collodi
Book
Published by Goldsmith, Chicago, c. 1930–35
Charles Folkard
British, 1978–1963
Pinocchio, by Carlo Collodi
Book
Published by Grosset and Dunlap, New York,
1927
Dusty Higgins
American, born 1981
Pinocchio, Vampire Slayer of Wood and
Blood, Parts 1 and 2, by Van Jensen 2012
Graphic novels
Published by SLG Publishing, San Jose,
California
The Museum of Modern Art, New York
ShadowMachine
United States, est. 1999
Letters for title sequence 2021
Sculpted MDF and acrylic paint
Courtesy of Netflix Physical Assets and Archives
René Quentin
Pinocchio’s Adventures in Wonderland, by
Carlo Collodi 1898
Book
Published by Jordan, Marsh & Co., Boston
The Museum of Modern Art, New York
Mario Pompei
Italian, 1903–1958
Le avventure di Pinocchio, by Carlo Collodi
Book
Published by R. Bemporad & Figlio editori,
Florence, c. 1935
The Museum of Modern Art, New York
Pinocchio: The Adventures of a Puppet, by
Carlo Collodi
Book
Published by A. L. Burt, New York, c. 1927
Tim Rollins
American, 1955–2017
Pinocchio by Carlo Collodi
Book
Published by New York Review Books, New
York, in 2009
Charles Copeland
American, 1858–1945
Pinocchio Goes Postmodern: Perils of a
Puppet in the United States, by Richard
Wunderlich and Thomas J. Morrissey 2008
Book
Published by Routledge, New York
The Museum of Modern Art, New York
A. Kanevsky
The Golden Key, or the Adventures of
Pinocchio, by Aleksey Nikolayevich Tolstoy,
1971
Book
William Donahey
American, 1883–1970
Hi! Ho! Pinocchio! The American Boy, by
Josef Marino 1940
Book
Published by Reilly & Lee, Chicago
Tony Sarg
American, born Guatemala. 1880–1942
Pinocchio, by Carlo Collodi
Book
Published by Platt & Munk, New York, 1940
The Museum of Modern Art, New York
Jim Dine
American, born 1935
Pinocchio, by Carlo Collodi
Book
Published by Steidl, Göttingen, in 2006
Carlos Bribián Luna
Spanish, born 1982
Pinocho Blues, by Carlos Bribián Luna 2010
Book
Published by Glénat, Barcelona
The Museum of Modern Art, New York
Winshluss
French, born 1970
Pinocchio 2020
Graphic novel
Published by Comicon Edizioni, Italy
Richard Floethe
American, born Germany. 1901–1988
Pinocchio: Adventures of a Marionette, by
Carlo Collodi
Book in slipcase
Published by Limited Editions Club, New York,
in 1937
Richard Kivit
Estonian, 1888–1981
Pinokkio, by Carlo Collodi
Book
Published by Noor-Eesti Kirjastus, Tartus, in
1933
Pinocchio 1950
Book
The Museum of Modern Art, New York
Pinocchio
Book
Published by “Omanuth,” Tel Aviv, in 1965
The Museum of Modern Art, New York
David Seidman
American, born 1979
Grimm Fairy Tales no. 31, by David Seidman
2008
Comic book
Published by Zenescope Entertainment,
Pennsylvania
Paul Buckley
American, born 1965
The Thing on the Doorstep, by H. P. Lovecraft
The Raven, by Edgar Allan Poe
The Haunting of Hill House, by Shirley Jackson
Frankenstein, by Mary Shelley
Haunted Castles, by Ray Russell
American Supernatural Tales
Books
Published by Penguin Books, New York, in 2013
The Museum of Modern Art, New York
A lifelong reader of horror, del Toro was
engaged by the publisher Penguin Classics in
2013 to select and write introductions to a
six-volume series of gothic and supernatural
literature, including Mary Shelley’s
Frankenstein. The books were designed and
illustrated by Penguin’s executive creative
director Paul Buckley, who used a printmaking
process known as tempera resist.
Del Toro has described Carlo Collodi’s original
Adventures of Pinocchio and Mary Shelley’s
Frankenstein as among the most formative
and influential artworks of his life. “I identify
with outsider creatures like the creature of
Frankenstein or Pinocchio,” he said, “and with
the idea of having to figure out the world on
your own, that the things that you are told are
not enough, that you must do this and you
want to know why this is right and why this is
wrong when this feels wrong and this feels
right.”
Guillermo del Toro’s Pinocchio crew members at ShadowMachine
Portland, Oregon 2022
Guillermo del Toro’s Pinocchio crew members at Taller del Chucho,
Guadalajara, Mexico 2022
Guillermo del Toro’s Pinocchio crew members at Mackinnon & Saunders,
Altrincham, England 2022
Courtesy of Netflix Physical Assets and Archives
The Portland Story
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Larry Peace-Love Yes
American, born 1974
Collaboration 2022
Acrylic paint on cedar fence board
The Museum of Modern Art, New York
Puppet Hospital and Costumer Puppet Storyboard
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ShadowMachine
United States, est. 1999
Costume Mood Board
Foam core, fabric, paint, thread
Courtesy of Netflix Physical Assets and Archives and ShadowMachine
ShadowMachine
United States, est. 1999
Puppet Fabrication Workbench
Wood, steel, paint, fabric, resin, thread, powder
Courtesy of Netflix Physical Assets and Archives and ShadowMachine
ShadowMachine & Guillermo del Toro’s Pinocchio: Extracting Beauty from Adversity
Hundreds of artists around the world, many right here in Portland at ShadowMachine’s animation studios, collaborated on Guillermo del Toro’s Pinocchio.
