The Temple of GUILLERMO DEL TORO

[Ghoul]

Novi film našeg omiljenog CrAvenger dvojnika zaslužuje da pokrenemo zaseban topik za njegov worship - za priču o PANOVOM LAVIRINTU, ali i o planiranom HELBOJU II kao i o - za kaj pak ne? - PLANINAMA LUDILLLAAAAAAAAARGHHH... (sorry!)



Del Toro se pre par dana oglasio sledećom izjavom za javnost:

Hi (sheepish) guys, I´m back...

LIfe before, during and after Pan has been a bit crazy. Crazy hectic (delivering the script for HELLBOY II, THE GOLDEN ARMY )yeee-haaaaay!  - prim. ghoul), doing impromptu trips to Europe and New Zealand, finishing PAN´s LABYRINTH, etc) and just plain crazy.

With the help of Parker and Spydaweb I plan to upload the PL Spanish teaser in the next 72 hours (contact me guys!) and post some new stills.

I am incredibly proud of PL and believe it to be a beautiful, moving film- yes, I am that deluded- but giving birth to it took a toll. Physically I am 40 pound lighter (and a whooping 110 pounds lighter than on HELLBOY) and spiritually I am going through a "dark night of the soul" but all´s well that ends- oh, um- well it ain´t over yet, so let´s wait a bit-

Projects are piling up in the horizon but HBII still comes first. Mike M has read it and has sent his comments as have Larry Gordon and Lloyd Levin, so, knee-deep in those rewrites I pause to drop these lines.

I miss you. Frankly I miss you all too much.

Glad to be back.

GDT


Miki je već drugde kačio tizer, ali ko nije spazio, evo ga ovde - super je:
http://www.deltorofilms.com/

[Ghoul]

nove sličke – ođe:
http://latinoreview.com/news.php?id=145

pa'i samo ovu:

[crippled_avenger]

Carlos Cuaron, blizak Guillermov prijatelj, kaze da sam pljunuti on, samo sto je on za nijansu veci, a to mi je rekla i njegova zena koja me je Guillermu Arriagi predstavila kao `Serbian Guillermo Del Tora` ...

[crippled_avenger]

And he's hoping the new DreamWorks/Paramount will bring H.P. Lovecraft's "At the Mountains of Madness" to life with Guillermo del Toro ("Hellboy") at the helm -- and a $70 million budget. "Steven Xeroxed Guillermo's notebook full of drawings," he says. "Guillermo's done some amazing spectral motion maquettes."

[iNCUBUs]

:krajnje nestrpljivi smajli:

[Ghoul]

[crippled_avenger]

Mexican director Guillermo del Toro ("Hellboy", "Blade 2") is in talks to develop and direct New Line's dark fantasy flick "Killing on Carnival Row".

Set in a mystical and dark Victorian city filled with humans, fairies and other creatures, the story centers on a police detective investigating a series of murders against the fairies. The detective becomes the prime suspect and must find the real killer to clear his name.

The studio picked up the spec script by first-time writer Travis Beacham in November. Picturehouse, the HBO-New Line joint venture, recently acquired US rights to Del Toro's dark fairy tale "Pan's Labyrinth".

[WARLOCK]

Na cinemaniji ce biti preemijerno!
22:30h
2-Nov
cetvrtak
Pan's Labyrinth   
rezija: Giljermo Del Toro   
uloge: Ivana Dakiero, Dag Dzouns, Serdjo Lopez   
        pripremite se za lavirint!

[Ghoul]

e, šta još ima na sine?

[crippled_avenger]

Del Toro's Madness For "Mountains"
Posted:   Friday October 20th 2006 4:31am
Source:   IGN UK
Author:   Garth Franklin  


 
Even though he's readying "Hellboy 2: The Golden Army" for production in January, director Guillermo Del Toro is already heavily considering that his long-developing adaptation of HP Lovecraft's "At the Mountains of Madness" might be next on his schedule.

Talking with IGN UK, he says "Mountains of Madness, which is a project I've had for several years, if it comes to fruition I'd rather do that immediately while the iron is hot. But it all depends on so many factors -- creative, personal -- that every time I predict what I'm going to do next, I fail".

The book itself deals with an Antarctic expedition who come upon evidence of highly evolved alien creatures who helped create life on Earth with the help of formless subservient creatures. Those creatures eventually rebelled and wiped them out, and the one expedition member who sees one is driven almost completely insane.

Lovecraft's unique style has proven to be difficult to adapt on film in the past, this story in particular filled with references to the author's other works and has popularised the concept of ancient astronauts.

del Toro says "The albino penguins, the gigantic city... The hard thing about that novel is it's very much a record of an expedition, so the narrative is brilliant in that it's a little bit dry but it's not character-based. There are many characters that you don't know -- you don't even know who the hell the expedition is [made up of] until you have it referenced in another book of Lovecraft's. You need to create the character dynamics and the arc of the story, which is not in the book".

He adds "The horror in the book is only ambiguous and it's kept open at the end. And you can still capture that atmosphere, but then you have to take it and go to a climax [in the movie]. Which in the book is really a climax by almost using negative space in the narrative; it's what you don't see that makes it. That essentially goes against the very essence of show business, because you don't show anything. I think that what we're doing is good and it's as good as we can [do when] adapting Lovecraft. But it's a project that's been with us for several years now. It's not an easy project to set up"

[Ghoul]

PAN'S LABYRINTH (4-)

da je del toro major filmmaker bilo mi je jasno odavno, a ovaj film je još jedna potvrda toga.
međutim, ne bih ga mogao bez zadrške proglašavati njegovim najboljim.

moja suštinska zamerka je sledeća: mislim da nije adekvatno uklopio svet fantastike u svoju realističku priču: nije se pošteno niti dosledno poneo prema žanru, koji je ovde maltene učinjen izlišnim kroz 'it's all in her head' pristup, odnosno kroz previše očiglednu alegoriju. nisam još odgledo šlajmalanovu MOKRU ŽENSKU (trebaće mi dugi meseci psiholoških priprema dok se nateram na to), ali slutim da je del toro maltene prišao nečem jezivo bliskom š-ovom pristupu, u kome prenaglašena fantastičnost zapravo gura prst u oko gledaoca, govoreći mu: hej, ja sam alegorija!
drugim rečima, fantastika nije čak ni bila neophodna za suštinu ove priče, i ne mogu reći da joj na neki bitan način doprinosi. mislim, jebeš ti to kad možeš da bukvalno odsečeš pola filma, a da ti preostala polovina još uvek savršeno funkcioniše, bez osećaja da nešto fali. a to je baš slučaj ovde: sve te vile, panovi i ostala čuda mogli bi da se izbace iz filma a da i teme i ideje kojima se bave ne budu bitnije okrnjeni.
to je, deco, in my book, a major malfunction – kolikogod da sam neskriveno uživao u svim tim fantastičnim i horor prizorima, istovremeno mi je radost kvario taj pristup u kome je preočigledno da se to, na planu filmske stvarnosti, ne dešava zaista. praktično, del toro je PROTRAĆIO neke genijalne koncepte i dizajne i ideje – uključujući tu i najjeziviju horor scenu koju sam video još od... ne pamtim kad (da, mislim na onu sa bledim stvorom bez očiju, tj sa očima na dlanovima: pure genius, i dizajn, i maska, i režija, i body language douga jonesa!) – dakle, protraćio ih za priču kojoj nisu neophodni, budući da samo (pre)naglašavaju, ali bitnije ne obogaćuju, ono što je i bez njih očigledno.

