Maybe for you it will be news but we all love Guillermo del Toro (well, okay… maybe not everyone…) loves to chat on Twitter about… Yes, about anything. Recommend a good book, share a cool viewvideos picture, can I have your autograph a couple of lines about your favourite film and, of course, distribute the plans for the future. For example, about how he was already twenty years wants to film “At the mountains of madness”.
Recently, when Guillermo, in his own words, “sat on a bench in a Paris Park”, he was visited by a particularly loquacious Muse, which resulted in an entertaining lecture about the process of creating monsters. As is known, the length of the message Twitter has a limit on the number of characters, so the lecture lasted for thirteen original posts, each of which continued the previous one.
Today in the “Zone of horror” we look into the creative Studio Director and learn to create monsters Ala del Toro.
13 tweets about the creation of monsters.
When the artist inside is an imbalance between beauty, tragedy, or rage in the own sense of “I” – you can look there and find monsters that will be able to reconcile these feelings. I believe that creating monsters is one of the most difficult forms of creativity. They turned out beautiful and powerful, they need to draw from a variety of sources: mythology, literature, of references to real creatures from the world of nature and even to our self. An important feature is polytonality: design of a monster should consist of many elements, collected in a single picture, both visual and aural (approx. translator: i.e. non-perceptual; in other words, the expected quality). Imagine if you come up with the fish and do not think about the aquarium, where she will swim. Same is the case with the monster designs and environment where they live. In this task, many layers, and one of them is using the image of the beast as a tool for telling stories. Here, the appropriate comparison with the work of art – one look at the monster should be able to tell his story and purpose. Nothing can be random. First we create the outer lines, creating the sculpture, and here the monster should be as expressive. Next comes the decoration, the decoration is perhaps something counterintuitive in relation to sculptural… sometimes even illogical. Remember, the cover artwork is 80% ready idea, gathered in the image layer by layer. All details of design and modeling needs to be checked at any angle with a movable lighting. The monster has to be interesting in itself as in profile and from behind. And the body as a whole, and the bust needs to identify new quality… and then we will talk about the movement. Ask the actor execution, and not the imitation of something specific, emotional: pride, innocence, greatness, etc. always Do it, to convey the essence of the character. The monster should change and show their quality when you look at it, and in the center of any kind should stay closer than the spark of life, a mystery. If you highlight and remove your monster wrong he will be dead in the movie.
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