AN ANNOTATED PROCESS JOURNAL
Name: Project: Class: Instructor:
Harini Venkataraman A Guillermo del Toro Film Festival GR 612 : Integrated Systems (Fall 2016) Hunter L. Wimmer
If you focus on the humanity of your stories, your characters, then the horror will be stronger, scarier. Without the humanity, the horror becomes nothing more than a tawdry parlor trick. All flash and no magic, and worst of all, no heart. — D O N R O F F, A U T H O R
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
THE DIRECTOR AND THE FILMS
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
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FILMOGRAPHY, BIBLIOGRAPHY & MORE Hitchcock and del Toro aren’t similar artists at all, really, except in their common dedication to purely visual, and visceral, storytelling.
F E AT URE F IL MS DIREC T ED (AL SO CREDITED AS PRODUCER)
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F E AT URE F IL MS PRODUCED ( NO D I R E C T I O N I N V O LV E D )
1993
Cronos
1998
Un Embrujo
1997
Mimic
2004
Cronicas
2001
The Devil’s Backbone
2007
The Orphanage (El Orfanato)
2002
Blade II
2008
Insignificant Things
2004
Hellboy
2008
While She Was Out
2006
Pan’s Labyrinth
2010
Biutiful
2008
Hellboy II: The Golden Army
2010
Julia’s Eyes
2013
Pacific Rim
2010
Don’t be Afraid of the Dark
2015
Crimson Peak
2011
Puss in Boots
2017
The Shape of Water
2012
Rise of the Guardians
2013
Mama
2014
The Book of Life
2015
The Thin Yellow Line
2016
Kung Fu Panda 3
2017
Rings
G U I L L E R M O D E L T O R O F I L M F E S T I VA L
The director Guillermo del Toro won’t have a feature film out in 2016, but his brand—and his spirit— seem to be everywhere. And indeed, his spirit isn’t only contained in his directorial ventures, but also in his collaborations as a producer, artist and writer.
BIBLIOGR APHY
VIDEO GAMES PRODUCED
2009
The Strain
P.T.
2010
The Fall
Silent Hills
2011
The Night Eternal
Death Stranding
2015 Trollhunters
—Guillermo del Toro
“Well, the first thing is that I love monsters; I identify with monsters.”
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STARTS OFF WITH A SLIGHTLESS LESS HAPPY SITUATION THAT SEEMS TO BETTER, BUT THEN SUDDENLY ALL HELL BREAKS LOOSE AND YOU MUST FIGHT A BATTLE TO RESTORE GOODNESS IN YOUR REALM
POSITIONING
AUDIENCE
LOCATION
The festival is going to be about
The movies of del Toro are for
Victoria Theatre,
battling inner demons and trying to
those struggling with inner
Mission District, San Francisco
figure out what is really good or evil
demons and for those who find it a
(bilingual Spanish/English in
by exposing to them the grandest
struggle to look at reality without
the traditionally more Spanish
fairytale of them all: the true nature
fantasizing an alternative. Ideally,
part of the city)
of humanity.
these are individuals who think they have made bad choices they
The audience will be confronted by questions about how life spans out that will distract them from less than perfect personal stories and help them gain a better understanding of
cannot return from, are dissatisfied with their current choices and have a hard time accepting people around them at face value or any other superficial traits.
universal good and evil.