s druge strane, ne mogu reći da sam bez zadrške mogao da prihvatim i posezanje za pojedinim klišeima u 'realističkim' deonicama, kojima dominira skoro stripovski zlikovac, Kapetan, a tu su još bolešljivo-pasivna mama, služavka iz pokreta otpora i dobri doktor-pomagač koji će, kao i svi doktori koji pomažu partizanima, da najebe na kraju (ako vam je ovo spojler, onda niste gledali ni 3 ratna filma te ne znam šta ćete na ovom forumu).

ukratko: uživao jesam u parčićima, ali ne i u celini. ova slagalica je problematična iz razloga koje sam naveo, i formalno gledano znatno je uspešniji tematski-sličan DEVIL'S BACKBONE (iako nije toliko zabavan i vizuelno raskošan kao ovaj).

dakle, od mene: 4-, što je ocena koju od mene ima i HELLBOY.

ako vas baš zanima, del torov opus, do sada, rangiram ovako:

PAN'S LABYRINTH = 4-
HELLBOY= 4-
BLADE 2 = 3
EL ESPINAZO DEL DIABLO =3
CRONOS = 3
MIMIC= 3-

[blasphemer]

Mdaaa..  Meni je Panov lavirint imao poblematican ritam, posebno u prvom delu filma. Fantasticni "delovi" su, takodje, malko problematicni, ili nisu, zavisi kako to posmatrate - naime, od samog starta, sve vristi da je to nestvarno, da je fantazija, pa, sto rece Ghoul, sta ce onda tu? I tako.. mrzi me sad nesto da se raspisujem, film mi se sve ukupno dopao, lepo sam se zabavio i iskreno uzivao, jer- film izgleda "svetski".

[Milosh]

U principu se  slažem s puno toga, samo što je to što je tebi smetalo meni savršeno leglo; film funkcioniše sjajno kao čistokrvna ratna drama, a onda element fantastike dođe kao šlag na tortu. Jeste, bilo bi lepo gledati i film gde bi ovako koncipiran fantazijski svet bio okosnica priče, ali Pan's Labyrinth to nije, i što se mene tiče, i ne mora da bude, pošto mi je i ovakav kakav je savršeno legao. Ona scena s monstrumom za gozbom je izuzetno jeziva i mogla je biti produžena na račun nekih drugih, isto kao i potera kroz lavirint na kraju (setih se Isijavanja), ali to su mi jedine zamerke. Glavni negativac je odličan, a ona fora sa satom mi je omiljeni momenat. Inače, meni je do sada najbolji Del Torov film bio El Espinazo del Diablo, a ovo mi dođe kao nešto unapređenija verzija. Nekima će smetati ambivalentni kraj, ali rekao bih da je vrlo pošten i dosledan predhodno viđenom, a i udara emotivno, što je i najvažnije; ocena: 5

(ostalo od Del Tora: El Espinazo del Diablo 4+, Hellboy 4-, Cronos 3+, Blade 2 3+, Mimic 3... ali, ja nisam toliko strog s ocenama kao Ghoul, imajte i to u vidu)

[Ghoul]

U principu se  slažem s puno toga, samo što je to što je tebi smetalo meni savršeno leglo; film funkcioniše sjajno kao čistokrvna ratna drama, a onda element fantastike dođe kao šlag na tortu.

pa jeste, ali to je šlag na torti koja već ima sasvim dobar čokoladni preliv, ne treba joj još jedan.

inače, kraj UOPŠTE nije dvosmislen ako pažljivo gledaš: to mi je, zapravo, jedna od zamerki – jer u jednoj sceni, pred kraj, del toro otkriva (vrlo brzo, ali ipak očigledno) da su sva fantastična bića samo privid, u glavi devojčice...

[Milosh]

šlaga nikad dosta  

nego, ako misliš na onu scenu kad ona razgovara s Panom, a kapetan ga ne vidi, to je opet otvoreno za tumačenje, ali ako misliš na neku drugu scenu reci, možda sam prevideo.

(btw i ja sam naklonjen varijanti: 'sve je to ona zamislila', i to funkcioniše isto koliko i u Haute Tension, s tim što se ovde ne tretira kao obrt, pa stoga neće valjda puno iznervirati one koji se inače groze: 'ma sve je to u (nečijoj) glavi' objašnjenja)

a da, u gornjim postovima ima spojlera...

[Kastor]

a da, u gornjim postovima ima spojlera...

e pa doobro...

[Milosh]

a sad više nema.  

(bar ne kod mene)

mada, sada je i onako već kasno...

[Kastor]

nije kasno, već sam zaboravio o čemu se radilo...  

[Ghoul]

baš mi se sviđa što se ne slažemo sasvim, miloše, jer me stalno podsećaš na neke bitne stvari koje nisam kazao gore (ali hoću jednom kad sredim impresije i sednem da napišem kritiku, a ne forumski osvrt).

pre svega, da, mislim na tu scenu s kapetanom koji ne vidi pana.

međutim, tvoje poređenje 'twista' iz pana (koji, naravno, i nije tretiran kao takav) sa haute tension ne stoji iz jednog ključnog, suštinskog, ogromnog razloga – onog koji je možda i najbitniji za moju blagu suzdržanost prema panu. a to je sledeće:

ono što sesilija umišlja u HT ima itekakve posledice na 'objektivnu' stvarnost, prepliće se s njom i direktno utiče na nju, na živote drugih ljudi, itd.

za razliku od toga, fantasy deonice u panu ne utiču na stvarnost, nisu na bilo kakav čvrst način povezane sa njom, od onoga što se dešava u njima ništa zaista ne zavisi. ZATO mi, pre svega, smeta ta i takva (ne)uklopljenost njihova sa realnošću.

testovi koje curica prolazi su krajnje irelevantni: lišeni su saspensa jer,
a)   ponavljam, it's all in her head, i
b)   proizvoljni su i nekonsekventni.

da li će ičiji život biti spasen ili izgubljen ako curica, npr., ne stekne ključ od žabe?
neće, jer taj ključ nema veze sa stvarnim ključem od podruma, koji služavka već poseduje.
dakle, koja je bila poenta akanja oko njega?

2. zadatak: idi na gozbu, ali ne jedi.
šta kako zašto...?
i šta onda?
2 vile stradaju zbog nje, u fantasy svetu, ali kakve to veze ima sa spoljnom dramom? da li je ona na neki, ma kako indirektan način, odgovorna za smrt onih partizana? za otkrivanje doktora? kako? zašto?

kao što rekoh, te dve paralelne priče OSTAJU paralelne, uopšte se ne ukrštaju, uopšte se ne nadopunjuju, te su stoga 'povezane' samo krajnje tentativnim, površnim asocijacijama.

bilo bi zanimljivo napraviti paralelu sa jednim klasičnim mexičkim hororom koji ima donekle sličnu situaciju kao pan: devojčica dolazi sa mamom u očevu kuću u šumi, daleko od grada, i tamo susreće dečaka koga samo ona vidi... i tu imaš alegoriju o odrastanju, buđenju zrelosti, odgovornosti itd. u kontaktu sa onostranom silom, ali je sve to ispripovedano tako da svako zbitije u filmu bude konsekventno, bitno, sa konkretnim posledicama, sa saspensom i dramom netaknutim, isprepletenim... šteta što magazin znak sagite više ne postoji jer bi to bilo otprilike jedino mesto gde bih imao dovoljno prostora za jednu ovakvu uporednu analizu...
(ah, da, mexički fantasy horor, koji je sasvim sigurno uticao na del tora, jeste el libro del piedra, i uz malo muke sigurno može da se nađe na divxu)

[---]

eto, nijesan još pogledo film, na znam ni što se uturam di ni za di sam nisam, kad me niko nije zvao, ali znadem da sam negde pročito kako je panov lavirint nešto ko svesna reverenca na alisu u zemlji čuda, pa me sad ovavaša diskusija podseti na jednu od mojije omiljenije knjiga evr, a mož i tebi gule za tu kritiku značiti.
misim, nije li u alisi sve tako nekako... preoštra bukva, moglo bi se svađati okolo toga i što to znači, ali - proizvoljno?