ShadowMachine is an award-winning animation studio that specializes in world building and comedy craft. The company’s 2015 expansion into the Pacific Northwest provided the unique opportunity to work within one of the most exciting and powerful animation communities. Portland is home to some of the best stop-motion artists, animators, designers, and technicians working in the format today.
Guillermo’s vision for Pinocchio attracted the talented Portland-based director Mark Gustafson, the most incredible crew, and an absolute dream team of artists who made the production that much more exciting and meaningful—it was a collaborative artistic performance at the highest level.
Not only did we continue production despite the COVID-19 pandemic, but with the incredible support of Netflix and the sheer will of the crew, I believe the film came out stronger.
This film is a testament to the fortitude, resilience, determination, out-of-the-box creativity, and great camaraderie that blossomed in the face of extreme challenges. Our production mantra on this film could not be more true of our process: “Extracting beauty from adversity.”
—Alex Bulkley, Co-President, ShadowMachine
ShadowMachine
United States, est. 1999
Pinocchio faces 2019
Resin and paint
3D printed at Fathom Manufacturing,
United States
Storage for Pinocchio faces 2019–22
Pizza boxes, cardboard, paper, packing tape, polyjet resin, and magnets
Courtesy of Netflix Physical Assets and Archives
Most of the puppets created for Guillermo del Toro’s Pinocchio were made of silicone and manually animated, but Pinocchio—who never becomes a flesh-and-blood boy in this version of the story—was 3D printed in resin and steel, so that he looks and feels like the solid object he is. In a process known as replacement animation, nearly nine hundred printed faces with interchangeable eyes and noses gave the animators a vast range of expressions with which to give the wooden boy life. The printed faces were stored in these pizza boxes.
ShadowMachine
United States, est. 1999
Puppets of Guillermo del Toro and Mark Gustafson
at 30 percent scale 2022
Silicone, paint, and wire
Courtesy of Netflix Physical Assets and Archives
Mackinnon & Saunders
United Kingdom, est. 1992
Pinocchio puppet 2019–20
3D printed resin, 3D printed steel, steel, silicone, fabric, and paint
Pinocchio lighting stand-ins 2020–22
Aluminum wire, resin, paint, 3D printed resin, and silicone
Courtesy of Netflix Physical Assets and Archives
Jason Ptaszek
American, born 1986
Time-lapse: animating Pinocchio underwater
Digital video (color, silent)
16 sec.
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Blacksmith’s Wife’s head 2019
TC1630 resin, Monumelt FX Grade clay, and
fine art sculpting clay
Podesta’s head 2020
Monumelt FX Grade clay, fine art sculpting
clay, brass K&S stem, and steel balls
Wood Sprite’s wing 2021
Clay and aluminum wire
Fish armature on stand 2021
Plywood, brass, steel, aluminum wire,
pantyhose, and thread
Fish 2021
Silicone
Background puppet head mechanics 2021
Steel, wire, and resin
Podesta puppet head mechanics 2022
Steel, wire, resin, paper, and silicone
Background puppet head mechanics 2021
Steel, wire, and resin
Carlo’s head core mold 2020
TC1630 resin
Carlo’s head 2019
Monumelt FX Grade clay and fine art sculpting
Clay
Background child’s head 2020
Smooth-On 320 resin
Priest’s head (left) 2019
Monumelt FX Grade clay and fine art sculpting
Clay
Priest’s head (right) 2019
Monumelt FX Grade clay and fine art sculpting
Clay
Courtesy of Netflix Physical Assets and Archives
After the design of a puppet is finalized, the figure is sculpted from clay, piece by piece. Next, each piece is cast in resin in order to create a mold. This mold shows that the texture of Death’s tail is similar to that of the acorn from which Pinocchio is born—reminding us that life and death are never far apart in this story. From this mold, a silicone casting was made and then fitted with an interior armature that allowed the puppet to be animated.
ShadowMachine
United States, est. 1999
Mold of Dottore’s head 2019
TC1630 resin
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Mold of Death’s tail 2020
TC3180 urethane
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Mold of Wood Sprite’s wings 2021
TC1630 gray resin and TC 3180 amber resin
Mold of Pinocchio’s leg 2020
SORTA-Clear platinum silicone
Mold of background character’s head 2019
Tinted silicone
Mold of Butcher Sister’s head 2019
SORTA-Clear platinum silicone
Mold of Pinocchio’s stunt nose 2019
20T silicone
Mold of Circus Lady’s head 2020
20T silicone
Mold of Cricket’s leg 2020
GI-1000 silicone with pink catalyst
Mold of Wood Sprite’s wings 2021
TC1630 gray resin and TC 3180 amber resin
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Miniature Pinocchio molds 2021
Urethane
Miniature Pinocchio prototypes 2021
Silicone, wire, and paint
Cricket mold 2021
TC3180 urethane
Scale Cricket puppets 2020–22
Wire, paint, and resin
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Mold of Wood Sprite’s tail 2021
TC 3180 resin
Paint test: Wood Sprite’s tail 2021
Brass K&S tube, silicone GI-1110 with
pigment, silicone, and powder paints
Paint test: Wood Sprite’s tail 2021
Wire armature, brass K&S tube, silicone GI-
1110 with pigment, silicone, and powder
Paints
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Color studies 2019
Full film color barcode 2019
Digital prints
MPC
United Kingdom, est. 1974
Sky backgrounds 2022
Digital matte paintings
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Town map 2019
Digital print
Village development over time 2019
Digital print
Town topography model 2020
Cardboard, foam core, and glue
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Dogfish puppet 2020–21
Steel, resin, foam latex, fiberglass, wire, and paint
Dogfish maquette for scale tests 2019
Sculpting foam, tape, wood, steel, and wire
Motion test of styrofoam Dogfish 2020
Digital video 7 sec.
