Guillermo Del Toro talks about the creature design of Pacific Rim, his favorite Ridley Scott films, and when we'll see some official footage
Guillermo Del Toro knows how to make an entrance, and from all accounts last month's showing of PACIFIC RIM at Comic Con was no different. Though only flashes of footage were shown, Del Toro nonetheless managed to pump up the crowd's anticipation for more from his robot/Kaiju epic to feverish proportions and left those of us who couldn't be there hanging on every word of PACIFIC RIM's panel report with bated breath.
So by way of some small consolation to those who couldn't be there, as well as further informing those who were, Del Toro recently gave an interview to Spanish site Uruloki that talks all about the use of practical effects versus CGI, what the post production process is like, what it's like to be behind the camera again, his favorite Ridley Scott movies, and the thought that we should see some official footage around November or December.
As the entire interview was filtered through Google Translate, it's... an interesting read, to say the least. And not just because Del Toro is a fascinating guy.
Uruloki: You worked with Francisco Ruiz Velasco, Guy Davis and Henry Fong in the design of the creatures or Kaijus. Does the creative work of these geniuses of the design was free altogether? One question I have in this regard, how does this work, each design your creature or all participants in the process of what we see? (Vs. individual work. Collaborative work)
Guillermo del Toro: At Pacific Rim at the table were very clear ideas-for example, have the appearance of the Kaiju, admitted to some extent the idea of "man in disguise" or "man in suit" that is vital to the genre. Sticking to the "species" of Kaiju classic admitted in genealogy (the Kaiju flying the Krusty, the Bug, The Reptile, etc, etc) and try to get their textures and morphology were rooted in very real hipertexturas animals but combining textures textures monumental, almost geological. In every movie I try to bring someone new. And in every project I bring a team member who is making his first big movie and his first feature film because it always brings a fresh perspective. What we do ask is that people do not derive ideas from films already made. I ask you to express what is theirs.
Uruloki: Now begins the final phase of post-production of Pacific Rim. What process is followed in a project like this?, Are you allowed to continue working on other adventures or requires total dedication monitoring ILM and other companies?
Guillermo del Toro: Working full on Pacific Rim. I'm with ILM virtually every day, more music, sound design (which is music to me) more trips to San Francisco to interact with the animators, plus cut the movie to have acceptable rate and duration, etc, etc, etc. But in pre-production and post production if I can write early and late and escape to at the required times Dreamworks (DWA is 4 minutes from Warner Brothers) and I have the room for Pinocchio artists right here in the editing rooms. To me is that free time I'm no good. I'm so fat, if above work less, you'll see ...
Uruloki: Do you think that Pacific Rim will help open doors to other projects of similar size that have been there in the spotlight as Robotech or Voltron? Moreover, both Ridley Scott as you have chosen a major use of effects and sets realistic Practical avoiding the massive use of CGI ... expect that bet again by a judicious mix of both models to create effects?
Guillermo del Toro: I hope and there is more Kaijus and Giant Robots! As for Ridley Scott, I find a great manager and I admire his career and his keen eye. It is also a guy with the ability to change gender and registration. Thelma and Louise to me very intrigued me and I think what he did with delicious Matchstick Men, and then you see something brutal and epic undertaking as Duelists and Alien and Blade Runner, many films that redefine the parameters of the genre forever. It is an image maker scary. Ojala and the practical effects are never lost. What it is brutal to work with ILM digital effects and enjoy seeing them every time you push the realism and detail "imperfect" I like every digital plane. I fill vital "mistakes" digital drawings. I do not like the camera movements "super-cool" to sing and am interested in digital and prevent damage perfect planes as often as possible, making the reality gets in the way of a large plane and "hurt" a little. At Pacific Rim I could do more than ever.
Uruloki: One of the most discussed terms of your talk in San Diego was as promised "robot porn" ... what ingredients you have added to Pacific Rim that we ought to expect something really great?
Guillermo del Toro: We have focused on detailing the minutiae of how they work inside robots. I was interested that huge plate to plate could see how each mechanism worked. There are plenty of moments of extreme detail as to the operation and mechanism of these robots and their interaction with the "reality" physically and, for example, weather.
Uruloki: Several portals which could see the footage spoke of possible generational landmark. You see in Pacific Rim a definite step in your career in the face of blockbuster universe, how you felt and how you feel now after so many years fighting hard but not seeing tangible fruits? (I speak as a director, not as a producer / writer)
Guillermo del Toro: Yes I have been very, very active since 2008 as a screenwriter, producer (Dreamworks animation and live) and the novels The Strain but I was heavy development and design images, characters and scenes that did not bear fruit on the screen. For me of course Pacific Rim has meant a breakthrough as far as this aspect of my career is concerned. When did The Devil's Backbone and Pan's Labyrinth in Spain I knew that I was doing something creative freedom and sufficient support. With Pacific Rim had the same feeling. As in any production resources to push up the fiscal and kept in strict control (finished under budget and shooting schedule) but we managed to create the spectacular action pieces we needed. It's the best experience I've had in any shooting and therefore work with obsessive dedication. As for my work and commitment was completely poured into Pacific Rim.
Uruloki: Try to describe the footage seen in the Comic-Con and especially the reaction of the public attending the event.
Guillermo del Toro: It was phenomenal. I decided to show the footage only once because it was the first afternoon panel for WB and Legendary but people are really surprised at the scale and tone of the images. I want to tell you, I felt very, very moved. It's my first film since 2008 and that time was key for me. A family reunion, if you want ... Comicon is one of those places where rejuvenate me, where I was full of life. Ward H Comicon has always been a magical place and I am very aware that people who are there have been waiting a long time to come and therefore have to prepare a good material and good panel for them. There will be some pictures here this winter but the first official teaser will appear in November or December. Warner and Legendary are leaning dramatically.
Above is a pic of pilot armor that was on display at Comic Con - I absolutely love the steampunk aesthetic of the suit on the right, and can't wait to see it in action on July 11th, 2013.
|Extra Tidbit:||GO WATCH THE DUELLISTS. SERIOUSLY, GO RIGHT NOW.|