[otaku]

film funkcioniše sjajno kao čistokrvna ratna drama, a onda element fantastike dođe kao šlag na tortu.

Da si rekao da funkcionise kao bajka, pre bih se slozila. Kao ratna drama sigurno ne funkcionise. Kapetan je vise kao zla kraljica iz Snezane iz sedam patuljaka koja ti je od starta servirana kao opak stvor, samoljubiv, stalno pred ogledalom, koji u svoju postaju u sumi (kao u dvorac iz bajki) dovodi cednu novu, trudnu zenu i njenu devojcicu s namerom da dobije tog potomka. Sve je to bajka. Sve sto imas od ratne drame je prilicno povrsno i crno-belo, pogotovu ako se uzme u obzir da je rec o spanskom gradjanskom ratu gde znamo koliko je bila komplikovanija situacija od te zli fasisti protiv dobrih partizana. Ko su, bre, oni pobunjenici, ko princevi iz sume. Film funkcionise, po mom misljenju, iskljucivo kao bajka gde su elementi koji pripadaju realnosti, to sto ti nazivas ratnom dramom preformulisani u bajku, kapetan je lik iz bajke, kuvarica i doktor takodje.

[Armagedda]

upravo odgledao film. ukratko, ne slažem se sa ghoulom ali se zato slažem sa miloshem i otaku tačnije, oboje su u neku ruku u pravu.

fantastični i 'realni' elementi funkcionišu zajedno baš zbog toga što oba pokazuju određeni otklon od stvarnosti, odnosno različite forme prevazilaženja iste. rat kao neka vrsta 'nenormalne' stvarnosti gde važe drugačija pravila, kako društvena tako i psihička. sigurno ste čitali makar jedno književno delo gde jer rat tako predstavljen da imate utisak da maltene čitate fantastiku. i naravno bajka. kao što se da zaključiti, obe transcedencije su svaka na svoj način bolne, brutalne i nose ideju o požrtvovanju. kako sam ja učitao, klinka i jeste umrla i nije. bajka naravno nudi happy end, dok je u stvarnosti (a pogotovo onoj pomerenoj, ratnoj) ishod veoma često suprotan. sećate se priče o princezi sa početka? sigurno ste kao mali čitali bajke gde se pozajmljuju elementi stvarnosti a zatim nadgrađuju fantastičnim. ovaj film upravo pokazuje njihovo prožimanje. a kapetan ne vidi pana jer ne želi/veruje (drop dead fred!), kao što reče ona mercedes kada je pričala sa ofelijom.

možda nekome ovo tumačenje deluje previše far-fetched. u svakom slučaju, film ima svojih problema, ali svakako ga treba pogledati.

[sivka]

PAN'S LABYRINTH (4-)
da je del toro major filmmaker bilo mi je jasno odavno, a ovaj film je još jedna potvrda toga.
međutim, ne bih ga mogao bez zadrške proglašavati njegovim najboljim.
moja suštinska zamerka je sledeća: mislim da nije adekvatno uklopio svet fantastike u svoju realističku priču: nije se pošteno niti dosledno poneo prema žanru, koji je ovde maltene učinjen izlišnim kroz 'it's all in her head' pristup, odnosno kroz previše očiglednu alegoriju.  ...
... ukratko: uživao jesam u parčićima, ali ne i u celini. ova slagalica je problematična iz razloga koje sam naveo,

Slažem se sa gore navedenim.
Film sam odgledala tek sinoć ali nisam našla topic o njemu pod film...itd te otvorih novi ne znajući da se diskusija vodi na ovom delu foruma.

Ne postoji srećan kraj koji je važan za bajku. Ne postoji, jer je previše naglašeno da je sve to što se dešava samo devojčicina  fikcija.
Bajke se, uglavnom, pišu za decu. Ovaj film ne bih preporučila ni jednom detetu ispod 15 god. Ni sebi, da sam skapirala o čemu se radi.  (Ja inače ne ljubim horor.)
Bilo bi mi logično da devojčica beži u neki lepši svet, jer je njen stvarni život u okruženju koje užas i jad. A ona beži u svet u kojem mora da se bori sa nekim užasima?
No, ovo je samo moj utisak.
Ovo je sagledavanje nekog ko ne voli da se plaši, ko ne voli horor a gleda film jer se nada bajci.

[crippled_avenger]

Iz nekoliko puta odgledah PAN'S LABYRINTH Guillerma Del Tora.

Neću da zvučim kao partijski sekretar i da izdajem smernice, ali smatram da od Del Tora, nažalost, moramo da odustanemo. Od njega nažalost, nikad ozbiljan reditelj.

Dok sam gledao u film, na nekom solidnom propertyju, i razmišljao o tome koliko liči na srpski film, prošao je moj otac, pored otvorenih vrata moje spomen sobe i upitao, "Šta je to, gledaš nešto domaće?"

I da, novi Guillermo zaista izgleda kao srpski film, bez kontinuiteta u sklopu i rasporedu kadrova, bez energije koja prati ozbiljan filmmejking.

Te večeri kada počeh da ga gledam, na tivi je išao TERMINATOR 2. taj film je vanvremenski režiran na svim nivoima, između ostalog i u mirnim dijaloškim scenama. Uzeo sam ovaj vrhunski primer sasvim slučajno jer se podudario da bude na televiziji. Gledao sam ga mali milion puta i dok sam prolazio pored dnevne sobe gde ga je moja majka opet overavala, ostao zarobljen filmom neko vreme.

Naravno, nije arhaičnost rediteljskog pristupa greh sama po sebi. Mogao je Guillermo da pogleda niz filmova sličnog kalibra koji dan-danas stoje kao klasici i pitki su, iako su snimljeni u vreme kada se PAN dešava. Recimo, FIVE GRAVES TO CAIRO Billy Wildera.

Nijedan Guillermov film m nikada nije zarobio na takav način, uprkos njegovom sjajnom stavu i pričama. Ali, hej, super stav imaju i Eli Roth i Richard Kelly a pružaju krajnje sumnjive rezultate.

Dakle PAN je urađen potpuno kao srpski film, s tim što poneka scena ima nešto zanimljivije idejno polazište. Problem je u tome što ako je Guillermo čak i hteo da napravi svoj omaž srpskom filmu, posle ŠEJTANOVOG RATNIKA a naročito ČARLSTONA ZA OGNJENKU, ni srpski film više ne izgleda tako.

PAN'S LABYRINTH je nešto kao infantilna verzija nesnimljenog filma Đorđa Kadijevića u kome se spajaju lokalni paganski kultovi i NOB. Kadijević nažalost nikada nije iskombinovao te dve opsesije a siguran sam da bi njegov film na tu temu bio negde ovde po arhaičnosti egzekucije ali sa mnogo više mozga i srca.

Ipak, Guillermo balansira tu negde između smlačenog Jovana Živanovića i Lordana Zafranovića, u najboljim momentima.

Pored te potpuno prevaziđene režije, i samim tim propuštanja da se uspostave neki sočniji odnosi među likovima, izuzev klasičnih "Doktorice, nemoj nogu" i "Ti sigurno misliš da sam ja čudovište", problem filma je i integracija mita o Panu sa NOB pripovešću.

Do te integracije, na neki način, dolazi pri samom kraju filma a dotle posmatramo dve potpuno razdvojene i zato prilično impotentne priče.