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Look development: Dogfish shape studies
2019–20
Vegetables (portobello mushroom, broccoli, tomato, kale, cauliflower, chard), balloon, silicone, resin, plaster, spray paint, PanPastel, and paint.
Look development: Dogfish teeth 2020
Styrofoam, Great Stuff (expanding foam), Tpins, Fix-It-All, Spectralite paint, and crushed glass medium
Paint test: Dogfish head 2021
Foam latex, paint, rigid foam, and wood
Look development: Dogfish stomach bile 2020
Gator board foam, spiderweb, railroad greens, gloss medium, Saran Wrap, spray paint, tape, clear styrene, and foam core
Bartek Prusiewicz
Polish, born 1972
Clothespin Dogfish 2021
Wood, steel, gaffer tape, ink, paper, wire, and cotton wool
ShadowMachine
United States, est. 1999
Look development: Dogfish teeth 2020
Styrofoam, Great Stuff (expanding foam), Tpins, Fix-It-All, Spectralite paints, and crushed glass medium
Courtesy of Netflix Physical Assets and Archives
Pinocchio encounters the Dogfish, a sea-dwelling beast, on his quest to discover what it means to be alive. With the goal of grounding the design of the fantastical Dogfish in nature, some of the first look development experiments for this character involved everyday foods. Silicone and resin castings of tomatoes, kale, and cabbage—which showed the vegetables’ texture, color, and veining—provided inspiration for the Dogfish’s skin, texture, and scarring. Lead look development artist Caitlin Pashalek recalls “stealing from nature as opposed to ‘making a sculpted thing.’ . . . I tried to find materials and processes that could be slightly uncontrolled, that had interest and a life of their own.”
Dogfish
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ShadowMachine
United States, est. 1999
Seagull puppet 2021
Steel, wire, silicone, Tyvek paper, and paint
Conjoined Twins puppet 2019–20
Steel, foam latex, silicone, resin, fabric, fiber, plastic, and paint
Madera life preserver 2020
Polyurethane resin
Sea Captain puppet 2021
Steel, foam latex, silicone, resin, fabric, fiber, and plastic
Poop puppet 2020–21
Resin, steel, wire, foam latex, fabric, and paint
Sword Swallower puppet 2019–20
Steel, foam latex, silicone, resin, fabric, fiber, plastic, and paint
Crab puppet 2021
Steel, silicone, paint, and brass
Fish on a spit 2020
Polyurethane resin, silicone, brass, steel, and Epoxy
Circus Lady puppet 2019–21
Steel, foam latex, silicone, resin, fabric, fiber, plastic, and paint
Mackinnon & Saunders
United Kingdom, est. 1992
Mangiafoco puppet 2019–20
Steel, foam latex, silicone, resin, fabric, fiber, plastic, and paint
ShadowMachine
United States, est. 1999
Mangiafoco’s weights 2020
Steel, brass, polyurethane foam, and
polyurethane resin
Mangiafoco’s legs stress test 2019
Digital video (color, silent)
4 sec.
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Mangiafoco puppet materials 2019
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Fascist soldier puppet 2021
Steel wire, resin, paint, fabric, polyfoam, and silicone
Hood ornament from Mussolini’s limousine 2021
Polyurethane resins
Hammer, anvil, and block 2020
Resin, paint, brass, and polymer clay
Young Podesta puppet 2019–20
Steel, foam latex, silicone, resin, fabric, fiber, plastic, and paint
Right Hand Man puppet 2020–21
Steel, foam latex, silicone, resin, fabric, fiber, plastic, and paint
Podesta puppet 2020–21
Steel, foam latex, silicone, resin, fabric, fiber, plastic, and paint
Podesta and Mussolini paint tests 2021
Resin, paint, wood, and K&S brass tube
Portraits of Mussolini 2021
Fabric, aluminum, and wood
Mussolini puppet 2020–21
Steel, foam latex, silicone, resin, fabric, fiber, plastic, and paint
Right Hand Man paint test 2020
Silicone and paint
Courtesy of Netflix Physical Assets and Archives
Villains Puppet Case
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Puppets Begin with a Design
“We wanted the sets and the characters to feel beautiful, sculpted, and Old World.
This is a movie that emphasizes the fact that it’s handmade.”
— Guillermo del Toro
A puppet begins with a design. After its shape, features, and scale are explored, a maquette (preliminary model) is crafted that allows the film’s creative team to see the design in three dimensions and at full scale and to make adjustments accordingly. From there, the technical elements are developed. For example, armature specialists engineer the mechanical insides of the puppet—a complex system of miniature gears, wires, and paddles—enabling an animator to move it.
