Pinocchio

But he's also a creature born of grief. In this Pinocchio, the unassuming woodworker Gepetto has lost a real-life son in a wartime bombing. The puppet he ...

Because now comes Guillermo del Toro, with his blazing creative talent, to really stir things up. And boy, this is not your Disney “Pinocchio” — not the 1940 ...

More than 80 years after Walt Disney seemed to crystallize the Pinocchio tale for American audiences, Guillermo del Toro makes it his own.

Conversely, del Toro is speaking to something that he’s personally felt and infused in most of the films throughout his career: that to be “different” is to be glorious. And who wants to be “a real boy” when being made of wood makes Pinocchio so special that even il Duce is riveted by his individuality? and we do mean an ending as the film flashes forward to Pinocchio caring for Geppetto until his death, and then doing the same for Sebastian J.. In one of the biggest changes from the book and its Disney counterparts, Guillermo del Toro’s Pinocchio is something of a revenant, or at least a cat with nine lives. Notes of complaint caused Collodi to later alter the story so that Pinocchio proves his worth and is transformed into a real boy by the magical fairy. Apparently in the original serialized version of The Adventures of Pinocchio published across several magazines, the wooden boy is hanged and killed for his many crimes and selfish deeds. By his own self-description, Sebastian is a novelist, a raconteur, and ultimately a gentleman (gentlecricket?) who’s lived a life of refined adventure around the world. In perhaps homage to Disney, Guillermo del Toro’s Pinocchio is narrated by the talking cricket who is assigned by the wood sprite fairy to be Pinocchio’s conscience. He wants to be loved like a real boy but he resents being constantly compared to the “real” Carlo by Gepetto. Of course how Pinocchio sees the world, and how it sees him, is entirely different from Geppetto’s own struggles. While Tom Hanks is definitely playing Geppetto in the flesh and blood, he is acting against mostly computer-generated animations, including a picture-perfect recreation of old Walt’s Pinocchio from 1940. For generations of children the world over, and particularly in the United States, Pinocchio would always have strings on him: and they came in the shape of

'Pinocchio' directors Guillermo del Toro and Mark Gustafson use their new animated film to explore the parallels between fascism and fatherhood.

“The conceit behind fascism is the darkest interpretation of a father figure,” said Del Toro. But beyond the connection between fascism and certain types of parenting, his “Pinocchio” addresses death and rebirth and the consequences of one’s decisions — themes and topics that some may consider too weighty for children’s entertainment. Our greatest hope, [as with] every generation after us, is that we are seen for who we are, not for who they wanted us to be.” Kids want to put the real answers together.” It’s important to have these conversations about “the bigger realities of life,” he said, “because kids don’t want easy answers. That might be why a certain cricket is the repeated target of more traditional cartoon violence. “I felt that it was a close match to my child-rearing experience.” “Pinocchio is there to transform the lives of the others,” said Del Toro during a recent video call. What can you learn from the world by pushing back a little bit when everybody is just in lockstep and going one direction?” The Academy Award-winning Mexican filmmaker lists Pinocchio and Frankenstein’s creature as two characters he identified “very strongly with” growing up. “It opened [the story] up in a very different way,” said Gustafson. Directed by Del Toro and Mark Gustafson, the wooden puppet at the center of this tale is a grief-stricken father’s drunken creation brought to life by a wood sprite.

The straight-to-Disney+ remake of the animated classic from the same studio was nearly a scene-by-scene rendition of its celebrated, golden era 1940s version.

