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The art is wonderful
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because you create something
that will last forever.
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It's very important
that everything is precise and perfect,
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because people expect it
to a distinctive film
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when viewing such a masterpiece.
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I thought it would be an extraordinary process,
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and indeed it was.
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FRANKENSTEIN: THE ANATOMY LESSON
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Certain stories become
part of your DNA.
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If you are religious, you find them in the Bible.
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If you like fairy tales,
you find them in fables and parables.
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{\an8}I like them very much
Pinocchio and Frankenstein.
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{\an8}The theme of the relationship between father and son
and fracturing a human being
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it's important to him.
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Both are stories
about "abnormal children",
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who had fathers
disappoint in one way or another.
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Say a word.
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One more word. Any.
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{\an8}It's Guillermo's interpretation.
He thought a lot.
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{\an8}Since childhood,
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always wanted to do this project
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and now, as a director,
he felt ready to realize it.
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Yes, you are.
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All my life I lived
with the creation of Mary Shelley,
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but I wanted to make my own version.
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In time, I decided
to present both perspectives.
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The first part of the film
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it's told from perspective
to the scientist, Victor.
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Tricks?
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You sure?
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This is not a trick, it's a decision.
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Motor coordination between the eyes of a dead man
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and another's arm.
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Let her go!
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please
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It helps to say "please".
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It is not known exactly how much we can believe
from Victor's story.
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We can ask, "Is there really a Creature?"
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believe me or not
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he will be back.
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The purpose of a monster of this kind
of literature is to make us doubt
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{\an8}of our humanity
and to mirror the world.
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{\an8}JACOB ELORDI
THE CREATURE
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You turned out well for me.
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I want you to make me a companion.
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One like me.
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{\an8}The second part is
like when children come to you
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{\an8}and they say to you: "Look where you went wrong",
and you have an epiphany.
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I called him the prodigal father.
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whose son told him where he went wrong.
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It's a story about a brilliant scientist
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who created life.
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{\an8}But also about many others.
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{\an8}The theme of mourning, of fathers, appears
and sons, of loneliness and isolation,
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{\an8}of the need for belonging and love.
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Guillermo wondered:
"How do these things fit together?"
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{\an8}He succeeded in an extraordinary way
to create a frame
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{\an8}in which you do not judge their stories,
but you understand them...
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{\an8}PRODUCER
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...to include
the entire complexity of the book,
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for it was important to him
to also tell the story of the monster.
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I'm gonna make you bleed.
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I will subdue you.
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Part of the charm of the book
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it's like having a teenager
that asks too many questions
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and that annoys you
because he's too smart.
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The book has a fast pace.
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It questions capitalism.
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He wants to ask himself, “Who am I?
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What am I doing here? Why did God send me?
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What purpose do I have? What is the world?”
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I wanted to present this.
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I want to know who I am.
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Guillermo took these questions
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without feeling the need
to present a definitive answer.
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I'm afraid of you, Victor.
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No…
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I was always afraid.
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Every dram of madness and destruction.
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You are the monster.
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Guillermo made it
stay true to the original story,
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but at the same time
to embody his own style
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{\an8}of presenting emotions and life.
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The film is an ode to metaphysics,
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the gothic and the supernatural,
but it is also anchored in this world.
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Take some imperceptible things,
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subconscious images,
and brings them back,
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making them easy for us to understand as well.
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{\an8}I try to absorb
dialogue style and themes,
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{\an8}so much of the dialogue is original…
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{\an8}CAPTAIN'S CABIN - EAST
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{\an8}…but it has the language and the rhythm
to Mary Shelley.
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Part of what I'm about to tell you happened.
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Part of it, no, but everything is true.
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The way fiction
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and the reality of the novel merged
it is absolutely amazing.
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The structure is practically intact.
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It's a gutter that goes from top to bottom.
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I'll carry your things.
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Guillermo tends to write for actors,
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so he wrote the first draft
with these actors in mind.
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He must have had Oscar on his mind.
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I didn't even know
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that Frankenstein was taking shape within himself.
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I stayed in his lovely house,
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filled with books, rare items and art,
and we started talking.
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We talked about our fathers
and about being a father.
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I spoke very honestly.
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And he said:
"You must play the part of Victor."
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But I told him he needn't be afraid
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to play the role of the protagonist
who becomes a negative character.
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He said that good and evil are sides
of the same thing
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and that it oscillates incessantly.
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Don't touch me!
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Don't ever touch me!
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I'm more tempted to make movies
about completely negative characters,
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because it's a more realistic way
to look at the world.
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Jacob was chosen
nine weeks before filming.
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Then I said:
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“Everything goes wrong in this movie
it will go well
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I'm going to listen to this movie."
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On the set, he said daily
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that the film will reject what it does not want
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and will keep what he wants.
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That we are here as fans
of this,
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and the film will tell us.
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Where would be a good place to cross?
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I talked a lot with Jacob in pre-production,
and then very little.
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I finish after two or three doubles,
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because it was just right
and we didn't have to repeat much.
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He is an extraordinary actor.
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I was amazed by his professionalism,
considering he's so young.
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She had to endure 10-12 hours of makeup
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and was called at 2:00.
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Jacob has mastered the role
with a lot of dedication.
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And you can do so.
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Feel the name…
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then you say
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For the Creature,
we needed someone with potential.
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Mia Goth gave me this.
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Mia is an actress
which is based on instinct.
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She is able to respond on the spot,
intuitively.
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She is among the most authentic actresses
with whom I worked.
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I learned to film his performance
as it should
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to capture his spontaneity.
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Elizabeth!
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I have to confess something to you.
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I believe in miracles, just like you.
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There is a connection between us.
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do you feel it It's almost physical.
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I think it's something else.
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Believing something doesn't mean it's true.
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I realized
that's exactly how Elizabeth would feel.
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What you feel that day
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dictates how the scene turns out.
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- William!
- Victor!
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Look at you!
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I present to you my future wife.
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Lady Elizabeth Harlander.
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It's a big change from the novel
and against any other adaptation,
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because Elizabeth is William's fiancee.
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Felix is William,
Victor's younger brother.
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Guillermo created that dynamic
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to understand Victor's suffering.
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He's the guy who would like it
for his brother to love him.
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Brother of Victor Frankenstein
it doesn't really appear in the novel.
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He's a five-year-old, that's all.
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When I read the script I was about to faint,
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because Guillermo transformed the role
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in something considerable.
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If I did my job well,
it will seem to you that it has always been so,
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but it wasn't.
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William was a fully developed character,
as I have rarely experienced.
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I hired William
during the project.
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Get whatever you want.
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For the role of Harlander,
only Christoph was
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taken into account.
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He has the necessary gravitas for this role.
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I also wanted him to be antagonistic,
and victim at the same time.
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{\an8}Guillermo knew very clearly
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{\an8}what does he need that character for.
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This is a solid foundation for my work.
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He played the part
with lots of charm and fun.
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But when he reveals the real reason
for which they finance the experiments…
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I want to occupy this perfect body.
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I find it impressive.
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Let's lower the mannequins slightly!
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We lower the mannequins.
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Good. Let's shoot!
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Get ready, action!
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Three, two, one, come on!
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Guillermo said
that the table has four legs.
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The scenography, the image,
costumes, makeup and hairstyling.
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Basically, they are all the same thing.
All are production design.
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Thus, these four areas must
to be fully coordinated.
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Basically, a director prepares
a whole meal
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and those who cook with him are also guests.
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If you sit properly at the table
with Mike, Kate,
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Tamara and Dan Laustsen,
it turns out a great meal.
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The costumes belong on the set.
The construction of the set depends on the costumes.
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Cinematography belongs to the set.
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{\an8}Action!