Finally, the armature is padded with foam, finished with silicone, painted, and costumed.
Organized by medium, the puppets here include examples from many stages of the process: finished hero puppets, clay sculptures, molds, miniatures, foam-core stand-ins, and more.
ShadowMachine
United States, est. 1999
Carlo maquette 2019
Priest maquette 2019
Resin
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Butcher Sister maquette 2019
Gatto maquette 2019
Resin
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Background puppets at 30 percent scale 2022
Aluminum wire, silicone, and paint
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Puppet paint tests 2020–21
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Diagram of disassembled Pinocchio 2020
Disassembled Pinocchio 2022
Printed steel, aluminum, steel screws, and resin
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Knight marionette 2020
Polyurethane resin and aluminum wire
Fox marionette 2020
Polyurethane resin and aluminum wire
Clown marionette 2020
Polyurethane resin and aluminum wire
Harlequin marionette 2020
Polyurethane resin and aluminum wire
Plague doctor marionette 2020
Polyurethane resin, aluminum wire, twine, and fabric
Monkey marionette 2020
Polyurethane resin and aluminum wire
Butcher’s bell 2020
Brass, steel, polyurethane tooling foam, polyurethane resin, and elastic string
Punchinello marionette puppet 2019–20
Steel, wire, resin, paint, fabric, and brass
Devil marionette puppet 2019–20
Steel, wire, resin, paint, fabric, and brass
Columbina marionette puppet 2019–20
Steel, wire, resin, paint, fabric, and brass
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Eagle marionette 2021
Polyurethane resin
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Stand-ins 2020
Paper, glue, and foam core
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Large Cricket stand-in 2020
Candlewick stand-in 2020
Pinocchio stand-in 2020
Black rabbit stand-in 2020
Paper, glue, and foam core
Courtesy of Netflix Physical Assets and Archives
Mackinnon & Saunders
United Kingdom, est. 1992
Oversized Cricket puppet 2020–21
Resin, steel, silicone, paint, and printed eyes
ShadowMachine
United States, est. 1999
Cricket’s pen and ink 2020
Polyurethane resin, feather, PETG, and MDF
Cricket’s book 2020
Paper, styrene, and fabric
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Cricket puppet materials 2019
Courtesy of Netflix Physical Assets and Archives
Mackinnon & Saunders
United Kingdom, est. 1992
Oversized Cricket puppet 2020-21
Resin, steel, silicone, paint, and printed eyes.
ShadowMachine
United States, est. 1999
Oversized hammer 2020
Polystyrene foam, fiberglass, epoxy, and wood
Matthew Abadi
American, born 1986
Oversized glass 2020
Glass
ShadowMachine
United States, est. 1999
Oversized Pinocchio’s letter to Geppetto 2020
Paper
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Re-education camp M gate 2021
Plywood, MDF tiles, Fix-It-All, joint compound, and coarse salt
Look development: stone study 2020
Joint compound, tint, insulation foam, cardboard, and hot glue
Courtesy of Netflix Physical Assets and Archives
Adolfo Porry-Pastorel
Italian, 1888–1960
Journey to Piedmont 1939
Courtesy Parabola Archives
Allied Invasion of Italy, World War II 1943
Courtesy Associated Press
Archival photographs were an important source for the considerable historical research that went into creating the look of Benito Mussolini’s Italy, the period in which the film is set. “Even the most stylized building in the movie, the Fascist recruitment and training center, which has a huge M (for Mussolini) at the entrance, was based on a photograph of a real place,” del Toro explained. “We did not want to make this whimsical. The buildings in the movie have charm, but they are not whimsical. They are not stylized, curvy, stretched, leaning—none of that.”
ShadowMachine
United States, est. 1999
Look development: stone studies 2020
Sand, craft glue, acetone-etched insulation foam, joint compound, Fix-It-All, acrylic, joint compound, foam from the inside of gator board, PanPastel, Fix-It-All, joint compound, craft glue, Fillite, hot glue, and tint
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Trees 2021
Bailing wire, cardboard, masking tape, torn chip board, brown paper bag, shredded tulle, shaped off-the-shelf pine tufts, steel rod, chicken wire cage, hot glue, torn chip board, and moss sheet
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Look development: annotated bark 2020
Digital print
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Look development: pine cones 2019
Chip board, fun foam, acrylic, paper, and glue
Oversized pine cone 2020
Tissue paper, craft glue, and foam
Look development: birch branch 2019
Cardboard tube, watercolor paper, Xerox copies, tissue paper, brown paper, and craft glue
Look development: pine bark 2019
Textured paper, acrylic, hot glue, and cardboard tube
Look development: pine bark 2019
Spectralite paint on wood paper
Splitting log 2020
Torn Bristol board and foam resin
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Scenic backdrop for Geppetto’s workshop 2021
Paper, ink, and gaff tape
Courtesy of Netflix Physical Assets and Archives
Jason Ptaszek
American, born 1986
Time-lapse: animating Geppetto and
Pinocchio walking in the woods 2019
Digital video (color, silent)
9 sec.