Iako nije neka nauka zaključiti da je Terry Gilliam superiorniji reditelj od Del Tora, vrlo ja zanimljivo uporediti TIDELAND i PAN'S LABYRINTH kao odlične ogledno primerka kako koje radi film o oniričkom doživljaju sveta iz vizure deteta.

Dok del Toro od vrlo ozbiljnog pravi igrariju, Gilliam od igrarije pravi nešto ozbiljno.

Međutim, u PANu Del Torova infantilnost ipak nije mogla da prođe.

A za posebnu studiju slučaja je pitanje kako to da se kritika tako besramno obrušila na TIDELAND a tako podržala PANa.

[taurus-jor]

Ja sam podrzao i jedan i drugi.

[crippled_avenger]

Ovo lici na Guillermov KING KONG, s tim sto je Guillermo slabiji reditelj od Petera Jacksona...

AT THE MOUNTAINS OF MADNESS
By
GUILLERMO DEL TORO AND MATTHEW ROBBINS
106 pages
Oye mira!

El Mayimbe here! Happy New Year y para los Latinos out there who celebrate it – Feliz Dia De Los Reyes!

Being Dia De Los Reyes and we being Latinoreview, we like to start off the New Year on the Latin tip. Last year for Los Reyes, we did the script review for El Cantante and in my opinion that trailer is super hot! For salsa fans like myself, just seeing Marc singing Hector's songs in his own voice and seeing Fania come to life, El Cantante is high up on my must see list for the year. Ain't missing that for the world. I don't care if critics are hating on it calling it the Marc and J-lo movie. Para el carajo con los haters!

Anyways, in keeping up with last year's tradition, January is el mes de los reyes for us here at Latinoreview in 2007. This month I will review scripts from two prominent Latino filmmakers and also cover scripts that deal with Latino figures.

One of the historical Latino figures got two scripts being made about him this year!

Can you guess which one?

The other Latino figure was one of the most ruthless criminals of the last century and the director of that movie got a "smoking" movie coming out at the end of the month. Can you also guess which one that is? Five scripts for this month about Latinos or written by Latinos. I think it is safe to say that us brown folks are coming along quite nicely.

First off, to start the New Year? None other than Guillermo Del Toro. He has been making the rounds promoting the excellent Pan's Labyrinth and it looks like his passion project is a go after Hellboy 2 – the fucking excellent adaptation of H.P. Lovecraft's AT THE MOUNTAINS OF MADNESS!

Man does it get me excited to start the New Year off by reading a dope script!

Folks, off the bat, Guillermo and his writing partner fucking nailed it! It there is anyone who can adapt Lovecraft and even have a shot of doing it successfully it would be Guillermo. I read ATMOM back in High School and this is the project Guillermo was born to do. It will be his crowning masterpiece.

The script has got action, it has got adventure, it has got science fiction, it's got monsters, and of course it got horror in spades. Unless the callsheet don't have monsters, Guillermo doesn't show up. That is what he said on Charlie Rose. The script also has atmosphere. I read this in the dark and it was creeping the shit out of me as I read it. A script hasn't done that to me in a while.

This is the script Guillermo needs to do next. If monsters are your thing then this script is for you. Imagine the monsters from John Carpenter's THE THING, but on steroids. Imagine a nasty shapeshifter sprouting eyes and tentacles from absolutely everywhere.

Gordo, if you are reading this, do we really need yet another translation of el jodido Tarzan?! Tarzan has been done to death already. Let's see Lovecraft finally get his justice on screen. The script for Tarzan isn't even written yet and you got a masterpiece sitting in your drawer. Para el carajo con Tarzan Chico! Drop the chalupa and Tarzan and let Cheetah deal with him!

Just to see the shoggoths, the old ones, the monoliths, the 8 ft albino penguins, the ruins, that fucking gigantic city in the Antarctic, the bone collection, the titan CTHULHU and most of all, to see Ron Pearlman play shit kicker Larsen?!

Are you kidding me?!

To the studio - Are you guys' pussies?! Do you realize the blockbuster you are sitting on? Who cares if there is no love story or supposed happy ending?! You got a horror and science fiction masterpiece collecting dust at the studio! Trust me, the horror crowd will come out in droves to see this! All those horror geeks will bring their girlfriends. Use those cartel drug dealer profits that Transformers is going to make at the box office and make this!

The structure is there; those creepy beats are there, the flashbacks work brilliantly in this.

You can see the craft and work in Guillermo's writing that went into this. Hence why I think it took a couple of years. The hardest obstacle he had was the structure and me being the structure fanatic that I am – it is all there. Like I said before, it is there and works perfectly.

Ok, so lite on the spoilers, let's take a quick look and sneak peak at Act 1.

October, 1939, Hobart, Tasmania

Australian fishermen out at see find a derelict whaler – The Arkham!

They board the ship, which looks abandoned, and find all kinds of weird shit. A LIEUTENANT COMMANDER examines a shelf stacked with 35mm film cans.

It says, MISKATONIC UNIVERISTY, ANTARTIC EXPEDITION, 1930.

The Australians make it to the storeroom which is locked from inside. They break the lock down and enter inside and find –

THE MADMAN

Panting, wild-eyed, a crouching old man stares madly at them! A survivor!

When the Australians try to mess with him, he brandishes a rusty fire ax and goes ape shit!

They shoot him. The madman drops to his knees, his grimace exposing hideous, broken teeth. His wild hair is yellow gray, and a long, scraggy beard conceals gaunt features. His bulging terrified eyes are pale blue.

In the next scene we meet ALAN STARKWEATHER, a no nonsense ruddy faced veteran in Hobart. He is briefed and we get some exposition that the Arkham was lost a decade ago along with her sister ship, the Miskatonic.

Starkweather and his consul arrive at the hospital where the madman is being hospitalized. Starkweather goes into his room where the madman is shackled. Starkweather is getting ready for a trip to the Antarctic. When the madman hears this, he grabs Starkweather by the arm and warns him not to go to Antarctica.

We find out that our madman is named WILLIAM DYER. Adjunct Professor. The Miskatonic University expedition.

He was 25 years old when he left the university for the expedition and he flashbacks to the Miskatonic campus as he narrates the tale.

Dyer was handpicked for the voyage by Dr. Gilman Lake, chairman of the biology department. We meet ATWOOD, PABODIE, FOWLER and WALTER DANFORTH – Dyer's best friend and fellow geologist.

We also meet BOB GEDNEY – the cameraman, and his little brother PIP, 17.

Lake's trip will be one of discovery. Antarctica promises rich fossil records and with them, important clues to the origin of all species.

We also meet Dyer's pregnant wife Anne, who doesn't want William to go on the expedition. The refusal of the call scene.

The next scene is the acceptance of the call scene where Lake in his office shows Dyer a fossil of a monstrous creature recovered from Antarctica.

Next we are out at sea with the two whalers reinforced for ice conditions, The Arkham and the Miskatonic. It is 1930.

We meet dog handler IAN LARSEN a muscled, tattooed Canadian brawler who is dressed lightly despite the cold and his partner JAN GUNNARSON, a lanky blond Dane.

Eventually, they reach Finisterre: the edge of the world. Dyer has his dream in which he encounters THE DARK MAN.

He awakens from his nightmare to a real one when the Arkham crashes onto the ice and the crew of the Arkham arrives...

AT THE MOUNTAINS OF MADNESS

A dreamlike range of mountains surrounds them. Sharp, imperial peaks recede in jagged ranks, bathed in low, slanting sunbeams. Two distant volcanoes send smoke into a vault of purplish sky glowing with ice clouds.

Dyer tells us that the mountains before them surpassed anything in imagination. At 36,000 feet they put Everest out of the running. Pre-Cambrian slate, with plain signs of many other up heaved strata. But at the very top, through the clouds they could make out bizarre structures. Unnatural, almost symmetrical. Buildings? Impossible.