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
DATES October 25-31, 2017 (Tied to Halloween ‘17)
DIRECTOR CONNECTIONS
Visual + Conceptual Conceptual + Perspectives Executional + Emotional Big Fish, Edward Scissorhands
Tim Burton Tall tales in reality
Fanny & Alexander
Ingmar Bergman Profound, child’s eyes, fabulist perspectives
Heavenly Creatures, The Hobbit
Peter Jackson Storytelling + ethereal characteristics
“Monsters are soulful”
Guillermo
Ran
internal ambivalence b/w hero & monster
del Toro High-concept horror + Lovecraftian Cosmicism
Shadow of a Doubt
Alfred
Spirited Away
Hayao
Akira Kurosawa
Stanley Kubrick
Miyazaki
Hitchcock American Gothic
Fairytales + Dark, adult
Haunting + monstrous
themes + illustrations
nature of the Human Barry Lyndon, The Shining
The Spirit of the Beehive
Victor Erice
David Lynch Inescapable Horror
Lonely Monsters bond with children The Changeling
Peter Medal Dark Romance
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FILM MASTERMOODBOARD
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
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Things were more than they appeared, so much more. When he considered an oak tree, it was not just a tree. To someone small, like an ant, it was a whole landscape of rugged barky cliffs and big green leaf-plains that quaked when the sky was restless, a place of many strange creatures where fearsome winged beasts could pluck and devour someone in a blink.� — J O N AT H A N R E N S H AW, D AW N O F W O N D E R
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
ROADMAPPING
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GUIDING NARR ATIVE
I am a lonely, recently orphaned, curious child who loves stories, and was forced to move to an old, dilapitating place that looks like a broken, ruined castle and there’s a monster in every dark corner that I try to explore and hide from my new, creepy guardians, and I try to sketch my experiences into my journal.
THREAD F
A
Guillermo del Toro’s tales deal with innocent or naïve B
characters who are haunted by (inner) monsters and C
D
exorcise past evils to restore goodness in the world— and mostly succeed after several hurdles.
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
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PHOTOGRA PHY
ST Y LE 01 Dark, Victorian interiors: wide angle shots of claustrophobic and darkened gothic architectural interiors; can be dilapitated and in layers of dust (think: haunted house)
ST Y LE 02 Shallow depth of focus images of creepy objects that are either horrifying, monstrous or plain scary by contrast, or has a tint of death (fades into black background)(think: object of fear)
ST Y LE 03 Photography of gothic architecture (like a medieval church) and/or leafless trees, unkempt Victorian gates, entranceways, tunnells and other outdoor places that can seem haunted (think: scary at night)
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GRA PHIC
ST Y LE 01 Gothic art, sketches of monsters, demons and other evil paraphernalia (think: nightmares and ink)
ST Y LE 02 Etchings, graphical line drawings of pentagrams, and other supernatural shapes and figures (think: exorcism meets Da Vinci)
ST Y LE 03 Textures that are grimy, speak horror and decay (think: touch of horror)
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
TYPOGRA PHY
ST Y LE 01 Display and custom fonts (think: modern, evocative, expressive)
ST Y LE 02 Gothic and medieval typefaces and calligraphy (think: etched into the past)
ST Y LE 03 Dramatic serifs that are modified and manipulated to look scary (think: periodic horror stories)
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FORM AT & M ATERIA LS
ST Y LE 01 Wood: old, new, and engraved (think: vintage woodshop)
ST Y LE 02 Leather and velvet: classic, deadly and the stuff of monster hunters (think: witch-doctor in Lousiana in the 1940s)
ST Y LE 03 Antiques: medieval and engravel wood, metal and stonework (think: gothic museum)
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
LANGUAGE
ST Y LE 01 Dialogues and the deepest things we feel when confronted by a dead end (literally) (think: philosopher by tragic circumstances)
ST Y LE 02 On the vein of storytelling, using observational language, usually in third person (think: nonce upon a time, a hero)
ST Y LE 03 Dark, deep and decandent, whimsical and dramatic language that borders between fantasy and reality and focuses on the darker experiences (think: nightmares and ink)
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Don’t let the rain drive you to the wrong shelter; the shade can turn out to be your protector and also your destroyer. And sometimes the rain is the perfect protector from the rain. — MICH A EL BASSEY JOHNSON, AUTHOR
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
VISUAL SYNTHESES AND INTEGRATIONS
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MATERIALS CHECKLIST
Festival Poster
COMPULSORY
Festival Catalog
Festival Filmography DVDs
Advertisements
Website
Business System
Container
4 OF A LIST
Tickets
Schedule
Soundtrack
Flying Logo
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
DEVELOPED
PROJECT CHECKLIST
Visual System(s)
Cohesive Photography
Conceptual Illustration
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MASTER MOODBOARD
Level 1
Level 2
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
The photography is based on the visual translation of the guiding narrative, which as we had gone through, puts us in the space of a ten-year old child who is curious and influenced by the dramatism of stories. The photos gives us perspective of what the kid sees in the old, creaking house with dark, dangerous corners, especailly from his hiding place while exploring the unknown.