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Oversized bedpost 2020
Polystyrene foam, fiberglass, epoxy, MDF, and epoxy putty
Jesus sculpture’s broken arm 2019
Polyurethane resin and epoxy
Big head 2019
Polyurethane resin and polyurethane foam
Painted plywood wing 2019
End grain two-by-four, hot glue, and charcoal
Look development: Wood Sprite’s wing 2019
Chip board, pine bark, hot glue, wood paper, and Spectralite paint
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Look development: birch bark 2019
Organic paper, acrylic, and craft glue
Look development: coffin wood 2020
Gator board foam, tissue paper, hot glue, craft glue, acrylic paint, and PanPastel
Look development: Cricket’s nook 2020
Chip board, cardboard, acrylic paint, and craft glue
Wood is the most prominent material in Pinocchio, and all the wooden elements—from Geppetto’s carpentry workshop to the town church to Pinocchio himself—needed to work together from a visual and narrative perspective. Therefore, the exploration of the tone, texture, and overall feel of wood was a key aspect of look development. As art director Rob DeSue recalls, “We worked with noncompetitive colors and values and also used diminished details for grain and relief. That way, in an environment composed of earth tones, stone, and wood, Pinocchio was always the most special object in the frame.”
Taller del Chucho
Mexico, est. 2019
Limbo coffins 2021
White pine laminate wood (plywood), CNC- router engraving and cutting, and acrylic paint
Mackinnon & Saunders
United Kingdom, est. 1992
Taller del Chucho
Mexico, est. 2019
Black Rabbit puppets 2020–21
Steel, aluminum, silicone, paint, and fur
Taller del Chucho
Mexico, est. 2019
Pinocchio’s coffin 2021
Wood, CNC-router engraving, and acrylic paint
ShadowMachine
United States, est. 1999
Wood Sprite puppet 2020–21
Steel, resin, silicone, foam, fur, carbon fiber, hair, wire, paint, and LED lights and wiring
Death puppet 2019–20
Steel, resin, silicone, foam, fur, carbon fiber, hair, wire, and LED lights and wiring
Death’s plinth 2022
Sand, plywood, Fix-It-All, craft glue, FlexBond, gator board, and insulation foam
Death’s hourglasses 2020
Polyurethane resin and steel
Courtesy of Netflix Physical Assets and Archives
Reflecting the notion that there is no life without death—one of the most significant themes of del Toro’s Pinocchio—the two are embodied as inseparable sisters, named Wood Sprite and Death, who guide Pinocchio to the afterlife, called Limbo. The doors to Limbo were crafted in gray to allow precise on-set lighting in carefully selected shades of blue. “The Dogfish, Death, the Sprite, the Cricket, and the rabbits all have the same sort of unworldly blue-violet skin, because they are all related,” del Toro explained. “The rabbits are an extension of death, which is the sister of life. And they wear identical masks.”
ShadowMachine
United States, est. 1999
Limbo doors 2020
Polyurethane resin and MDF
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Look development: Wood Sprite maquette 2020
Wire armature, silicone GI-1110 with pigment, silicone, and powder paints
Look development: Wood Sprite maquette 2019
Wire, foam, resin, and fabric
Look development: Wood Sprite maquette 2020
Sculpting foam, tape, and wire
Courtesy of Netflix Physical Assets and Archives
Look development: Creature texture studies 2019
Wood paper,” Spectralite paint, hot glue, feathers, faux fur, spray paint, textured paper, spider web, and gloss medium
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Motion test of Death’s paper wings 2019
Digital video (color, silent)
3 sec.
Jason Ptaszek
American, born 1986
Time-lapse: animating Wood Sprite 2021
Digital video (color, silent)
8 sec.
Time-lapse: animating Death 2021
Digital video (color, silent)
6 sec.
ShadowMachine
United States, est. 1999
Death’s face mask 2021
Monumelt FX Grade Clay and fine art sculpting clay
Look development: Wood Sprite’s eyes 2022
Resin and paint
Death’s horn’s eyes 2021
Magic sculpt and wood
Look development: Wing 2021
Painted Tyvek, wire, hot glue, and thread
Look development: Wing 2021
Tinted TC3180 and paint
Look development: Wing 2021
Painted Tyvek, wire, hot glue, and thread
“I really wanted this movie to land in a way that had expressiveness and the material, tactful nature of a handmade piece of animation, an artisanal, beautiful exercise in carving, painting, and sculpting,” del Toro explained. “But also the sophistication of movement that research on rigs and puppetry have taken us to.” In this motion test, animators and puppet makers explored the intricacies of Death’s wings with a set crafted from paper before arriving at the final design. Cinematographer Frank Passingham worked with lead camera assistant Gavin Brown to create bespoke lighting that evokes the magical world Death Inhabits.