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{\an8}The director's only role
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is to direct the elements
to tell the same story.
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- More mashed brain.
- Yes.
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When the same people do it
over the course of several films,
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everything is perfected.
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Trust in relationships is defined,
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and the communication is very clear.
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It's the secret ingredient.
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Laustsen!
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With or without a hat?
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I see everyone every day
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and I tell them what I exchange.
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There is no trivial matter.
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Everything means something.
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This symphonic approach ties everything together.
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The image, costumes and scenography.
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There are very few filmmakers
really capable
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to create universes,
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being able to work on such a scale
and execute such a vision.
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Guillermo got involved body and soul
in this film and it feels.
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He accomplished a thing that you meet
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once in a lifetime.
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Everything had a practical use,
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and it's the kind of film on the verge of extinction.
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I don't know how many more will be produced like this.
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There are enormous plateaus,
enormous sets and complex costumes.
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I wanted the film to challenge
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all departments
of cinematic execution.
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Image creation has three phases.
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{\an8}First I want to see what you think,
and then I'll tell you what I think.
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{\an8}Then it becomes a dialogue.
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{\an8}Then the final stage is coordination
all departments,
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{\an8}because the final image
to look like a unitary whole.
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We make a huge board with ideas.
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We say, "These are the colors of the film."
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{\an8}Green is only for Elizabeth.
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{\an8}Blue is only for Harlander
and for father and brother.
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{\an8}Red is only for mother and Victor.
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{\an8}After we have these documents,
we have a dialogue.
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Kate's wardrobe illustrates this.
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{\an8}He said, "I don't want it to be a period movie."
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{\an8}"It must be unique."
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At the beginning of any movie,
I react to the script,
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providing concrete images
and a collage of ideas.
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And I did so
in discussions with Guillermo.
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I feel the atmosphere
and provides the team
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a palpable image
for materials and colors.
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I wanted to make the costumes look modern.
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{\an8}I didn't want pastel colors.
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00:14:00,798 --> 00:14:03,759
{\an8}I wanted Victor
to be dressed like Mick Jagger.
253
00:14:04,385 --> 00:14:07,846
I remember that in Kate's drawings,
I saw different ideas
254
00:14:07,930 --> 00:14:11,183
{\an8}taken from images on the internet,
a strange amalgam
255
00:14:11,267 --> 00:14:14,019
of incredible costumes.
256
00:14:14,103 --> 00:14:16,355
I go in, I put them on,
257
00:14:16,438 --> 00:14:18,357
I see how they feel
258
00:14:18,440 --> 00:14:21,986
and I try to pretend I fit in.
259
00:14:22,069 --> 00:14:24,572
That's the first feeling, to get closer.
260
00:14:25,322 --> 00:14:27,825
As a result of research, many drawings are made.
261
00:14:27,908 --> 00:14:30,327
{\an8}I think we have hundreds of Victor drawings.
262
00:14:30,411 --> 00:14:32,913
{\an8}And one day Guillermo said out of the blue:
263
00:14:32,997 --> 00:14:34,415
{\an8}"He is my Victor."
264
00:14:34,498 --> 00:14:36,125
{\an8}Then I had to… I decided,
265
00:14:36,208 --> 00:14:38,419
{\an8}I did dress rehearsals with Oscar
266
00:14:38,502 --> 00:14:41,297
and we arrived at the final complex outfit.
267
00:14:41,380 --> 00:14:45,926
When you outline a character,
the initial questions are asked:
268
00:14:46,010 --> 00:14:47,553
"What elements does it have?"
269
00:14:47,636 --> 00:14:49,013
"What is she trying to look like?"
270
00:14:49,096 --> 00:14:50,973
"He doesn't try? He wants to challenge?"
271
00:14:51,056 --> 00:14:53,601
"How will it be along the way,
272
00:14:53,684 --> 00:14:55,394
when will they have more money?"
273
00:14:55,477 --> 00:14:56,562
"What is she wearing?"
274
00:14:56,645 --> 00:14:59,732
At the dress rehearsals
we started to collaborate,
275
00:14:59,815 --> 00:15:02,651
let's work together
to character development,
276
00:15:02,735 --> 00:15:05,946
especially when I arrived
at the creation of the Creature
277
00:15:06,030 --> 00:15:09,199
and how it takes or adds elements
278
00:15:09,283 --> 00:15:11,035
and what does that say about his life.
279
00:15:11,118 --> 00:15:13,662
I got a lot of information after that.
280
00:15:15,623 --> 00:15:20,169
Mike made some early mockups
for the Creature, exceedingly beautiful,
281
00:15:20,252 --> 00:15:23,255
with those beautiful lines
stitched with rose-red,
282
00:15:23,756 --> 00:15:27,009
and that's what he showed me
how to use those things
283
00:15:27,092 --> 00:15:28,886
to clothes or costumes.
284
00:15:28,969 --> 00:15:30,846
{\an8}I checked with Kate, let's see
285
00:15:30,930 --> 00:15:32,514
{\an8}how we can highlight the Creature.
286
00:15:32,598 --> 00:15:33,933
{\an8}MIKE HILL
THE DESIGN OF THE CREATURE
287
00:15:34,016 --> 00:15:36,226
Kate is an expert
in creating these characters.
288
00:15:36,310 --> 00:15:38,687
So the mirror suit
and the Creature's appearance.
289
00:15:40,648 --> 00:15:44,318
A simple coat required
weeks of research.
290
00:15:44,401 --> 00:15:46,487
The fact that the Creature finds his coat
291
00:15:46,570 --> 00:15:49,531
in an old soldiers' cemetery
from the Crimean War.
292
00:15:49,615 --> 00:15:50,908
We liked the idea
293
00:15:50,991 --> 00:15:54,119
with the skeletons printed on the coat,
294
00:15:54,203 --> 00:15:56,997
so i created some protrusions
and other elements.
295
00:15:57,081 --> 00:16:00,542
This coat passes
through many stages and changes,
296
00:16:00,626 --> 00:16:03,921
from the trip to the Arctic
until his visit to the mill.
297
00:16:04,004 --> 00:16:07,800
So the features of his clothes change
depending on the environment.
298
00:16:08,300 --> 00:16:09,635
- We can play with him.
- Yes.
299
00:16:09,718 --> 00:16:12,888
- I would just keep the eyes.
- Okay.
300
00:16:12,972 --> 00:16:15,683
It's interesting
because I worked for months on the concept,
301
00:16:15,766 --> 00:16:18,852
and Guillermo improvised all the time
along the way.
302
00:16:18,936 --> 00:16:22,648
The actor comes and you have to practice
imagination, to see what fits.
303
00:16:22,731 --> 00:16:24,733
Our job is to improvise,
304
00:16:24,817 --> 00:16:27,236
let's follow what happened on the set.
305
00:16:27,319 --> 00:16:28,988
It requires exceptional collaboration.
306
00:16:29,071 --> 00:16:32,449
Let me say no more
that Mia is also part of the collaboration.
307
00:16:32,533 --> 00:16:34,368
{\an8}I did a lot of clothes samples.
308
00:16:34,451 --> 00:16:36,495
{\an8}The level of craftsmanship is unmatched.
309
00:16:36,578 --> 00:16:39,164
I've never seen anything like it.
310
00:16:39,248 --> 00:16:41,083
I couldn't wait for the dress rehearsals,
311
00:16:41,166 --> 00:16:43,585
because we were getting new information
312
00:16:43,669 --> 00:16:46,588
and I was seeing the bigger picture
Kate's
313
00:16:46,672 --> 00:16:51,218
and my relationship with the other characters,
as well as the role of dress in the equation.