Level 3
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LOGO & IDENTITY DEVELOPMENT
TITLE EXPLOR ATIONS
Monsters Among Us Hidden Monstrosity Out of the Darkness
SUBTITLE EXPLOR ATIONS Exploring the deplorable nature of monsters in our midst and triumphing over them with goodness in the films of GDT The manic sway of human nature between
Horrendous Secrets
goodness and evil in the tales of GDT
Heinous Darknesses
The ways that innate goodness of humanity triumphs against the evil of inner monsters
Morbid Essences MacabrĂŠ Esencia
The unsettling brutality of monsters
Beneath the Surface, it’s boiling with Monsters
among us and the sheer innocence that
The Dark Side of the Day
The exorcism of the monstrous evils in our
The Manifestation of Chaos
films of GDT
The Exquisite Grotesque
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in the tales by GDT
G U I L L E R M O D E L T O R O F I L M F E S T I VA L
vanquishes them in the films of GDT
society through pellucid humanity in the
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
Over the course of concept development, the title changed from a potential “Monsters Among Us” to “Out of the Darkness”, as the thread of the festival filmography shaped itself into depicting a younger, more innocent protagonist being confronted by dark inner demons instead of a ritualistic good versus evil storyline. “Morbid Essences”, however, was more of a tentative choice based purely on the typographic symmetry of the 2 words.
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
FINAL HAND-DRAWN LOGO AND VECTOR-IZED SCREEN VERSION
LEATHER STAMP OF THE LOGO FOR MERCHANDIZE CUSTOMIZATION
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POSTER DEVELOPMENT
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
What was especially hard about the festival poster was that it was the biggest identifier of the festival’s visual system and its concept. The guiding narrative, which gave us the perspective of a curious child, put me in a dilemma about exactly what a child sees when trying to hide from a potentially dangerous shadow-dwelling creature. Eventually, I ended up with an image of an old and rusted keyhole on a heavy wooden door that looked like whatever was inside had not seen the light of the day in many a year. By distorting the angle, the system was balanced into the unsettling fear of the “child�.
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
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CATALOGUS CREATUR A: ALL ABOUT THE FESTIVAL
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
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ILLUSTR ATION STYLE: INSPIRED BY SEVER AL ARTISTS
The Devil’s Backbone Fort Del Pilar by Nick Ian
Hellboy Untitled by Andy Braz
Pan’s Labyrinth Tree Drawing by Dr. Odd
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
Hellboy II: The Golden Army Troll Market Monster by Mike Mignola
Pacific Rim The Alien Life by Wayne Barlowe
Crimson Peak Death’s Head by Black Moth Tattoo registry
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
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ADVERTISEMENTS
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
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WEBSITE
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
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FLYING LOGO
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
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RED, BLACK, WOOD, LEATHER, METAL & THE FEEL OF OLD THINGS
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
All the deliverables for this class were made of stained dark wood, black and red leather, antique brass and art papers, including sketching, kraft and watercolor textured papers. The embellishments that tied them all together were the linear drawings and the tiny brass gears from the inside of old watches and other rusted equipment. The container was a vintage wooden traveling case with stained red (for the festival) leather straps.
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
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G U I L L E R M O D E L T O R O F I L M F E S T I VA L
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