ShadowMachine
United States, est. 1999
Exposure sheets 2022
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Animation playblast 2021
Video (color, silent)
Pinocchio faces used to animate him
speaking in Limbo 2019 Resin
Courtesy of Netflix Physical Assets and Archives
Pinocchio Faces
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ShadowMachine
United States, est. 1999
Sea mines 2020
Polyurethane foam and polyurethane resin
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Pinocchio Nose Tree (2022)
Steel, wood, paint, wire
Courtesy of Netflix Physical Assets and Archives
Large Pinocchio Noses
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ShadowMachine
United States, est. 1999
Maquette of Pinocchio with tree nose 2021
Nose: cardboard tube and chip board, hot glue, staples, aluminum wire, and masking tape Pinocchio: aluminum wire, masking tape, cardboard, and foam
Pinocchio with tree nose 2021
Resin
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Pinocchio’s nose growth study 2022
Wood and steel
Pinocchio’s nose growth study 2021
Nose: cardboard tube and chip board, hot glue, staples, aluminum wire, and masking tape. Pinocchio: aluminum wire, masking tape, cardboard, and foam
Pinocchio with tree nose 2021
Resin
Courtesy of Netflix Physical Assets and Archives
Crafted from cardboard scraps and masking tape during the exploratory look-development process, this study in Pinocchio’s nose growth demonstrates the Pinocchio art department’s preference for gestural shapes over realistic details. To make the final version of this nose, which is Pinocchio’s largest and is crucial to our heroes’ escape from the monstrous Dogfish, 1,500 pine needles were individually placed by hand on a 3D-printed form.
ShadowMachine
United States, est. 1999
Pinocchio’s emotional arc 2019
Courtesy of Netflix Physical Assets and Archives
How do dozens of animation units stay on the same page, tracking the inner life of their main character? Although del Toro’s Pinocchio, unlike most previous versions of the character, does not transform physically, he does go on a formative emotional journey. The story’s central themes of disobedience and belonging emerge as Pinocchio learns which rules are created with compassion and which rules need to be broken. His story and personal turning points were carefully plotted on this board, which animators and craftspeople referred to over the multiple years of design and production.
How Does Stop-Motion Animation Work?
On stop-motion sets, the animator slightly moves a puppet or an object, shoots a still image, then repeats those steps until enough stills have been recorded to convey movement when viewed sequentially.
Between January 2020 and August 2022, a typical day of production on the film involved as many as thirty-eight animation units. At various points, the director, assistant directors, animator and animation supervisor, animation riggers, electricians, grips, set dressers, and puppet doctors were shooting different scenes on as many as fifty-five sets at the same time.
The attention to detail that characterizes stop-motion filmmaking is especially evident in Volpe’s wagon and in the corners of the churches. The animation screens and time-lapse video recorded during production enhance the impression of being on set.
In this area, five working sets—Geppetto’s workshop, the carnival stage, the ocean cliffside, the doctor’s house, and a war-games campground—demonstrate the nuances of puppet staging, lighting, and camera movement.
ShadowMachine
United States, est. 1999
Production scheduling board 2022
Courtesy of Netflix Physical Assets and Archives
Production on Guillermo del Toro’s Pinocchio did not slow down during the pandemic. Crew members transformed their homes into workshops and continued look development and prop- and set-making on their own, communicating through virtual check-ins and digital schedules. Once the entire crew assembled in person, physical scheduling boards were created using a system that tracks each shot for every animation unit. Individual units are represented horizontally, weeks are pictured vertically, and rubber bands track animators’ progress. This board, which is one of dozens, was more than just a schedule; it created a physical space where crew members could gather to communicate, make decisions, and look ahead.
ShadowMachine
United States, est. 1999
Village corner set 2020
Mixed media, puppets, and steel rigging
Courtesy of Netflix Physical Assets and Archives
This is a small portion of one of the largest sets built for the film. In the story, the rise of fascism causes this village to go through many subtle physical changes. While nearly everything seen in the finished film is tangible and handcrafted, green screens were used to place artificial backgrounds and enabled multiple scales of puppets to appear in a single frame. Here, the green screen is used to digitally place a hand-painted image of the sky.
Mackinnon & Saunders
United Kingdom, est. 1992
Younger Geppetto puppet 2019–20
Steel, foam latex, silicone, resin, fabric, fiber, and plastic
Older Geppetto puppet 2019–20
Steel, foam latex, silicone, resin, fabric, fiber, and plastic
ShadowMachine
United States, est. 1999
Carving knife 2019
Brass, epoxy, and paint
Crucifix mock-up 2019
Polyurethane resin and paint
Carlo puppet 2019–20
Steel, foam latex, silicone, resin, fabric, fiber, and plastic
Carlo’s book 2019
EVA foam, polyurethane foam, fabric, paper, steel, and aluminum
Pine cones 2020
Tissue paper, glue, and foam
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Scenic team’s color study for the monkey heads in Volpe’s wagon 2020
Acrylic paint on paper
Scenic team’s color study for Volpe’s cane 2020
Acrylic paint on paper
Courtesy of Netflix Physical Assets and Archives
Mackinnon & Saunders
United Kingdom, est. 1992
Volpe puppet 2019–20
Steel, foam latex, silicone, resin, fabric, fiber, and plastic
Spazzatura puppet 2020–21
Steel, silicone, fabric, bristle fur, and paint
Fabric samples for Spazzatura’s pants 2019
Fabric, pen, and paper
Fabric samples for Volpe’s vest 2020
Fabric, pen, paper, and foil stamp
Spazzatura, the abused sidekick of the villainous carnival owner Volpe (who lures Pinocchio away from home), has a transformational journey not unlike Pinocchio. After exploring printed, embroidered, and stitched stripes for Spazzatura’s wardrobe, members of the UK team sent the in-progress pants shown here to the team in Portland, and everyone agreed that they were “perfectly imperfect.” As puppet production manager Jennifer Hammontree explained, “We wanted things that didn’t look like they came right out of the garment factory. The pants look as if they were sewn from old curtains in the theater that Spazzatura works in.” “Perfectly imperfect” became shorthand for the film’s lived-in look, and this fabric sample went on to inform the shape of lines in buildings, streets, props, and even trees and clouds.