What could have built them? What could have lived in such a cold dead place?

The answer will become evident soon enough.

Nothing human.

Nothing human at all!

We end Act 1 and our little preview at Guillermo's masterpiece. What a killer read and what a killer way to start off the New Year.

Guillermo is most definitely "un rey" (a king) and we celebrate los reyes all month long at here at Latinoreview.

Coming up next week in a couple of days, we look at another rey and perhaps the most consistent and prolific Latino filmmaker working in Hollywood today.

HASTA EL PROXIMO CAPITULO...

...YO SOY EL MAYIMBE!

[WARLOCK]

Panov lavirint ne bas sjajno prosao na usa box office jedva zaradih 10 mil.$

[Ghoul]

Panov lavirint ne bas sjajno prosao na usa box office jedva zaradih 10 mil.$

warlock, ajde sad nazad u magareću klupu i da tamo izbrojiš u koliko je bioskopa igrao PAN a u koliko ostali filmovi u top-10, pa kad to shvatiš, da 100 puta napišeš: ELI ROT NEMA BLAGE VEZE S HOROROM, ZA RAZLIKU OD G. DEL TORA!


Continuing its winning ways, PAN'S LABYRINTH had a successful release expansion in its fourth weekend at U.S. theaters via Picturehouse. Various sources have reported that the movie grossed an estimated $4.725 million at 609 venues for a total so far of $10.1 million, and a strong per-screen average of $7,758 (the highest in the top 20). Guillermo del Toro's dark fantasy, which recently made the nine-movie short list for this year's Best Foreign Language Film Oscar (nominations to be announced Tuesday morning), wound up in seventh place for the weekend�three slots below the much wider but less impressive debut for Rogue Pictures' THE HITCHER.

[WARLOCK]

interesantna informacija bas sam hteo da cujem nesto vishe o tome.    ..nisam rekao da je Eli Roth bolji od
Del Toroa .. Pan zasluzuje za oskara  

[Ghoul]

this weekend saw Pan's Labyrinth hit an important milestone – it become the highest grossing Spanish language film in US history, beating out Like Water For Chocolate. The trajectory of Pan's has been nothing short of amazing, making hundreds of "best of" lists, winning awards from critics around the country, and taking seven Goyas, Spain's version of the Oscars. And the movie has been nominated for six Oscars, including Best Foreign Language and Best Original Screenplay.

[crippled_avenger]

SS Doomtrooper
At a Nazi fortress, a mad scientist uses atomic radiation to create the ultimate soldier... but the monster he unleashes is uncontrollable. Captain Molloy of the US Army hand-picks a squad of military misfits to blow up the lab and stop the death-dealing fiend. With achtung-in-cheek, the Dirty Half-Dozen take on 'Das Hulk' in this cheap and cheesy sci-fi horror.
Movie rating:  
Stars: Corin Nemec, James Pomichter, Marian Filali, Ben Cross
Director: David Flores
Year: 2006
Running time: 90 mins
Certificate: 12
 Showing times
Monday 19 February  15:15 Sky Movies 10
Monday 19 February  23:10 Sky Movies 10
Less lively than it sounds, SS Doomtrooper is a videogame-style World War II schlocker which loses the battle against its budgetary rations and fails to make the most of its inherent daftness.

Looking as though it was filmed at a paintball centre near Workington, it disappoints with regulation action sequences, ripped-off ideas, and a cast of people whose names will never follow the words "And the Oscar goes to..."

The only recognisable face is Ben Cross, whose career took a nosedive after Chariots of Fire and kept plummeting. Twenty-five years on, he's making Chariots Of Fuhrer.

But viz spectacles und silly accent, Cross hass a vunderful time as ze deranged Dr Ullman. By zapping Nazi soldiers with atomic rays, he produces a walking, snorting killing machine (imagine The Hulk with fluorescent tattoos and a helmet).

If one can obliterate a village, an army of them can win the war!

While unaware of this despicable experiment, the Allies do know that the Germans are up to unsporting atomic mischief.

Two terrible actors representing military intelligence enlist all-American hero Captain Molloy (Nemec, of TV's Stargate SG-1) to lead the mission to destroy the swastika-festooned stronghold out in Workington (or wherever).

Since special ops require special talents, Molloy selects a team of miscreants from the military stockade: a sniper, an ace driver, a brawler and a chap who impersonates people.

But as they encounter the gun-toting CG colossus (much too rarely) and engage with a surly French Resistance unit, none of them are given much opportunity to show off their skills.

Where it could have earned lower-tier cult status by throwing caution to the wind, the film is too weak on both horror and humour fronts. Sadly, it plays safe and never lives up to expectations.

Hellboy, you have nothing to fear.

Elliott Noble

[Alex]

Verovatno ja ne bih bio ja, kad bi se složio sa ostalima.

Ne mislim na kvalitet filma - tu se slažem sa Ghoulom i sa većinom - samo što je za mene ocena jaka četvorka - ali tu je negde i ovo je jedan od boljih u 2006-oj.

Scena sa monstrumom je (još malo pa) antologijska.

A gde se ne slažem? U vezi tumačenja da li su fantastični elementi u glavi devojčice ili stvarni.

Ovakvu polemiku sam imao sa ljudima oko Totalnog opoziva. Tamo je dosta argumenata dato da se sve dešava u Švarcijevom mozgu, ali i suprotnih. Obično ljudi veruju u to da li je stvarno ili ne, zavisno od afiniteta tj svoje prirode, a možda je to i namera filma.

Za Pana - mislim da je "prava fantazija":

1.Scene gde živuljka/vila posmatra devojčicu nisu iz devojčicine vizure.
2. Kad korenčić majka baca u vatru, on vrišti, majka to čuje i zatim umire.
3. Poslednja scena - bi po suprotnoj teoriji bila viđena kao halucinacija devojčice na samrti - ali je ona pre nje bila mrtva, a i suviše čudna podudarnost je da je potrebna bila krv nevinog deteta da bi se proročanstvo ispunilo - što se i desilo.
4. To što Pana, kapetan ne vidi - objašnjavam ne time što on ne želi da ga vidi, kako neko reče, nego što je Pan, kao biće sa natprirodnim moćima, namerno nevidljiv za njega.
5. Kako je devojčica tako lako ušle kod kapetana i maznula mu bebu? Čarobna kreda?

Ne sporim, da je i ovde možda namera bila da film ima dvostruku prirodu, ali realistična teza mi uopšte nije očigledna.

[Pavle]

Imao sam jedan od bizarnijih dozivljaja kada su me mrtvog umornog u ponoc ispod mostarske petlje iz mraka docekale oci pale-man-a!
Umal da skrenem kola u bankinu!

O cemu je rec: retki ali upecatljivi bilbordi za Panov Lavirint se mogu videti na par mesta u gradu.
Ima jedan sa glavnom junakinjom iz one svene kada je na kraju na dvoru (taj je na okretnici tramvaja na Trosarini), dva-tri sa krupnim kadrom Pana i naravno, vec pomenuti pale-man u kadru kada su mu ruke sa ocima prislonjene uz lice.
Jos na bilbordima pise da je po oceni EMPIRE-a u pitanju film godine, a tu je i pet zvezdica.

Sto znaci da film koncno ulazi u distribuciju, selam, selam, kobnacica mortadela  

Neko bi morao da ode da slika ovaj prvi bilbord, ja nemam dobar aparat, ali sam voljan da napravim prekrsaj i dodjem kolima do njega

[Loengrin]

film funkcioniše sjajno kao čistokrvna ratna drama, a onda element fantastike dođe kao šlag na tortu.