It’s a topography comprised of gorgeous artistry and impressive craftsmanship that is (mostly) strapped for cash and studio support on one end of it; the other is made up of depressingly hyperrealistic computer-generated imagery and hollow storytelling that somehow still rakes in the big bucks (in spite of audiences and critics begging Disney to stop making lackluster live-action remakes of animated classics). Netflix is heating up with Pinocchio, The Sea Beast, Drifting Home, Wendell & Wild, and My Father’s Dragon, Universal Pictures was applauded for Minions: The Rise of Gru and The Bad Guys, while DreamWorks may finally get the upper-hand over Disney with Puss in Boots: The Last Wish. We already know what to expect with Disney’s slate of scene-for-scene, live-action remakes of the groundbreaking hand-drawn animated classics that built its empire. Disney is sticking to a tired, but safe formula for at least the next six years. Pinocchio’s thin line between person and puppet, and the viewer’s ability to see the darkness of that predicament, is probably the most shocking and effective trick del Toro pulls off. Indeed, Guillermo del Toro seemed to have been gifted a rare exception to the norm — time to carve out his unique vision for Pinocchio, as well as a steadfast belief from Netflix that it would pay off. [that have made it generally unappealing for streamers](https://variety.com/2021/film/news/laika-animation-studios-live-action-1234941348/), who rely heavily on quick turnarounds and cutting corners). Dazzling, dizzying, and disturbing, Pinocchio is a labor of love from start to finish. How is it possible that these two versions of Pinocchio, both based on the same Italian folktale and both released in the same year, were so wildly different? The CGI and the visuals throughout the Pinocchio remake are sensational, as is to be expected from a movie with Robert Zemeckis (Back to the Future, Death Becomes Her, Who Framed Roger Rabbit?) at the helm. [Guillermo del Toro’s Pinocchio](https://www.inverse.com/entertainment/guillermo-del-toro-pinocchio-review), released months after Disney’s, is the moviemaking magic that happens when a director is doggedly determined to carry out his bonkers — and brilliant — vision, and a studio is equally set on making his wish come true. The straight-to-Disney+ remake of the animated classic from the same studio was nearly a scene-by-scene rendition of its celebrated, golden era 1940s version.

Guillermo del Toro's tale goes beyond a puppet with a nose that grows when he lies, looking at parenting, fascism, and mortality in Pinocchio instead.

Del Toro doesn’t offer a firm determination either way; perhaps Pinocchio is able to spread cheer and joy in the 20th century, but perhaps he will live to see countless other wars and massacres. Ironically, it’s a story of a puppet that is more human than anything. Another theme that del Toro tackles in his study of parentage are whether bringing a child into an evil world is justified. Of course, Pinocchio is too innocent to suspect his malicious intentions, and he signs a deal with the deceptive ringmaster. This youthful ignorance that Pinocchio is given is easily taken advantage of when he ventures out into the Italian villa. Pan’s Labyrinth explores loss, war, and imperialism through the eyes of a child, and even Hellboy opens with a flashback to the titular character during his youth.

Funko has revealed new images of their figures for Guillermo del Toro's Pinocchio, which is out on Netflix now.

The images can be viewed down below, and you can find more information on Funko’s new Pinocchio line on [Pinocchio](https://collider.com/tag/pinocchio/) story over the decades. Now with the film’s Netflix debut, [Funko](https://collider.com/tag/funko-pop/) has unveiled their Pop line for Guillermo del Toro’s Pinocchio.

Using stop-motion animation, the director of Pan's Labyrinth delivers a visually dazzling -- and decidedly grownup -- take on the wooden puppet come to ...

Del Toro, who charmed the packed theater as he accepted SFFilm Honors for his innovation in filmmaking, said Pinocchio is a labor of love. And if you're given an opportunity to make a movie, there's no reason why you shouldn't say I'm going to make it as beautiful as I can, as perfect as I can," he said to applause. But it is my even better hope that at some point, you will only be moved by a group of actors on the screen." "Stop motion is the almost religious contact between the animator and the puppet," he said. For me at least, del Toro got his wish – even when Pinocchio becomes a "real boy" but (spoiler!) retains his wooden body rather than turning into flesh and blood. [The Shape of Water](/culture/entertainment/how-guillermo-del-toros-shape-of-water-mixes-cg-and-monster-movie-makeup/) decided to pitch a new version of the story. Even when he adjusts to the fact that his puppet has a life of its own, Geppetto expresses frustration and disappointment rather than love and acceptance. The innovation, though, isn't it in the story, but in how del Toro presents it. Credit is due to the young actor Gregory Mann, who voices Carlo and Pinocchio and also In this version of the story, Pinocchio's arrival is far from the happily-ever-after wish granted to Geppetto. "I said, 'That's how it feels to be a kid.'" He found the story compelling because of the frightening situations the wooden puppet, who comes to life but yearns to be a real boy, gets caught up in.