314
00:16:51,844 --> 00:16:53,470
Elizabeth's Environment,
315
00:16:53,554 --> 00:16:55,305
her favorite books and nature…
316
00:16:55,389 --> 00:16:58,767
How we combine them in the costume
for a unique result?
317
00:16:59,393 --> 00:17:01,061
I took traditional clothes,
318
00:17:01,145 --> 00:17:03,939
like cloaks,
shawls and capes from that period,
319
00:17:04,023 --> 00:17:06,775
which reflected
the motif of the beetle and the moth
320
00:17:06,859 --> 00:17:08,152
preferred by Guillermo,
321
00:17:08,235 --> 00:17:11,780
and we ended up creating
fractal patterns on fabric.
322
00:17:12,489 --> 00:17:15,034
Beetles and insects have large patterns.
323
00:17:15,117 --> 00:17:16,368
We had to see
324
00:17:16,452 --> 00:17:19,538
how to add patterns
or delicate layers.
325
00:17:19,621 --> 00:17:22,541
I developed a print
after months of work with fractal patterns
326
00:17:22,624 --> 00:17:25,002
and combining blood cells
with malachite,
327
00:17:25,085 --> 00:17:27,921
a tribute
patterns found in nature.
328
00:17:28,422 --> 00:17:31,008
{\an8}I also juggled the idea of x-rays
329
00:17:31,091 --> 00:17:34,094
{\an8}and we developed various elements
330
00:17:34,178 --> 00:17:37,514
{\an8}to overlap,
let's not have a banal texture.
331
00:17:37,598 --> 00:17:41,268
We tried to capture that
with Mia's costume.
332
00:17:41,351 --> 00:17:42,519
Action!
333
00:17:43,145 --> 00:17:44,980
It's a scene with the dress on the field,
334
00:17:45,064 --> 00:17:47,399
with her and Victor, who courts her,
335
00:17:47,483 --> 00:17:49,651
and we were looking at the beautiful stones created
336
00:17:49,735 --> 00:17:51,028
by the artistic department.
337
00:17:51,111 --> 00:17:52,988
They have some spiral patterns.
338
00:17:53,072 --> 00:17:54,531
Kate did wonders,
339
00:17:54,615 --> 00:17:57,367
{\an8}adapting patterns from the set
in our suits.
340
00:17:57,451 --> 00:17:58,535
{\an8}SCENEGRAPHY
341
00:17:58,619 --> 00:18:01,538
Kate knows all her suits are
a spot of color
342
00:18:01,622 --> 00:18:03,540
a form, an information
343
00:18:03,624 --> 00:18:05,459
and an element of beauty on set.
344
00:18:05,542 --> 00:18:09,505
So it's very important
to have a dialogue with Tamara.
345
00:18:09,588 --> 00:18:13,092
Tamara shares with us
every part of the process,
346
00:18:13,175 --> 00:18:14,843
so we analyze his work
347
00:18:14,927 --> 00:18:18,305
and we mirror her scenography and design
in our department.
348
00:18:18,388 --> 00:18:22,935
You don't feel that there is no cohesion
between costumes and scenography.
349
00:18:23,018 --> 00:18:25,854
They are not isolated ideas
which take place at the same time.
350
00:18:25,938 --> 00:18:27,439
You are the conductor of an opera
351
00:18:27,523 --> 00:18:30,400
and you go
to the same emotional point.
352
00:18:31,068 --> 00:18:34,029
Guillermo is very clear,
like Dan Laustsen.
353
00:18:34,113 --> 00:18:36,615
Emphasis was placed on coloristics,
354
00:18:36,698 --> 00:18:38,158
because the eye free
355
00:18:38,242 --> 00:18:41,578
it does not capture the image captured by the cameras.
356
00:18:41,662 --> 00:18:43,914
We do a lot of testing with digital cameras.
357
00:18:43,997 --> 00:18:45,457
Dan handles the lights.
358
00:18:45,541 --> 00:18:48,377
We keep the color palette under control,
359
00:18:48,460 --> 00:18:51,421
because otherwise it would affect everyone's work.
360
00:18:51,505 --> 00:18:54,716
If Kate takes a long time
to find the green
361
00:18:54,800 --> 00:18:56,844
{\an8}it disappears
if we intensify the blue.
362
00:18:56,927 --> 00:18:58,011
{\an8}PICTURE DIRECTOR
363
00:18:58,595 --> 00:19:01,431
I talked to Dan
about the chromatic aesthetics of the film,
364
00:19:01,515 --> 00:19:06,145
and we agreed on blue, white and gold
for prologue and epilogue.
365
00:19:06,228 --> 00:19:08,939
The period of childhood is with black,
white and red.
366
00:19:09,022 --> 00:19:11,150
Then we add more colors.
367
00:19:11,692 --> 00:19:14,862
We talked a lot about light
and the layout of the set.
368
00:19:14,945 --> 00:19:18,115
All of course
with the help of stage designer Tamara.
369
00:19:18,198 --> 00:19:20,492
The right light means teamwork.
370
00:19:20,576 --> 00:19:23,787
We perceive the evolution between the passages
with the light of Dan.
371
00:19:23,871 --> 00:19:25,622
Relates the early story.
372
00:19:25,706 --> 00:19:27,708
When Victor arrives, it's bright,
373
00:19:27,791 --> 00:19:30,377
then it gets dark
with the coming of the storm,
374
00:19:30,460 --> 00:19:33,422
followed by lightning
and the moment of creation.
375
00:19:34,381 --> 00:19:36,758
Guillermo wanted very saturated colors.
376
00:19:36,842 --> 00:19:40,637
Elizabeth went on a green palette,
and Victor adopted red.
377
00:19:40,721 --> 00:19:43,182
It's an interesting combination of colors.
378
00:19:43,265 --> 00:19:45,267
Colors and batteries in the laboratory
379
00:19:45,350 --> 00:19:48,103
they are part of their psychedelic world.
380
00:19:48,854 --> 00:19:50,522
I wanted the Creature
381
00:19:50,606 --> 00:19:53,817
to be pleasing to the eye
from a chromatic point of view.
382
00:19:53,901 --> 00:19:55,319
There is beauty in ugliness.
383
00:19:56,069 --> 00:20:00,324
Makeup must suggest
that it is made of pieces.
384
00:20:00,407 --> 00:20:01,533
Why is it in pieces?
385
00:20:01,617 --> 00:20:02,951
I really wanted to know.
386
00:20:03,035 --> 00:20:05,204
If you are Victor Frankenstein,
387
00:20:05,287 --> 00:20:09,166
you go to the cemetery
you take a corpse, a hand, an arm.
388
00:20:09,249 --> 00:20:10,959
That's it. It's in three pieces.
389
00:20:11,043 --> 00:20:14,129
But, having access
to pieces from the battlefield,
390
00:20:14,713 --> 00:20:17,799
it explains why he united them
like puzzle pieces.
391
00:20:17,883 --> 00:20:20,844
The makeup had to reflect that,
but with a pleasant appearance.
392
00:20:26,391 --> 00:20:28,393
Mike and I are Frankenstein. fans
393
00:20:28,477 --> 00:20:31,146
I have a room dedicated to Frankenstein.
394
00:20:31,230 --> 00:20:37,319
Mike builds things from my room
related to Frankenstein and we're fired up.
395
00:20:37,903 --> 00:20:41,949
Michael loves Frankenstein
as much as Guillermo.
396
00:20:42,032 --> 00:20:46,370
{\an8}When he saw Boris Karloff on the screens,
it changed his life.
397
00:20:47,496 --> 00:20:49,248
{\an8}I had to take out Guillermo.
398
00:20:49,331 --> 00:20:51,041
{\an8}I can propagate his ideas,
399
00:20:51,124 --> 00:20:53,710
{\an8}but I must follow his vision.
