Guillermo Del Toro Deluxe Blank Journal (Insight Edition Journals) (Insights Deluxe Sketchbooks)

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Guillermo del Toro: No. This has been 31/2 years in planning. One day at the LACMA film series, they said, “We want to show one of your movies, do you have objects?” Guillermo del Toro gana el Globo de Oro a Mejor Película Animada por “Pinocho”». www.proceso.com.mx . Consultado el 11 de enero de 2023. In addition to Tim Burton, and the notion of the journal place, in working with Clive Barker, on the identity conceptions for some of his films.

Looming over the entryway was a huge contemporary painting of St. George and the Dragon, by a Russian painter named Viktor Safonkin. A curator at MOMA would cringe, but del Toro had keyed in on the originality of Safonkin’s dragon: all tail and no body, it coiled around St. George’s horse like a giant eel. Dragons, he told me, were his “favorite mythological animal,” and he was finally getting to design one: Smaug, the talking serpent who hoards the treasure in J. R. R. Tolkien’s “The Hobbit.”Not like this!” del Toro said, patting him. “This is too Halloween.” He paused. “Don’t you have a skull around?” He flipped through Bone Clones, a catalogue of osteological replicas. “See? There are some very tiny, skinny bones in there.” Del Toro told Torres that he would return in four days, “to determine exactly what the nose area should look like.” The ribs arrived, and after one bite del Toro pushed them aside. “They must have changed management,” he said sadly. He had frequented the place while editing “Cronos” and “Blade II” at a studio in the Valley. The sketchbook will be released in the United States on December 15. It would make a great holiday gift for any artist or creative.

Del Toro wanted to be creative with the wing placement. “Dragon design can be broken into essentially two species,” he explained at one point. Most had wings attached to the forelimbs. “The only other variation is the anatomically incorrect variation of the six-appendage creature”—four legs, like a horse, with two additional winged arms. “But there’s no large creature on earth that has six appendages!” He had become frustrated while sketching dragons that followed these schemes. The journal had a discarded prototype. “Now, that’s a dragon you’ve seen before,” he said. “I just added these samurai legs. That doesn’t work for me.” Pedersen, Erik (2 de septiembre de 2021). «Guillermo Del Toro's Netflix Anthology Series Sets Essie Davis, Luke Roberts, Andrew Lincoln, F. Murray Abraham, Glynn Turman & Others To Star, Gets New Title». Deadline . Consultado el 3 de septiembre de 2021.

Elizalde liked the idea. “It’s a cool effect, when you have that ridge of the bone, and you have tissue that’s sort of stringy and hanging on. It’ll be pretty creepy-looking.” I met with del Toro in Los Angeles on the first day of preproduction. He had hired five artists to engage in ten weeks of “design promiscuity” at Lightstorm, James Cameron’s production company, which is in Santa Monica. Parts of “Avatar” had been designed in the same suite of offices. Corkboards were covered with constellations of silver pushpins; in an interior room, “Avatar” maquettes were still on display. I paused at what looked like an image of a double-bitted medieval hatchet. “That’s Smaug,” del Toro said. It was an overhead view: “See, he’s like a flying axe.” Del Toro thinks that monsters should appear transformed when viewed from a fresh angle, lest the audience lose a sense of awe. Defining silhouettes is the first step in good monster design, he said. “Then you start playing with movement. The next element of design is color. And then finally— finally—comes detail. A lot of people go the other way, and just pile up a lot of detail.” López G., Víctor (5 de diciembre de 2021). Guillermo del Toro está dispuesto a rescatar 'En las montañas de la locura' para Netflix con una versión "más pequeña y extraña". Espinof . Consultado el 18 de enero de 2022.