NPR's Michel Martin speaks with award-winning director, Guillermo del Toro, about his new stop-motion animated film Guillermo del Toro's Pinocchio.

So, you know, I have learned that not making the movie for the right reason is almost as satisfying as making it for the right reasons. DEL TORO: You know, I have learned in 30 years of filmmaking that the natural state of a movie is to not get made. MARTIN: You just mentioned something that I had forgotten about is what a long journey it was for you to get this film made. And I do believe that if you hold steady to who you are and you follow the things you have learned through experience and spirit and listening and watching with love, you are rewarded by being a real boy, as the fable would have it, a real person, a real human being. And I believe that the only lie Pinocchio should never embrace is to lie about who you are. And in this one, you know, Pinocchio doesn't transform, and it's Geppetto that learns to be a real father. MARTIN: I mean, the film is lovely and funny, but there are points in it that are so deeply sad. In the traditional story, "Pinocchio" learns to be a real boy and transforms. There is Disney's "Pinocchio," which is a masterpiece that reflects the time it was made in. 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 all he really wants is to be a real boy and to make his father proud. As you've mentioned, there have been a lot of adaptations of "Pinocchio," maybe the most famous in the U.S.

Directors Guillermo del Toro & Mark Gustafson discuss the making of their Netflix original feature Pinocchio, and what's next for the filmmakers.

I thought Cabinet of Curiosities was so well done, and I think it did well on Netflix, but I don't know. DEL TORO: We got the thing I published on Twitter about a billion views, or whatever that is. DEL TORO: I will say this, if you allow it, anybody that lives in the New York area can actually come, and for a few hours be in front of the sets at MOMA on the exhibit of the Art of Pinocchio. To me, the best for me, right now today, is going to be the talk in the church between Geppetto and Pinocchio. Once you have the tools, you want to push them right up to the limit. He spent two years in that bedroom, and I think the beauty of that, not for him perhaps, but for the audience, is that he was really able to just sink completely into that scene. GUSTAFSON: It helped the animators. It's the whole sequence in the bedroom where Geppetto puts Pinocchio to bed, and before that he puts Carlo to bed. It's so tender, and I think it reads so true, and all that stuff was done by one animator. They also discuss how stop-animation has evolved over the years, how their collaboration worked on Pinocchio, whether we’ll be seeing another team-up in the coming years, and if del Toro is returning with a second season of Guillermo del Toro’s Cabinet of Curiosities for Netflix. [Guillermo del Toro](https://collider.com/tag/guillermo-del-toro/) and Mark Gustafson are finally able to present the world with their stop-motion masterpiece, [Pinocchio](https://collider.com/tag/pinocchio/). On top of the stop-motion animation, Pinocchio is backed by an ensemble cast of vocal talent including Ewan McGregor, David Bradley, Tilda Swinton, Cate Blanchett, Christoph Waltz and many more.

He and co-director Mark Gustafson took the Carlo Collodi creation Pinocchio but made a version unrecognizable compared to the 1940 Disney classic. In the stop- ...

“I was going to shoot a movie called Omnivore before I did Cronos, and we created all the puppets and sets we needed. That is one of the earlier images I had, going in. I thought, Gepetto is drunk because he is in grief. I asked him, why does it look like that and he said, because he has the nails and the wood. Carlo Collodi had the faint echo of Jesus in Pinocchio, and I thought, this is a great opportunity to use the nails, and the wood to make him a messiah that resurrects. I thought, why is he drunk?