![]() 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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