400
00:20:53,794 --> 00:20:55,212
I understand that sometimes
401
00:20:55,295 --> 00:20:58,173
people see monsters in beautiful things,
402
00:20:58,257 --> 00:21:01,760
so there was no need
let's make an absolutely hideous creature.
403
00:21:01,843 --> 00:21:05,347
We didn't want stitches and open wounds.
404
00:21:05,430 --> 00:21:08,809
So I thought
that it's Victor's first attempt.
405
00:21:08,892 --> 00:21:12,187
A dress maker
it doesn't make the perfect dress at first.
406
00:21:12,271 --> 00:21:15,274
It takes a lot of work.
407
00:21:15,357 --> 00:21:18,110
The second try will be better.
But the first…
408
00:21:18,193 --> 00:21:21,446
I thought it had to make sense
those scars.
409
00:21:21,530 --> 00:21:24,408
Maybe they are access points,
there he changed the muscle,
410
00:21:24,491 --> 00:21:26,576
but I realized it's not good
411
00:21:26,660 --> 00:21:29,246
and that I can make improvements.
412
00:21:29,329 --> 00:21:32,749
Victor Frankenstein is not a butcher.
Aspire to the perfect man.
413
00:21:34,084 --> 00:21:36,628
Of course he's a man raised from the dead,
414
00:21:36,712 --> 00:21:39,089
but it doesn't mean it can't be beautiful.
415
00:21:39,172 --> 00:21:41,842
So I juggled colors and shapes
416
00:21:41,925 --> 00:21:44,553
who to do
the imposing figure of the actor.
417
00:21:46,930 --> 00:21:48,432
Victor!
418
00:21:48,515 --> 00:21:50,851
And from there I kept developing.
419
00:21:51,435 --> 00:21:53,729
To be part of…
420
00:21:55,772 --> 00:22:00,152
I called Jacob and started right away
let's talk about the monster.
421
00:22:00,235 --> 00:22:03,488
When I started, he said:
“You have to leave the world behind.
422
00:22:03,572 --> 00:22:05,157
To detach yourself completely
423
00:22:05,240 --> 00:22:07,951
and change your perception
424
00:22:08,035 --> 00:22:12,414
to embody
this unique being."
425
00:22:12,998 --> 00:22:15,459
I said it's the hardest
to master the base.
426
00:22:15,542 --> 00:22:18,337
I said:
"If you want, analyze your dog."
427
00:22:18,420 --> 00:22:20,797
The dog may be present.
428
00:22:21,673 --> 00:22:24,092
If it has to attack, the dog attacks…
429
00:22:27,429 --> 00:22:29,806
then he sits next to you
as if nothing happened.
430
00:22:29,890 --> 00:22:31,391
you are my friend
431
00:22:32,142 --> 00:22:36,772
I studied butoh, a kind of dance
for reanimation of a corpse.
432
00:22:36,855 --> 00:22:41,193
It was helpful to me
to isolate various parts of my body
433
00:22:41,276 --> 00:22:43,820
and look at mobility with different eyes.
434
00:22:44,738 --> 00:22:46,823
Jacob is a well-proportioned man,
435
00:22:46,907 --> 00:22:49,659
so it was ideal
and it was seen on the glass.
436
00:22:49,743 --> 00:22:53,872
But he also had a panther-like grace
437
00:22:53,955 --> 00:22:55,957
in body movements.
438
00:22:56,041 --> 00:22:58,210
I think he was born to do this.
439
00:22:58,293 --> 00:22:59,503
Action!
440
00:23:06,551 --> 00:23:10,972
Mike and I agreed to use
as much of Jacob's body as possible,
441
00:23:11,473 --> 00:23:14,309
for it gives him
more expressiveness and authenticity.
442
00:23:15,018 --> 00:23:18,021
Here was the first time
443
00:23:18,105 --> 00:23:21,149
when I did Jacob's makeup in Los Angeles.
444
00:23:21,233 --> 00:23:24,027
It was the first application on it,
445
00:23:24,111 --> 00:23:26,655
and the next one was
on the first day of filming.
446
00:23:27,447 --> 00:23:29,324
It's a collective effort.
447
00:23:29,407 --> 00:23:32,953
We are a big team
and we overwhelm Jacob.
448
00:23:33,036 --> 00:23:37,624
We start with the head, then go down gently,
until it is covered by dentures.
449
00:23:37,707 --> 00:23:39,334
MEGAN MANY
PROSTHETIC SUPERVISOR
450
00:23:39,417 --> 00:23:42,838
It was exhausting,
because we were sitting for ten hours each
451
00:23:42,921 --> 00:23:46,258
on the makeup chair
and I was losing my humanity.
452
00:23:46,341 --> 00:23:50,804
Your skin is covered with makeup,
453
00:23:50,887 --> 00:23:53,932
the structure changes,
after which you put on the suit
454
00:23:54,015 --> 00:23:55,851
and it's an immersive experience.
455
00:23:56,351 --> 00:23:58,812
The body consists of 42 pieces.
456
00:23:58,895 --> 00:24:02,107
Normally,
you can layer makeup.
457
00:24:02,190 --> 00:24:03,942
So you have a margin of error.
458
00:24:04,025 --> 00:24:07,737
But since I put on makeup
along the seams
459
00:24:07,821 --> 00:24:10,782
of Frankenstein, like puzzle pieces
460
00:24:10,866 --> 00:24:13,952
very precise
application takes a little longer,
461
00:24:14,035 --> 00:24:15,537
but the effect is more artistic.
462
00:24:20,542 --> 00:24:24,379
Guillermo wanted us to avoid black hair,
463
00:24:24,462 --> 00:24:31,219
so we have some more closed variants,
with various shades of brown.
464
00:24:31,303 --> 00:24:34,139
And I think it was his idea
to have an open strand.
465
00:24:34,222 --> 00:24:35,432
Not only is it cool,
466
00:24:35,515 --> 00:24:39,811
but it also shows that it was made up
from several people.
467
00:24:41,396 --> 00:24:48,195
I just wanted to be a perfect canvas
and still to enliven.
468
00:24:48,278 --> 00:24:52,657
So I wanted to be as calm as possible
and to respect his artistic process,
469
00:24:52,741 --> 00:24:56,453
because he is among the best artists
470
00:24:56,536 --> 00:24:57,704
whom I met.
471
00:24:58,371 --> 00:25:02,042
I find it amazing
that the descriptions in the book come to life,
472
00:25:02,125 --> 00:25:05,754
{\an8}descriptions we do not associate
normally.
473
00:25:07,589 --> 00:25:10,008
It would be nice if you could bring it up here.
474
00:25:13,386 --> 00:25:17,224
{\an8}I was amazed, because I had a preconception
about the appearance of the Creature
475
00:25:17,307 --> 00:25:19,684
{\an8}from other iterations of Frankenstein.
476
00:25:19,768 --> 00:25:21,811
But I liked it and appreciated it
477
00:25:21,895 --> 00:25:24,856
as if he weighed himself a little.
478
00:25:24,940 --> 00:25:26,650
It's a certain purity.
479
00:25:26,733 --> 00:25:28,693
Jacob revives him
480
00:25:28,777 --> 00:25:32,280
with much grace,
and what happens along the way
481
00:25:32,364 --> 00:25:35,116
influence the strength of his body,
482
00:25:35,200 --> 00:25:38,662
becomes more defensive,
becoming more offensive.
483
00:25:42,582 --> 00:25:45,585
I had children
of the Creature played by Jacob.
484
00:25:47,337 --> 00:25:49,714
One was a body for dissection.
485
00:25:49,798 --> 00:25:51,883
We see the parts together,
486
00:25:51,967 --> 00:25:56,554
how the knee enters the socket
and it's bolted,
487
00:25:56,638 --> 00:25:59,724
or how a brain section comes out
to see the inside.