Da si rekao da funkcionise kao bajka, pre bih se slozila. Kao ratna drama sigurno ne funkcionise. Kapetan je vise kao zla kraljica iz Snezane iz sedam patuljaka koja ti je od starta servirana kao opak stvor, samoljubiv, stalno pred ogledalom, koji u svoju postaju u sumi (kao u dvorac iz bajki) dovodi cednu novu, trudnu zenu i njenu devojcicu s namerom da dobije tog potomka. Sve je to bajka. Sve sto imas od ratne drame je prilicno povrsno i crno-belo, pogotovu ako se uzme u obzir da je rec o spanskom gradjanskom ratu gde znamo koliko je bila komplikovanija situacija od te zli fasisti protiv dobrih partizana. Ko su, bre, oni pobunjenici, ko princevi iz sume. Film funkcionise, po mom misljenju, iskljucivo kao bajka gde su elementi koji pripadaju realnosti, to sto ti nazivas ratnom dramom preformulisani u bajku, kapetan je lik iz bajke, kuvarica i doktor takodje.

Slažem se s tobom Otaku. Prepoznatljiv je kao bajka od samog početka (što mu ne umanjuje vrednost) i to bajka koja se lako može postaviti na pozorišnu scenu (ako pomenem balet i operu preteraću ali i to je izvodljivo).
Žao mi je što najveća zloća nije bila ona kapetanova glavna služavka.

[Alex]

Pravo zapažanje! Dušu dalo za dobru pozorišnu predstavu.

[crippled_avenger]

Great news today, Guillermo Del Toro ("Pan's Labyrinth," "Hellboy") has chosen his next project to direct and it's the one fans (and I personally) have been most keen for - his long-gestating passion project "At the Mountains of Madness".

Del Toro, currently filming "Hellboy II: The Golden Army," has apparently found a home for the project at Universal Pictures reports Latino Review.

The acclaimed H.P. Lovecraft-penned 1931 story follows explorers who journey to Antarctica where they uncover the remains of highly evolved creatures neither plant or animal. When much of the party is slaughtered, the rest investigate the remains of an ancient civilisation.

Don Murphy's Angry Films is producing. Del Toro still remains attached to film a new incarnation of "Tarzan" but that script is still being worked on.

[Ghoul]

pa... kad nije teo niko drugi...

mislim, biće to sigurno zabavan monster-fest, ali... nešto sumnjam da će mnogo od srži najboljeg horor romana ikada da ostane... a naročito od srži te srži, koja je u KOSMIČKOJ STRAVI a ne u ljigavim čudovištima... samo da ne pretera sa action-adventure-romance elementima, koji će, uopšte ne sumnjam, biti pridodati...

[Ghoul]

samo da ne bude KING KONG sa šogotima  

[Bab Jaga]

... KING KONG sa šogotima  

Što ti sve ne padne na pamet!  

[crippled_avenger]

United Artists revives 'Champions'
Guillermo del Toro takes on sci-fi redo
By TATIANA SIEGEL
Del Toro

Guillermo del Toro will write, direct and produce the sci-fi actioner "Champions" for United Artists.
Based on the 1968-69 British TV series, "Champions" will follow the adventures of a team of secret government agents who are rescued from a plane crash by an advanced civilization and given superhuman abilities.

Created by Monty Berman and Dennis Spooner, the original series starred Stuart Damon, Alexandra Bastedo and William Gaunt and mixed adventure, humor and glamour into its plotlines.

The show was produced by ITC, which also spawned such series as "The Saint," "The Baron" and "Danger Man." UA optioned the rights to the original TV series from Granada Intl., which owns the ITC library.

C/W Prods. will produce, with Granada's Robert Green exec producing.

UA, which relaunched last year as a partnership between MGM and C/W's Tom Cruise and Paula Wagner, has two upcoming films: the war-themed drama "Lions for Lambs" and the Bryan Singer-helmed Cruise starrer "Valkyrie." In development at the label are Oliver Stone's "Pinkville" and the Jessica Biel vehicle "Die a Little."

Sci-fier "Champions" marks a departure for del Toro, whose credits include the comicbook adaptations "Hellboy" and "Blade II," horror film "The Devil's Backbone" and fantasies such as "Pan's Labyrinth."

[crippled_avenger]

JoBlo reports that "Hellboy II: The Golden Army" director Guillermo del Toro will helm a big screen adaptation of author David Moody's "Hater" for Universal Pictures.

The story is set in a society rocked by a sudden increase in the number of unprovoked violent assaults on individuals. There are no apparent links between the Haters (the attackers) or their victims and no obvious reason for their sudden outbursts of violence. Everyone has the potential to become either a Hater or a victim.

del Toro's long-gestating adaptation of H.P. Lovecraft's "At the Mountains of Madness" was scheduled to be his first post-HBII flick, hopefully that still remains the case.

[crippled_avenger]

Director Guillermo del Toro has revealed to MTV News that he is planning a "definitive take" on Mary Shelley's classic "Frankenstein" story.

Del Toro says that his vision, which is in the earliest stages of pre-production, will not be a literal adaptation - "The only way to do the Shelley novel is to actually do a four-hour miniseries. But I think there permutations in which you can tell the myth in a different way."

Countless adaptations of the classic story have appeared over the years, the most famous being the James Whale-directed 1931 classic with Boris Karloff. The most recent bid budget adaptation of the story was the Kenneth Branagh-directed "Mary Shelley's Frankenstein" in 1994 which had Robert DeNiro as the monster.

How this will fit into Del Toro's schedule is anyone's guess right now. Still finishing up the "Hellboy" sequel, the helmer remains committed to adaptations of HP Lovecraft's "At the Mountains of Madness," Edgar Rice Burrough's "Tarzan," Roald Dahl's "The Witches," and film versions of the graphic novel "The Coffin" and the British mini-series "The Champions."

[Alexdelarge]

Quint and Guillermo Del Toro talk ORPHANAGE, HELLBOY II, AT THE MOUNTAINS OF MADNESS and HALO!!!
Ahoy, squirts! Quint here. Guillermo Del Toro and I go back a very long time. I remember Harry introducing me to him when I was all of 17 years old, in the time between MIMIC and BLADE 2 when he was living here in Austin.

He's one of my favorite people. Always full of humor and vulgarity, two things that mix together beautifully. When I was offered the chance to interview him for the site in order to promote his latest producorial outing THE ORPHANAGE I jumped at it. I've never interviewed Guillermo in all the time I've been acquainted with him.

We talk about everything, from ORPHANAGE to HELLBOY 2 (this was done right before the trailer hit) to AT THE MOUNTAINS OF MADNESS and HALO. We fit a lot into our 15 plus minutes. Hope you enjoy!

Guillermo Del Toro: Hey, you fuck!
Quint: What's up Guillermo?
Del Toro: How are you, my friend?
Quint: I'm doing well. You doing OK?
[Del Toro Coughs]
Del Toro: I have a chest cold.
Quint: And they're making you talk to all of us assholes?
Del Toro: Only you, man. So should we start with this?
Quint: Let's do this. I talked to the boys back when they came out for FANTASTIC FEST, Sergio [Sanchez] and Juan [Antonio Bayona], but I don't think we ever really talked about how you got their script in the first place.

Del Toro: I've known Juan Antonio for over a decade. We met in 1992 or 1993 with CRONOS and we have remained friends for all of those years and I love his short films. I particularly loved EL HOMBRE ESPONJA, THE SPONGE MAN, and I also loved his video clips and commercials. He always kept me updated with his reel and I told him "Whenever you need any help doing your first feature, I would love to help."

So when I was prepping PAN'S LABYRINTH he came in to the hotel and he gave me the script and said "I really need your help, because we are finding it really hard to find the scope and the financing and the access to the actors and this and that" and he presented me with the script, which was pretty much what you saw on the screen.