ShadowMachine
United States, est. 1999
Spazzatura muzzles 2020
Resin and paint
Bisected Volpe puppet 2022
Steel wire, resin, paint, fabric, polyfoam, and Silicone
Hood ornament from Volpe’s wagon 2020
Polyurethane resin and steel
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Geppetto’s workshop set 2019
Mixed media, puppets, and steel rigging
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Screen capture of animator using DragonFrame software 2022
Digital video (color, silent)
Courtesy of Netflix Physical Assets and Archives
“We wanted to make it really reflect his history,” director Mark Gustafson said of Geppetto’s home. “He lived in this house his whole life, so you see all of his work that he’s done over the years. He’s a craftsman in the same way that the people who built this stuff are craftsmen.” Here, a drunken and sleeping Geppetto has just finished carving Pinocchio, and the life-giving Wood Sprite will soon arrive to bring the boy to life. Wood Sprite, who is too large to fit in Geppetto’s workshop and was therefore animated separately and then digitally composited in the film, is represented here with a blue light.
ShadowMachine
United States, est. 1999
Church set 2019
Brass, steel, plywood, MDF, polyurethane resin, polystyrene, and epoxy
Courtesy of Netflix Physical Assets and Archives
Desiree Ong
Singaporean, born 1989
Stained glass windows from Guillermo del Toro’s Pinocchio 2020
Courtesy of Netflix Physical Assets and Archives
At the center of Geppetto’s village is a church that was built over centuries by residents using different materials and woodworking techniques, and which shows both modern and medieval influences. The wooden sculpture of Christ, which resembles Pinocchio, was carved by Geppetto himself. The stained-glass windows and frescoes visually refer to other parts of Pinocchio’s story as well as to del Toro’s other films, in particular their themes of war, innocence, and monsters. Multiple versions of this meticulously crafted set, a portion of which is on view here, were created to allow multiple animation units to film simultaneously.
Church Set
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ShadowMachine
United States, est. 1999
Bombs 2020
Polyurethane foam and polyurethane resin
Joe Kortum
American, born 1984
Geppetto’s crucifix sketch 2019
Ink on paper
Courtesy of Netflix Physical Assets and Archives
Jason Ptaszek
American, born 1986
Time-lapse: constructing and animating the church scenes 2020
Digital video (color, silent)
34 sec.
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Int Church – 0300 Damage (2021)
Wood, metal, paint, resin, paper, ink, fabric, glue, insulation foam, styrofoam, joint compound, snow mix (salt, sugar, plaster)
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Volpe’s living wagon set 2019
Brass, steel, plywood, MDF, polyurethane resin, polyurethane foam, aluminum wire, polystyrene, PETG, and epoxy
Courtesy of Netflix Physical Assets and Archives
Guy Davis
American, born 1966
Mangiafoco’s living wagon 2019
Digital print
Courtesy of Netflix Physical Assets and Archives
Spazzatura Timelapse
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ShadowMachine
American, est. 1999
Soldier chorus line marionettes 2021
MDF, steel, and brass, and fabric
Courtesy of Netflix Physical Assets and Archives
Credere, obbedire, combattere (To Believe, to Obey, to Fight) 1924
Digital print
Courtesy Fototeca Gildari
ShadowMachine
United States, est. 1999
Volpe’s living wagon set 2019
Brass, steel, plywood, MDF, polyurethane resin, polyurethane foam, aluminum wire, polystyrene, PETG, and epoxy
Courtesy of Netflix Physical Assets and Archives
Few scenes in Guillermo del Toro’s Pinocchio take place inside Volpe’s wagon, which serves as his home, but the vehicle offers a world of backstory if you look closely. The space is full of props like reused tea bags, the taxidermied ancestors of Spazzatura, who also lives in the wagon, and luxurious textiles that speak to his former wealth. Around fifteen thousand props were made by hand for this film, each imbued with purpose and meaning.
ShadowMachine
United States, est. 1999
Look development: Carlo’s hill and tree stump 2020
Cardboard tube, chip board, hot glue, craft glue, acrylic paint, foam, steel wool, raffia, spray paint, vermiculite, moss mat, and tissue paper
Carlo’s headstone 2020
Polyurethane resin
Courtesy of Netflix Physical Assets and Archives
Jason Ptaszek
American, born 1986
Time-lapse: animating Pinocchio walking to Carlo’s, Geppetto’s, and Spazzatura’s graves 2022
Digital video (color, silent)
6 sec.
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Carlo’s tree 2020
Welded steel structure, aluminum wire, chip board, hot glue, cardboard tube, shredded zebra tulle, off-the-shelf pine needle tufts, and grapevine
Geppetto’s headstone 2020
Polyurethane resin
Spazzatura’s headstone 2021
Polyurethane resin
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Doctor’s house set 2021
Mixed media, puppets, and steel rigging
Courtesy of Netflix Physical Assets and Archives
Del Toro has always been interested in Frankenstein. “Pinocchio and Frankenstein have similar strands,” he explained. “Both are about an innocent, a pure force, created and abandoned in the world, and learning to cope morally with the world. He’s not a normal character, so he’s viewed with suspicion, with wonderment. He’s imprisoned, tortured.” Here, Pinocchio lies lifeless on an exam table, bringing to mind Frankenstein’s creation. Like Frankenstein, Geppetto made his creation by hand, which resulted in some imperfections: Pinocchio’s knees are different heights, one hand is more finished and one is more treelike, and a branch springs from his head.