488
00:25:59,808 --> 00:26:02,560
A new heart, you can see where Victor operates
489
00:26:02,644 --> 00:26:04,813
and how it joins the parts of the Creature.
490
00:26:04,896 --> 00:26:06,648
We have one more
491
00:26:06,731 --> 00:26:10,026
for the moment of birth,
in which the Creature is raised on a stand.
492
00:26:10,110 --> 00:26:13,530
Obviously, we couldn't place the actor
to stay there all day
493
00:26:13,613 --> 00:26:17,701
so I created a replica
life-size of Jacob, 1.95 m.
494
00:26:20,203 --> 00:26:21,830
Being a Frankenstein, movie
495
00:26:21,913 --> 00:26:23,665
we see many mutilated corpses.
496
00:26:24,582 --> 00:26:28,920
I wanted to show the operation, the slicing
anatomically correct.
497
00:26:29,004 --> 00:26:32,048
Because breaking a bone and welding it
498
00:26:32,132 --> 00:26:36,845
or connecting ligaments and tendons
it's a very painstaking job
499
00:26:37,429 --> 00:26:42,017
So we have dozens of bodies
and body parts on that plate.
500
00:26:42,100 --> 00:26:44,436
And I thought I'd put some,
but Guillermo
501
00:26:44,519 --> 00:26:45,937
he wanted them all.
502
00:27:04,080 --> 00:27:06,041
- A little more...
- Yes.
503
00:27:07,792 --> 00:27:12,297
Most directors set their desk
next to the accounting department.
504
00:27:12,380 --> 00:27:14,215
But I'm fussy.
505
00:27:14,299 --> 00:27:16,051
I'm moving to the art department.
506
00:27:16,134 --> 00:27:19,471
And I want to see the props
two to three times a week.
507
00:27:19,554 --> 00:27:22,474
The wrong decorative elements
stand out.
508
00:27:22,557 --> 00:27:23,683
Because it's not real anymore.
509
00:27:24,893 --> 00:27:26,478
At first, we wondered
510
00:27:26,561 --> 00:27:29,356
how we interpret Frankenstein
by Mary Shelley
511
00:27:29,439 --> 00:27:31,524
and what is Guillermo's vision.
512
00:27:32,692 --> 00:27:36,654
I tend to keep
authenticity and historical accuracy,
513
00:27:36,738 --> 00:27:40,992
and Guillermo prefers the fantasy approach
and manifest their creative vision.
514
00:27:41,076 --> 00:27:45,455
The combination of our visions
it really works.
515
00:27:46,414 --> 00:27:48,541
Sometimes Guillermo likes it
516
00:27:48,625 --> 00:27:51,628
to move from a rough concept
in 3D modeling.
517
00:27:51,711 --> 00:27:56,508
The transition must be made
from fantasy to reality.
518
00:27:57,425 --> 00:28:02,597
These layouts were
the first physical interpretation of the plates…
519
00:28:02,680 --> 00:28:04,265
{\an8}SCENEGRAPHER ASSISTANT
520
00:28:04,349 --> 00:28:06,893
{\an8}…before the real construction begins.
521
00:28:06,976 --> 00:28:09,813
{\an8}They helped us see what the set would look like.
522
00:28:10,313 --> 00:28:13,316
{\an8}It is important to use ourselves
as many tools as possible
523
00:28:13,400 --> 00:28:17,570
to present them with scenography ideas
to Guillermo and Dan Laustsen.
524
00:28:18,321 --> 00:28:19,697
And we wondered
525
00:28:19,781 --> 00:28:22,534
what plateau must be built
for Guillermo.
526
00:28:23,243 --> 00:28:27,789
{\an8}Victor's apartment had to be built,
it's among my favorite plates.
527
00:28:27,872 --> 00:28:32,210
It was written in the script that it had to be
extremely crowded and tortuous.
528
00:28:32,293 --> 00:28:34,337
A nice start to the movie,
529
00:28:34,421 --> 00:28:35,755
was among the first
530
00:28:35,839 --> 00:28:39,384
and laid the foundation for the visual identity
of our movie Frankenstein.
531
00:28:40,760 --> 00:28:44,722
I remember my first day
on the set with the laboratory.
532
00:28:45,473 --> 00:28:50,687
The leaves were falling, the water was leaking,
then you look up and you're overwhelmed.
533
00:28:51,980 --> 00:28:54,649
{\an8}It was so big and impressive,
534
00:28:54,733 --> 00:28:57,819
so you couldn't believe it
that you are in a studio.
535
00:28:58,319 --> 00:28:59,946
It had to be amazing.
536
00:29:00,029 --> 00:29:03,116
The laboratory is the place
in which creation takes place,
537
00:29:03,199 --> 00:29:05,952
it's the perfect set.
538
00:29:06,661 --> 00:29:10,081
The irony is that the image of the laboratory is
so iconic
539
00:29:10,165 --> 00:29:14,002
for the public, after various iterations,
but it is not described in the book.
540
00:29:14,085 --> 00:29:16,963
Mary Shelley did not explain the process.
541
00:29:17,046 --> 00:29:20,091
Starting with the original film,
there were several versions,
542
00:29:20,175 --> 00:29:23,553
but Guillermo must do
a more special plate.
543
00:29:23,636 --> 00:29:26,306
We achieved this through a combination
544
00:29:26,389 --> 00:29:29,017
of scenography, lighting and special effects.
545
00:29:29,100 --> 00:29:32,020
It's raining and there's lightning on the set
in all directions.
546
00:29:32,103 --> 00:29:33,480
A special image.
547
00:29:34,022 --> 00:29:37,901
I knew I wanted to shoot in the lab
with big cranes,
548
00:29:37,984 --> 00:29:40,028
a lot of movement, like at a concert,
549
00:29:40,111 --> 00:29:43,615
with wide movements of the cranes.
550
00:29:43,698 --> 00:29:47,702
It was a combination
between a musician or an artist
551
00:29:47,786 --> 00:29:54,125
which passes from one synthesizer to another
and someone who climbs ten stories
552
00:29:54,209 --> 00:29:57,837
to summon the power of electricity
and descends into place.
553
00:29:57,921 --> 00:30:00,924
And how effervescent the scene is
when the storm hits!
554
00:30:02,133 --> 00:30:07,138
It was amazing to be present on a set
with so many rain effects,
555
00:30:07,222 --> 00:30:13,061
a former disused water tower converted
in a laboratory full of corpses
556
00:30:13,144 --> 00:30:14,979
and with blood everywhere
557
00:30:15,063 --> 00:30:18,983
with the Crucified Creature in the center.
558
00:30:20,276 --> 00:30:22,695
We are at the top of the tower,
559
00:30:22,779 --> 00:30:26,616
to a considerable height
in the universe of the film, of 140 m.
560
00:30:26,699 --> 00:30:28,743
Below us is the antechamber,
561
00:30:28,827 --> 00:30:32,247
{\an8}under which is the Creature's cell
and a cold room.
562
00:30:32,330 --> 00:30:36,626
{\an8}And then, this whirlwind goes
to the top of the tower
563
00:30:36,709 --> 00:30:39,379
where Victor must
to mount the lightning rod.
564
00:30:39,462 --> 00:30:40,505
{\an8}PRODUCER
565
00:30:40,588 --> 00:30:43,508
{\an8}Then there is the canal in the center
through which he throws things
566
00:30:43,591 --> 00:30:46,553
and which unites all these rooms.
567
00:30:47,804 --> 00:30:49,722
Guillermo wanted a tile nightmare.