I met with him again. I discussed a few ideas. Out of ten, six were rejected and four were accepted and what I loved about seeing the way he and Sergio handled that meeting is that they had a really good camaraderie. They really got along... They were following the same idea for a movie. They had a common vision and I liked that. I proceeded to play sort of a bodyguard to help them get their first movie made. Everybody, or most everybody, in the key positions in the film were first timers. First time editor, first time director of photography, first time director... First time screenplay writer... First time special effects supervisor... to the degree that the digital effects supervisor, which did a lot of shots that are, to my eye, really well done and invisible in the film, he was just a kid that was just friends with Juan Antonio and he said, "I wish I was an effects guy... I have my own company" and we said "How many computers do you need? What's hardware you need?" We bought him all of the hardware and that was his start as a VFX guy.
Quint: You said that you have a lot of interest in helping produce first time projects. Is it just exciting for you to see... I don't want to make it sound like you are going out of your way to do favors for people who don't deserve it, because it's not, but is it exciting for you to kind of make these dreams come true?
Del Toro: The fact is, you know, it's very delicate, because as a producer I have done I don't know how many projects, but certainly around ten or more and a lot of them come out really good and a lot of them don't come out the way I saw them. It's up to the director at the end of the day. We just act as bodyguards with a hunch and if you get a hunch of somebody having talent or not, you can be wrong. That's why when I reject a screenplay or I reject a project, I make sure to bow to the director presenting it and say "I don't like it, but that should not stop you from doing it. You should pursue it in spite of me saying 'no.' You should not stop pursuing it." And vice versa, when I say "yes," I can be and have been very wrong with my own stuff and with somebody else's, but it's more exciting to do a first film than it is to try and just produce "the sure thing."
Quint: Yeah, well how often do you look at new projects?
Del Toro: I do it enough that I have produced about five or six movies, so far, that are either first projects or second movies. I try to not go to established guys to produce, you know?
Quint: Yeah.
Del Toro: Unless it's what Alejandro [Gonzales Inarritu], Alfonso [Cauron], and I do, which is produce each other's movies.
Quint: I think those guys might be okay... Now it's funny that you mention that they knocked back a lot of your suggestions, because they mentioned that as well.
CLICK HERE TO READ ALONG WITH THE NEXT BIT IN AMAZING SOUND-O-TEXT!
Del Toro: Yeah, I think it's the fact that whichever ones stayed, that are part of the big scares in the film or there are some of the emotional beats in the movie, those that remain are there for a good reason, but those that were rejected, I think, are the strongest gesture, because they knew what they wanted to do. They were not there to take dictation from anyone and I think, as a producer, you must value that instead of resenting it. You know what I have encountered in my life is I have been produced by both types of producers. I have been produced by producers that are complete assholes that essentially try to give you dictation and you have to tell them to fuck off and I have worked with producers that have been incredibly benign and a real great force, exemplified the way Pedro Almodovar told me he wanted to produce DEVIL'S BACKBONE, he said "I'm going to be the kind of producer I like, which is "If you need me, I'll be there. If you don't need me, you will never see me."
Quint: Yeah.
Del Toro: And he was good to his word. He was on the shoot for only one day visiting and the rest of the shoot he was not there.
Quint: That's great and yeah, I know both Bayona and Sergio were saying that you were there almost exactly like you said in that capacity, like when there were some fires that needed to be put out or a phone call that they couldn't make, but you could... They spoke very highly of how you protected the project.
Del Toro: The good thing about being a bodyguard is that you can take pride in something existing, but you definitely have to keep your distance and not claim it's your accomplishment, because it isn't. It's their movie. It has a lot of thematic elements that I share and concerns that I share, but it's absolutely Juan Antonio and Sergio's movie. You like it, you talk to them. You don't like it, you talk to them.
Quint: Well, I think we're already in our last five minutes here, so I guess we should talk a little bit about the HELLBOY 2 trailer. You said that's hitting today?
Del Toro: It's hitting today, yeah and it's a teaser in the sense that even if it's over a minute and a half, it's still a teaser, because it's not telling you the whole story or trying to give you any hints. It's just a small catalog of a portion of the images that will be in the movie, you know?
Quint: That's good. That's what I think should be the regular trailer.
Del Toro: The regular trailer will come out around March.
Quint: Yeah. I love the teaser stuff, but I'm getting a little tired of the trailers that show everything before you see the movie.
Del Toro: And we'll try to avoid it even in the long form trailer, but I really hope the people that, obviously people that didn't like the first HELLBOY, may not like this one and the people that did like the first HELLBOY, I hope they really embrace this one, because it's a good nice growth for the characters and the world, both.
Quint: Everything I saw looked great. I love the 'Angel of Death.' That's still my favorite thing.
Del Toro: Yeah, it's a really nice character and the way that he plays in the movie, I think, is significant to setting up the tone of what will be, if there ever is, a third movie.
Quint: That's cool, but you're happy with how it's shaping up so far?
Del Toro: Yeah, very much. I mean it was a very tough shoot, only in that we had to sustain six day weeks for over a hundred and thirty days with very very compressed prep. We were always battling the budget and trying to deliver scope on the movie and keep it fresh, so it was a big battle. Physically, Sundays disappeared really fast. You would blink and it was Monday, especially on night shoots, but it was a great experience shooting in Budapest.
Quint: One hundred and thirty days then, so was Perlman as red as HB after four months in prosthetics?
Del Toro: Well Ron, I think, really got more rashes on the first movie and reactions to the makeup on the first movie than on this one.
Quint: Oh yeah?
Del Toro: Much more, but there were moments where we had to stop a couple of times because he had skin breaks. I am not helping Ron Perlman age gracefully at all.
[Both Laugh]
Del Toro: I think he's going to have the most terrible skin condition due to him working with me.
Quint: That's something to tell his grandchildren, "It's Guillermo's fault..."
Del Toro: It is! I am the anti-Noxzema.
Quint: So you have about five hundred potential follow up projects and I think the fans want MOUNTAINS OF MADNESS.
Del Toro: I want MOUNTAINS OF MADNESS! Some of the stuff is just producorial. HATER is a project that I'm co-producing with Mark Johnson, but I'm not directing that. DEADMAN is the same thing. As a director, there are four or five things that I've been accumulating for the last few years like MOUNTAINS and MONTE CRISTO and this and that, but I try not to let go, like LIST OF SEVEN, MONTE CRISTO, blah blah blah... In the mortal words of my agent, "After HELLBOY, you are unemployed!"

The real fact is that none of these things are real until you get the green light and then you know. If you had asked me, after CRONOS, if my next movie was going to be MIMIC I would have said "No, absolutely not! I'm going to do this and..." I co-wrote MONTE CRISTO, I wrote MEPHISTO'S BRIDGE, which never got made, so you know I can't tell you. Three weeks from now or a month from now a project might come out of left field and that's the one I'm doing.