“The animators are our actors,” reflected director Mark Gustafson. Animators filmed themselves performing the characters’ movements in live action videos (LAVs). They then referred to that footage while animating in order to better understand the characters’ motivations and movement. They strove to capture the human movements often missing from stop motion: active listening, hesitation, fumbling hands, or an aching joint. As del Toro explained, “To me, the most sacred and magical form of animation is stop motion, because it’s the bond between an animator and a puppet which goes back to the most basic traditional storytelling.”
ShadowMachine
United States, est. 1999
Re-education camp truck 2020
Mixed media, puppets, and steel rigging
Courtesy of Netflix Physical Assets and Archives
Guy Davis
American, born 1966
Re-education camp 2019
Print of digital drawing
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Re-education camp ocean cliff ledge set 2021
Mixed media, puppets, and steel rigging
Courtesy of Netflix Physical Assets and Archives
Most of the time, light sources that appear on screen only give the appearance of lighting the scene; offscreen lights do most of the actual lighting. However, in this pivotal scene, set on a cliffside just outside the Fascist reeducation camp, director of photography Frank Passingham was able to make the most of lighting effects created in real time in front of the camera and then combined digitally in postproduction. Functioning as more than props, the bonfire and the torch were used to illuminate the characters. Careful attention was also paid to the scene’s wash of moonlight. In their intensity, the fire and the sky underscore the drama of the impending liberation of Spazzatura and Pinocchio.
ShadowMachine
United States, est. 1999
Carnival stage set 2020
Mixed media, puppets, and steel rigging
Courtesy of Netflix Physical Assets and Archives
Jason Ptaszek
American, born 1986
Time-lapse: animating a carnival rehearsal 2021
Digital video (color, silent)
9 sec.
Time-lapse: animating Pinocchio performing 2021
Digital video (color, silent)
11 sec.
Courtesy of Netflix Physical Assets and Archives
Jesse Gregg
American, born 1978
Carnival tent 2020
Print of digital drawing
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Carnival entrance banner 2020
Brass, fabric, and steel
Giraffe head 2020
Polyurethane resin, fabric, foam, steel, brass, aluminum, and acrylic
Volpe’s chest of coins 2021
Polyurethane resin, steel, and brass
Carnival barrel 2020
Polyurethane resin and polyurethane foam
Flyer with balloon bunch 2020
Paper, polyurethane resin, and steel
Courtesy of Netflix Physical Assets and Archives
“Better Tomorrows” 2022
Handwritten lyrics sheets by Roeban Katz
Courtesy of Netflix Physical Assets and Archives
“Ciao Papa” (Farewell My Papa) 2022
Handwritten lyrics sheets by Roeban Katz
Courtesy of Netflix Physical Assets and Archives
“Opening Pinocchio” score booklet 2022
Music by Alexandre Desplat
Score thematics 2022
Courtesy of Netflix Physical Assets and Archives
“Better Tomorrows” lyrics sheets 2022
Lyrics by Roeban Katz
“Better Tomorrows” score booklet 2022
Music by Alexandre Desplat
Courtesy of Netflix Physical Assets and Archives
“Ciao Papa” score booklet 2022
Music by Alexandre Desplat
“Ciao Papa” lyrics sheets 2022
Lyrics by Guillermo del Toro and Roeban Katz
Courtesy of Netflix Physical Assets and Archives
Recording the score for Guillermo del Toro’s Pinocchio 2022
Video (color, sound)
20 min.
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Re-education camp training ground set 2020
Mixed media, puppets, steel rigging, motion control rig, and camera
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Ext Re-education Camp Training Grounds Tower (2021)
Wood, paint, grit (joint compound) Fix it all, insulation foam, styrofoam, acryl pro, fake grass
Courtesy of Netflix Physical Assets and Archives
Jason Ptaszek
American, born 1986
Time-lapse: animating the re-education camp war games 2021
Digital video (color, silent)
9 sec.
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Ship anchor in the shape of Pinocchio’s nose 2020
Polystyrene foam and paper
Courtesy of Netflix Physical Assets and Archives
ShadowMachine
United States, est. 1999
Int Dogfish – Geppetto Boathouse (2020)
Wood, paint, resin, glue, plastic, foam, resin, insulation foam, gator board
Courtesy of Netflix Physical Assets and Archives
BAFTA Award for Best Animated Film 2023
Annie Award Best Animated Feature 2023
Academy Award for Best Animated Feature Film 2023
Golden Globe Award for Best Animated Feature Film 2023
Critics’ Choice Movie Award for Best Animated Feature 2023
“A crew of several hundred people all worked very, very hard. When Guillermo and I stand up on a stage in our fancy suits, and collect awards, we’re standing on the shoulders of incredible artists who gave their all to this.”
Courtesy of Mark Gustafson, Director, Guillermo del Toro’s Pinocchio
Conclusion
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