568
00:30:49,806 --> 00:30:53,476
At first, there was a rudimentary outline
with Elizabeth and the Creature,
569
00:30:53,560 --> 00:30:56,729
in front of a tiled circle.
570
00:30:57,564 --> 00:31:01,067
The idea was a vaulted Gothic room
nightmare, full of faience,
571
00:31:01,150 --> 00:31:05,572
located in the basement, below the laboratory.
572
00:31:05,655 --> 00:31:08,449
Some of the tiles are real,
I created another one.
573
00:31:08,533 --> 00:31:11,995
It's a difficult plateau,
because we have to burn it.
574
00:31:12,579 --> 00:31:14,247
Tamara made a masterpiece.
575
00:31:14,330 --> 00:31:15,832
The plateau is amazing.
576
00:31:15,915 --> 00:31:18,626
But since everything is filmed with a crane,
577
00:31:18,710 --> 00:31:21,921
{\an8}all walls must be movable,
to allow him access.
578
00:31:22,505 --> 00:31:24,924
You have to be able to move everything on set.
579
00:31:25,008 --> 00:31:28,261
And it needs to be moved
within three minutes of ordering.
580
00:31:28,344 --> 00:31:33,349
So whatever was there,
a steam engine, a column, an arcade,
581
00:31:33,433 --> 00:31:37,020
must be removed
so that the camera can enter on the crane.
582
00:31:37,103 --> 00:31:39,564
The platform is supported by scaffolding and ceiling,
583
00:31:39,647 --> 00:31:43,234
but we had to find a solution
for mobile columns.
584
00:31:43,318 --> 00:31:45,695
So it was worked with a machine
585
00:31:45,778 --> 00:31:49,407
which raises this section, detaches it
586
00:31:50,074 --> 00:31:53,953
and leaves it in position for us to remove
587
00:31:54,037 --> 00:31:55,997
for room access.
588
00:31:56,497 --> 00:31:59,667
Our talented team made it happen.
It's brilliant.
589
00:32:00,835 --> 00:32:03,379
I thought I'd help.
590
00:32:05,632 --> 00:32:06,674
It was easy.
591
00:32:06,758 --> 00:32:08,718
I thought I would…
592
00:32:11,471 --> 00:32:15,391
I simulated two vaulted rooms
under the laboratory.
593
00:32:16,309 --> 00:32:19,604
One would be the ice room,
which looks slightly different,
594
00:32:19,687 --> 00:32:22,982
which we adapt
to become the cell of the Creature
595
00:32:23,066 --> 00:32:26,569
where Victor puts it after creating it.
596
00:32:39,040 --> 00:32:41,834
Let's try again!
You say "Yes" and leave.
597
00:32:46,506 --> 00:32:48,341
We could build the ship in the studio,
598
00:32:48,424 --> 00:32:50,635
but there is no such big studio
to hold it.
599
00:32:50,718 --> 00:32:53,137
So I built it in a parking lot.
600
00:32:53,805 --> 00:32:59,018
It was always there, the emblem of production,
this huge ship.
601
00:32:59,102 --> 00:33:00,728
It's so big!
602
00:33:01,479 --> 00:33:03,648
It is a monumental artistic achievement.
603
00:33:03,731 --> 00:33:06,901
It's like an optical illusion.
You don't understand what's wrong with her.
604
00:33:06,985 --> 00:33:08,194
I want a real ship.
605
00:33:08,277 --> 00:33:11,531
I want her to be really moved
of the Creature.
606
00:33:11,614 --> 00:33:16,244
So I built the real ship.
The inside, the outside, everything.
607
00:33:16,327 --> 00:33:19,414
it was thrilling
because when we shot the scene
608
00:33:19,497 --> 00:33:22,834
and I am lifted up on the ship full of sailors,
609
00:33:22,917 --> 00:33:25,837
with torches everywhere,
it was huge and it moved.
610
00:33:25,920 --> 00:33:29,799
It was put on a gimbal,
with real ropes and masts.
611
00:33:30,550 --> 00:33:33,720
If you know the novel Frankenstein,
by Mary Shelley,
612
00:33:33,803 --> 00:33:38,016
it begins and ends
with the captain's log on a ship.
613
00:33:38,099 --> 00:33:42,437
So we had to have
a strong start to the film,
614
00:33:42,520 --> 00:33:44,814
where the ship is stuck in the glaciers,
615
00:33:44,897 --> 00:33:47,150
where much of it takes place
from the climactic action.
616
00:33:47,233 --> 00:33:50,820
It had to look like the ship was stuck
in arctic glaciers.
617
00:33:50,903 --> 00:33:53,364
See all these icebergs made
618
00:33:53,448 --> 00:33:57,118
by the artistic department
and special effects. It looks incredible.
619
00:33:57,201 --> 00:33:59,245
And the ship had to rock,
620
00:33:59,328 --> 00:34:00,955
I mounted it on a gimbal
621
00:34:01,039 --> 00:34:03,499
which inclines at 9 degrees.
622
00:34:09,797 --> 00:34:11,924
{\an8}We have models for the Horizont. ship
623
00:34:12,008 --> 00:34:13,634
{\an8}ASSISTANT TO THE SCENEGRAPHER
624
00:34:13,718 --> 00:34:18,639
It went through many phases,
to help us see how the ship moves,
625
00:34:18,723 --> 00:34:20,516
how many details need to be executed.
626
00:34:20,600 --> 00:34:23,352
The stuntmen used it to figure it out
627
00:34:23,436 --> 00:34:27,398
which port portions are removable,
628
00:34:27,482 --> 00:34:30,193
and up I mounted
the cable fastening system.
629
00:34:30,276 --> 00:34:34,155
Sections in the platform are removable
for room access.
630
00:34:34,864 --> 00:34:37,992
Such a layout is useful
the whole team.
631
00:34:39,660 --> 00:34:42,413
Of all the plates,
the ship is the most complicated,
632
00:34:42,497 --> 00:34:44,582
mostly because of logistics.
633
00:34:44,665 --> 00:34:48,961
I have been working since September
until the end of January.
634
00:34:49,587 --> 00:34:53,007
{\an8}The welding team worked
about eight weeks
635
00:34:53,091 --> 00:34:54,634
then in october
636
00:34:54,717 --> 00:34:58,554
the special effects people built
the ship's structure or "backbone".
637
00:34:58,638 --> 00:35:01,182
It's the biggest piece
which wobbles on the gimbal.
638
00:35:01,265 --> 00:35:04,060
And the carpenters began to assemble the deck,
639
00:35:04,143 --> 00:35:06,104
after which the details followed.
640
00:35:06,187 --> 00:35:08,397
And at the same time
641
00:35:08,481 --> 00:35:11,025
masts had a very important role.
642
00:35:11,651 --> 00:35:14,195
I didn't pass the mast
through the captain's cabin,
643
00:35:14,278 --> 00:35:15,696
as ships have.
644
00:35:15,780 --> 00:35:19,367
{\an8}Guillermo loves symmetry
and wants to walk around the cabin
645
00:35:19,450 --> 00:35:22,745
{\an8}and frame Victor
in the big porthole.
646
00:35:22,829 --> 00:35:23,830
So I cheated.
647
00:35:23,913 --> 00:35:26,874
We will expand with it. Come on!
648
00:35:28,376 --> 00:35:30,837
Very good!
649
00:35:30,920 --> 00:35:31,838
Arm up!
650
00:35:33,673 --> 00:35:35,007
Very good. Say!
651
00:35:35,925 --> 00:35:39,011
Logistical problems arise
when you film such a ship.
652
00:35:39,095 --> 00:35:42,849
50% of the director's work involves
solving problems
653
00:35:42,932 --> 00:35:45,351
mechanical and physical.