The morning that HELLBOY 2 came to pass, I was having a meeting for a project I was going to get green lit that afternoon and then I got the call saying "HELLBOY 2 was going" and I had to jump out of the other project immediately.
Quint: That's crazy.
Del Toro: Yeah, at Universal, too!
Quint: So at least it didn't feel like you were jumping into somebody else's bed.
Del Toro: No no, but it's like that. Things change from one day to the next. Now MOUNTAINS OF MADNESS, that is truly... the difficult thing is to do it against what... The movie could be done if we took a smaller budget, but I really think the way to approach it is to give it the epic, sort of Shackleton exploration feel, you know? Where you really get the whalers, you get as much as you can, the feel of a big epic adventure that then turns into what it is, because the Lovecraft books... many many of the pages are essentially an exploration book and then little by little this thrilling incredibly inhuman element creeps in, but seeing things like Frank Darabont's THE MIST or stuff in the CLOVERFEILD trailers, you know, I really get very antsy and certainly in THE MIST, there are moments that are completely out of what I want to do on MOUNTAINS OF MADNESS.
Quint: Like the leviathan that's walking across the road?
Del Toro: At the end? For sure and the fact that in MOUNTAINS as the arctic fog settles, there's a lot of stuff happening in the mist, so you know, as long as I can keep my blind albino penguins and the Old Ones and the Shoggoth, I think... Somebody is going to do it sooner or later. When we were in New Zealand talking about HALO, I certainly knew that if HALO happened, the flood would completely destroy MOUNTAINS OF MADNESS, because the flood is in essence an ever mutating Shoggoth.
Quint: Definitely, you can very much feel that inspiration in the video game and I can only imagine how it would have translated to the screen...
Del Toro: It would have been beautiful and I must tell that's a... of anything in my life that I look back and wish it could have happened is that project, because it is such a powerful experience. People talk about it and say "it's ALIENS or it's a retread of this or that," I don't think so. I think there are angle to that game that are far more epic and far more complex as a cosmology than that. It's not just about grunts in space. It's much more than that. It's a whole epic.
Quint: And with as successful as the videogame is, there's just... somebody's going to do it at some point. That film has to happen, the video game just makes too much money.
Del Toro: It should, if there was any wisdom to the way things should happen and I love it so much, again, that I would like to see it in any incarnation. If Neil [Blomkamp] and Peter [Jackson] get to do it, I'll be almost as happy as if I was doing it. I'd probably enjoy watching it more than if I would do it and you know when I was talking to (Universal Exec) Mary Parent about Neil and I saw Neil's reel, I really thought "This guy is going to do a fantastic HALO movie."
Quint: That goes back to your excitement of seeing somebody get their first shot.
CLICK HERE TO READ ALONG WITH THE NEXT BIT IN AMAZING SOUND-O-TEXT!
Del Toro: I'll tell you this, soon enough we'll announce a new project that I'm producing that is again a very likely presentation credit and it's a filmmaker that had only done a couple of short films and that's what I like to see. I like to find the guys that are doing short films that really have a voice and help them get to the big stage of a feature, you know?
Quint: Yep.
Del Toro: I find that, if I can produce ten of those movies before I die, I'll be incredibly happy and if I was doing a TV series, I would go that route. If I was doing a TV series, I would go the route of producing an entire anthology, just with first time directors. I would not call it MASTERS OF HORROR, I would call it "THE APPRENTICES OF HORROR."
Quint: That'd be awesome. I'm sure that they are ready to pull you away here, since we are going over our time, but we'll keep in touch. You need to come back to Austin.
Del Toro: Say hi to the County Line BBQ, will you?
Quint: I will. I'm trying to lose some weight, but I'll do that for you.
Del Toro: You are losing it.
Quint: Yes, and I've lost ten pounds since I last saw you in Budapest.
Del Toro: Soon, you will be able to see your shoes!
Quint: And other things, hopefully.
Del Toro: And then the shoeshine boy.
[Both Laugh]
Quint: Alright, later on Guillermo.
Del Toro: Bye Bye.




There you have it.

I'm sure I'll post something more in the next few days, but I'll take this opportunity to wish all you folks a Happy Holiday. On behalf of all the Ain't It Cool contributors, thanks for reading and making AICN what it is, day in and day out. It's appreciated.

-Quint
http://www.aintitcool.com/node/35142

[crippled_avenger]

With production currently going on in the UK on Half-Blood Prince fans are eagerly waiting to hear who will direct the seventh movie in the franchise, Harry Potter and the Deathly Hallows.

Previously, director Guillermo del Toro voiced his desire to direct and today mentions in an interview that he is "definitely interested" in the movie. Now all the fans have to do is wait and see if he will get the job.

Guillermo's thoughts:

I'm definitely interested, now that the movies have grown darker. They have a contrast between the gloomy existence of the kid and the world he's exposed to. They have evolved into a really nice universe.

I got [Deathly Hallows] for my daughter and she was like 'When are you going to give it to me?'. I read it and I was very moved by the ending. It ends very much like a Dickens novel.

[crippled_avenger]

Hey folks, Harry here... In the geek community for quite some time, the rumor has been that Guillermo Del Toro was going to be directing THE HOBBIT. The day that the announcement came that Peter Jackson was playing nice with New Line - and that Weta was going to be handling the fx - and everyone was a happy family again... I was talking to Guillermo about some personal issues (the Lapband operation, Guillermo had one quite a while back, and has been encouraging me to take that step. Which I am) - and during that conversation - he suddenly brought up THE HOBBIT and how he wanted to direct it and how he thought it was going to happen.

Well now - the trades are reporting on it. I saw the story up this morning on Hollywood Reporter's Story - the writing on this project has not been OFFICIALLY decided yet, due to the Writer's strike, but apparently Jackson and Guillermo will oversee the script's creation.

They're saying $150 million per film... and I just wonder... is Ron Perlman going to be the voice of Smaug? And will Gollum suddenly become a man in a costume via Doug Jones? (of course not, Andy Serkis will be back)
But you KNOW that Doug Jones is gonna be something awesome in this.

When Guillermo and I talked about it, he spoke very heartfelt about how he had to adhere to what Peter had already established - but how he couldn't wait to expand that universe with the environments, creatures and most especially Smaug. I'm giddy.

[Ghoul]

hm, ko bi reko da je giljermo ukrao naslov za svoj poznati film od jednog - našeg???

The Deserter (1971)  
... aka Djavolja kicma (Yugoslavia: Serbian title)
... aka Ride to Glory (USA: video title)
... aka Spina dorsale del diavolo, La (Italy)
... aka The Devil's Backbone (USA)

[crippled_avenger]

Pan's Labyrinth" and "Hellboy" director Guillermo del Toro will co-write a trilogy of vampire thrillers with Chuck Hogan ("Prince of Thieves," "The Standoff") for HarperCollins says Variety.

The story will revolve around an invasion of New York City by a vampiric virus, and the series will trace the roots of the vampiric race back to its Old Testament origins.

The first book, "The Strain," hits bookstores next summer.

[Ghoul]

HELLBOY II: THE GOLDEN ARMY - Guillermo del Toro (CINEMANIA 08)
Pakleni dečko ponovo razbija?

Del Torov nastavak podrazumeva da već poznajete (i volite) naslovnog junaka, i ne gubi vreme na njegovo uvođenje. Umesto toga, trudi se da obogati taj lik i svet drevnih bogova i monstruma u kome se kreće. Nažalost, ne trudi se dovoljno, i ne postiže rezultate ravne I delu

Dejan Ognjanović

http://popboks.com/tekst.php?ID=6683

[Milosh]

http://www.aintitcool.com/node/39071

[Джон Рейнольдс]

"Čarobna knjiga" će na Vašaru ponuditi Del Torov roman.

SOJ

Giljermo del Toro i Čak Hogan

Oduvek su bili ovde. Vampiri. U tajnosti i tami. Čekali su. Sada je došlo njihovo vreme.
Za jednu nedelju, nestaće Menhetn. Za jedan mesec, država.
Za dva meseca – čitav svet. 

Kao i Drakulu i Drakulu nemrtvog ( ).

DRAKULA NEMRTVI 

Dejker Stoker i Ijan Holt


Drakula Nemrtvi je autentični, višeslojni nastavak kultnog romana, napisan, po rečima autora, sa ciljem da se isprave nepravde počinjene Bremovom klasiku, načinjene brojnim adaptacijama i banalizacijama u popularnoj kulturi.

Gule, kakav je ovaj Nemrtvi?