654
00:35:45,434 --> 00:35:48,855
Bring an army of cranes
for lighting,
655
00:35:48,938 --> 00:35:52,358
stunt cranes,
shutter cranes.
656
00:35:52,441 --> 00:35:54,944
Everyone must
to use space efficiently.
657
00:35:55,486 --> 00:35:58,698
So logistics management
for filming the ship
658
00:35:58,781 --> 00:36:01,492
it is like a battle.
659
00:36:01,576 --> 00:36:04,996
You have to make it
a precise shooting strategy.
660
00:36:05,621 --> 00:36:07,832
He knows exactly how to deliver
661
00:36:07,915 --> 00:36:10,126
the dramatic effect of the film.
662
00:36:10,209 --> 00:36:11,836
Works with precision.
663
00:36:11,919 --> 00:36:14,755
From the extensive action scenes
664
00:36:14,839 --> 00:36:18,092
to the intimate ones in the captain's cabin.
665
00:36:18,176 --> 00:36:21,137
Maybe there's a reason why
you have to hear my story.
666
00:36:21,220 --> 00:36:23,931
Whether there is or not,
667
00:36:26,142 --> 00:36:27,727
I would like to listen to it.
668
00:36:27,810 --> 00:36:31,189
Initially, the interior of the ship
it had to be white.
669
00:36:31,272 --> 00:36:33,232
{\an8}He said white represents death,
670
00:36:33,316 --> 00:36:35,651
so when you get to the Arctic,
671
00:36:35,735 --> 00:36:38,029
as if he had created a purgatory.
672
00:36:38,112 --> 00:36:42,950
I made it white and it worked,
but kate decided we should paint it
673
00:36:43,034 --> 00:36:46,078
with a higher blue.
674
00:36:46,162 --> 00:36:47,872
I remember the ship and…
675
00:36:47,955 --> 00:36:50,124
Everyone expected navy blue uniforms.
676
00:36:50,208 --> 00:36:51,334
The question was asked,
677
00:36:51,417 --> 00:36:54,045
and Guillermo said
that it needs to be more open.
678
00:36:54,879 --> 00:36:57,131
When I saw the sailors' uniforms,
679
00:36:57,215 --> 00:37:00,843
{\an8}we said to bring that blue
and in the captain's cabin.
680
00:37:00,927 --> 00:37:04,639
{\an8}So I integrated Kate's colors
inside the ship.
681
00:37:05,431 --> 00:37:07,099
Sailors are the landscape.
682
00:37:07,183 --> 00:37:09,936
The landscape is the ship.
The ship represents the sailors.
683
00:37:10,019 --> 00:37:11,229
One and the same thing.
684
00:37:20,446 --> 00:37:23,407
Scenes shot on the streets of Edinburgh
685
00:37:23,491 --> 00:37:24,617
were not difficult
686
00:37:24,700 --> 00:37:27,161
because there really was a market there.
687
00:37:27,245 --> 00:37:31,749
And there were public executions
in other parts of Glasgow.
688
00:37:37,380 --> 00:37:42,051
The cathedral boasts vast ceilings,
of an impressive height.
689
00:37:42,134 --> 00:37:46,055
When you frame them
in our 1:85 format,
690
00:37:46,138 --> 00:37:49,267
you don't see the high ceilings
unless you look up.
691
00:37:49,850 --> 00:37:54,438
But the lower area of the cathedral had
lower vaulted ceilings,
692
00:37:54,522 --> 00:37:56,232
it was an intimate atmosphere.
693
00:37:56,315 --> 00:37:59,235
Even easier to light for Dan,
because it was on the ground floor.
694
00:37:59,318 --> 00:38:02,905
It would be a nightmare for him to light
a huge cathedral.
695
00:38:02,989 --> 00:38:05,533
Look! It's gigantic!
696
00:38:06,158 --> 00:38:09,120
Of course, the beauty of the location
consists of history,
697
00:38:09,203 --> 00:38:11,455
feel the authenticity of the place.
698
00:38:11,539 --> 00:38:13,916
But in the studio you can control everything.
699
00:38:14,000 --> 00:38:16,794
But here is history. It's fantastic.
700
00:38:19,171 --> 00:38:22,216
We shoot much wider frames than before.
701
00:38:22,300 --> 00:38:24,260
And when you shoot in large format,
702
00:38:24,343 --> 00:38:26,262
you don't have those ultra-wide frames,
703
00:38:26,345 --> 00:38:27,972
because the sensors are large.
704
00:38:28,055 --> 00:38:30,266
And I think it's a powerful image.
705
00:38:31,767 --> 00:38:34,937
And the light must move
with the camera.
706
00:38:35,021 --> 00:38:36,022
Everything is organic.
707
00:38:37,106 --> 00:38:39,358
Me and Guillermo
708
00:38:39,442 --> 00:38:42,028
we shoot with classic projectors,
709
00:38:42,111 --> 00:38:44,155
because there is no light on the set.
710
00:38:44,238 --> 00:38:47,074
Often all the lights are
off the set.
711
00:38:47,950 --> 00:38:52,455
Laustsen and I have been searching for a long time
to shoot with a unique light source.
712
00:38:52,538 --> 00:38:53,539
What does this mean?
713
00:38:53,622 --> 00:38:56,751
That you have an extremely powerful source
of light,
714
00:38:56,834 --> 00:38:59,628
from a single source,
such as a window,
715
00:38:59,712 --> 00:39:04,759
and the rest of the light is reflected
and fills the space naturally.
716
00:39:06,135 --> 00:39:08,554
Thus, it looks like a vintage film,
717
00:39:08,637 --> 00:39:09,805
without artificial light.
718
00:39:09,889 --> 00:39:12,391
You feel like you are entering a real space.
719
00:39:13,726 --> 00:39:15,895
Father! Save her, please!
720
00:39:17,021 --> 00:39:19,732
So we start with a very broad framework
721
00:39:19,815 --> 00:39:22,651
and we immediately approach with the camera.
722
00:39:22,735 --> 00:39:26,572
And that's why we have big machines outside
723
00:39:26,655 --> 00:39:28,866
to control the lights.
724
00:39:29,408 --> 00:39:33,329
When I enter the rooms, I say to myself:
"It's a sunny day.
725
00:39:33,412 --> 00:39:37,958
It's very bright."
After which I realize that it's raining outside,
726
00:39:38,042 --> 00:39:40,878
but inside it seems sunny,
727
00:39:40,961 --> 00:39:43,297
thanks to the hundreds of projectors outside.
728
00:39:48,344 --> 00:39:50,221
We want to use as few effects as possible.
729
00:39:50,304 --> 00:39:53,641
Filming with models produces
a realistic result.
730
00:39:53,724 --> 00:39:56,310
There is a difference between physical and digital.
731
00:39:56,394 --> 00:39:59,271
Especially the explosions in the laboratory.
732
00:39:59,355 --> 00:40:04,443
You can see how the battery falls
and hits the other.
733
00:40:05,069 --> 00:40:08,531
And the accidents that occur
when the set explodes
734
00:40:08,614 --> 00:40:11,450
{\an8}will be ten times more complex
735
00:40:11,534 --> 00:40:14,245
{\an8}than any decision
taken by a digital technician.
736
00:40:14,870 --> 00:40:17,248
This tower is 140 m high.
737
00:40:17,331 --> 00:40:19,834
We couldn't build it,
but i made the layout,
738
00:40:19,917 --> 00:40:23,587
which is not very small,
because it is almost 10 meters high.
739
00:40:23,671 --> 00:40:27,383
{\an8}A set was built in Toronto
which we had to copy…
740
00:40:27,466 --> 00:40:28,551
{\an8}MAKET BUILDER
741
00:40:28,634 --> 00:40:30,511
{\an8}…but on a scale of 1:40.
742
00:40:30,594 --> 00:40:32,346
There are some details you need
743
00:40:32,430 --> 00:40:34,515
to carve them by hand
to match.
744
00:40:34,598 --> 00:40:37,893
But now we can help ourselves with 3D printers.
745
00:40:37,977 --> 00:40:40,229
A good example is the front door.
746
00:40:40,312 --> 00:40:43,941
All those ornaments
they had to be carved by someone
747
00:40:44,024 --> 00:40:45,484
but in this case I knew
748
00:40:45,568 --> 00:40:48,571
that it must be a perfect copy
of the one in Toronto.
749
00:40:48,654 --> 00:40:52,366
It was fascinating
to work with a team of artists who…
750
00:40:52,450 --> 00:40:53,659
I think there are ten people
751
00:40:53,742 --> 00:40:55,661
around the globe doing what they do.
752
00:40:56,245 --> 00:40:59,290
It gives you something tangible. You have a real basis.
753
00:40:59,373 --> 00:41:03,335
Then you digitally enhance.
Whether it's the deer in the forest
754
00:41:03,419 --> 00:41:07,882
or that we shoot images of real wolves,
then manipulated digitally,
755
00:41:07,965 --> 00:41:11,135
we must have a physical element
to bond with.
756
00:41:11,218 --> 00:41:13,888
So I built a tower
and I blew it up.
757
00:41:22,688 --> 00:41:25,941
Guillermo became much more involved.
758
00:41:26,025 --> 00:41:28,444
{\an8}He was constantly present daily
759
00:41:28,527 --> 00:41:29,945
{\an8}in the editing room,
760
00:41:31,405 --> 00:41:33,824
to see how the script is adapted
761
00:41:33,908 --> 00:41:37,119
on screen,
because there is often no cohesion.
762
00:41:37,953 --> 00:41:43,542
{\an8}Guillermo knows very well
what will the movie look like
763
00:41:43,626 --> 00:41:47,838
but still shapes it along the way.
764
00:41:47,922 --> 00:41:50,049
If you need something and you miss it,
765
00:41:50,132 --> 00:41:52,510
it gives you the opportunity to make sense.
766
00:41:52,593 --> 00:41:56,013
It reminds me of the weather
when I was making movies with my friends
767
00:41:56,096 --> 00:41:58,682
and I said:
"Good, now say your line!"
768
00:41:58,766 --> 00:42:02,102
Basically, we edit from the footage.
He was transmitting this energy.
769
00:42:03,604 --> 00:42:04,939
okay?
770
00:42:05,022 --> 00:42:07,274
I started without a soundtrack,
771
00:42:07,358 --> 00:42:10,736
because the movie has a great pace
and no music.
772
00:42:10,819 --> 00:42:14,365
And after he makes his contribution
and Alexandre Desplat,
773
00:42:14,448 --> 00:42:16,200
it turns into something else entirely.
774
00:42:16,700 --> 00:42:20,788
I believe Alexandre is among them
the best contemporary composers.
775
00:42:21,914 --> 00:42:25,668
He knows exactly why he does certain things,
776
00:42:25,751 --> 00:42:28,045
how to convey an emotion
777
00:42:28,128 --> 00:42:31,507
and how to make music eloquent.
778
00:42:31,590 --> 00:42:34,426
{\an8}To make a good soundtrack…
779
00:42:34,510 --> 00:42:35,511
{\an8}COMPOSER
780
00:42:35,594 --> 00:42:38,973
…you have to find the soul of the film
and to create
781
00:42:39,056 --> 00:42:42,643
another dimension watching the movie
782
00:42:42,726 --> 00:42:44,520
and heightens emotions.
783
00:42:47,856 --> 00:42:49,775
With Guillermo, there are some scenes
784
00:42:49,858 --> 00:42:52,486
in which we believe
that it shouldn't be music.
785
00:42:52,570 --> 00:42:55,406
Maybe there's no need
because the characters don't need it.
786
00:42:56,282 --> 00:43:00,536
Or it could be a very violent scene
and if the soundtrack
787
00:43:00,619 --> 00:43:05,541
it conveys an opposite state, it can be better
rather than adding more horror.
788
00:43:08,002 --> 00:43:11,672
In some moments of madness,
789
00:43:11,755 --> 00:43:16,093
when building his Creature
or when trying to produce a storm
790
00:43:16,176 --> 00:43:21,974
or lightning, I used many organs
to create a flow of waves
791
00:43:22,057 --> 00:43:27,563
and multiple arpeggios, thus amplifying
the bizarre nature of the situation.
792
00:43:29,982 --> 00:43:31,859
But if you add the violin...
793
00:43:36,071 --> 00:43:39,950
a whirlwind of sound is born and…
794
00:43:41,785 --> 00:43:44,371
You can feel the energy transmitted by Guillermo,
795
00:43:44,455 --> 00:43:46,915
which I try to reproduce through music.
796
00:43:47,416 --> 00:43:48,751
Not!
797
00:43:48,834 --> 00:43:51,962
If there was a recipe,
all movies would be masterpieces.
798
00:43:52,755 --> 00:43:54,298
It's hard to make a masterpiece.
799
00:43:54,381 --> 00:43:56,258
Not!
800
00:43:56,342 --> 00:44:00,763
It's like a gas vapor
which you shape and direct.
801
00:44:09,396 --> 00:44:11,690
Is immortality a curse or a blessing?
802
00:44:11,774 --> 00:44:14,401
Do you want to live with pain?
803
00:44:14,485 --> 00:44:16,403
Can you find salvation in this?
804
00:44:17,321 --> 00:44:20,949
The endings of the films Pinocchio,
Cronos and Frankenstein
805
00:44:21,033 --> 00:44:22,284
they are exactly the same.
806
00:44:22,993 --> 00:44:27,498
With a character enveloped in rays
of the sunrise, which accepts the light of day.
807
00:44:28,582 --> 00:44:32,878
The idea of loving an imperfect character
808
00:44:32,961 --> 00:44:34,880
and forgiveness of those imperfections.
809
00:44:36,131 --> 00:44:38,926
Finally, the stylistic vision
through the camera
810
00:44:39,009 --> 00:44:42,805
of light and colors is present
in Cronos and Frankenstein.
811
00:44:44,139 --> 00:44:46,266
If I did Frankenstein sooner,
812
00:44:46,350 --> 00:44:50,354
represent a dialogue
between me and my father.
813
00:44:50,437 --> 00:44:53,899
Now it's a dialogue between me,
my father and my children.
814
00:44:54,650 --> 00:44:57,528
Generational trauma has spread,
815
00:44:57,611 --> 00:45:01,031
and now you can say:
"Stop! Let's move forward"?
816
00:45:01,615 --> 00:45:05,452
There's a line from that movie in this one,
30 years apart.
817
00:45:05,536 --> 00:45:08,205
And it's interesting
that it marks the end of a stage.
818
00:45:10,791 --> 00:45:14,294
I would like to make a movie
who try to do things
819
00:45:14,378 --> 00:45:17,297
which they don't "normally" do.
820
00:45:18,590 --> 00:45:21,969
With advancing age,
some become more reluctant
821
00:45:22,052 --> 00:45:25,055
against risks,
and others become more adventurous.
822
00:45:26,390 --> 00:45:28,058
I take it in that direction.
823
00:45:29,351 --> 00:45:33,480
It's a line from the movie:
"After I reached the end of the world,
824
00:45:33,564 --> 00:45:36,692
the horizon disappeared
and the realization had an unnatural air."
825
00:45:37,901 --> 00:45:39,319
That's how I feel now.
826
00:45:42,030 --> 00:45:47,035
Subtitling: Valeriu Cosa