Carlo Collodi: Last News

How does a filmmaker reinvent stories told time and time again? It’s a challenge Guillermo del Toro undertakes with the legendary character Pinocchio. Far from the fantasy set by Disney — or flawed direct-to-video entries from others — his imaginative take on Carlo Collodi’s 1883 tale promises reinspection of a classic.

Meredith Woerner Deputy Editor, Variety.com A new, hot literary collab just dropped: Hellboy creator Mike Mignola and Lemony Snicket from “A Series of Unfortunate Events” fame are partnering up for an illustrated and annotated edition of Carlo Collodi’s classic novel “Pinocchio.” Variety has the first look of the little wooden boy, reimagined by Mignola. Teaming back up with award-winning colorist Dave Stewart, Mignola returned to his gothic roots for a reimagining of the centuries-old story that will be published by Beehive Books. But despite the wooden boy’s recent, Oscar-winning popularity, Pinocchio has always influenced Mignola’s oeuvre. “This is a book I’ve loved since I read it when I was a young teenager,” Mignola told Variety. “I really think between this and Dracula, this is what’s formed whatever the hell it is I do, my sensibilities.” When first approached by Beehive Books to contribute to their collection of reworked literary classics, Mignola was hesitant, unsure of what he could bring to this translation, “I got spooked because it’s been so well-illustrated over the years.”

After joining Guillermo del Toro on the project over 10 years ago, producers Alex Bulkley and Corey Campodonico finally got to see the fruits of their labor when Guillermo del Toro’s Pinocchio premiered last year. Del Toro’s Netflix adaptation of the Carlo Collodi story takes place in 1930s Italy, during the Fascist reign of Benito Mussolini. In this story, woodcarver Geppetto (David Bradley) loses his son Carlo in an aerial bombing and carves Pinocchio (Gregory Mann) from the tree at his son’s grave. Bulkley and Campodonico’s animation studio, ShadowMachine, was responsible for the stop-motion animation of the film, and the pair were incredibly excited to go on this long journey with del Toro.

“I saw the Disney film when I was very, very young, and it made a huge impression,” Guillermo del Toro said during a panel for Guillermo del Toro’s Pinocchio at Deadline’s Contenders: The Nominees event, where he was joined by director Mark Gustafson. “What sat wrong with me was the idea that you needed to be obedient to be a real boy, and that you needed to be transformed into something you were not to be loved.”

Jazz Tangcay Artisans Editor In celebration of his love for animation, Oscar-winning director Guillermo del Toro is set to program a weekend of animation for the American Cinematheque at the Aero Theatre in Santa Monica called “Guillermo del Toro’s Weekend of Animation.” The films programmed by del Toro will include screenings of “The Red Turtle” and “I Lost My Body.” The weekend of animation will open with the 2016 Studio Ghibli film, “The Red Turtle,” with del Toro virtually introducing the film. Following that, there will be a screening of the Netflix film “I Lost My Body.” Sunday concludes with a 35mm screening of the Oscar-nominated film “Guillermo del Toro’s Pinocchio.” Del Toro and co-director Mark Gustafson will attend a post-screening Q&A.

It’s impossible to talk about Guillermo del Toro’s Pinocchio without considering the music. Del Toro’s Netflix adaptation of the Carlo Collodi story takes place in 1930s Italy, during the Fascist reign of Benito Mussolini. In this story, woodcarver Geppetto (David Bradley) loses his son Carlo in an aerial bombing and carves Pinocchio (Gregory Mann) from the tree at his son’s grave. Composer Alexandre Desplat, who worked with del Toro on The Shape of Water, was tasked with capturing the “joyous melancholy” of the wooden boy in music. To enhance the connection between the character of Pinocchio and the music, Desplat made the choice to only use wooden instruments in the score. Below, Desplat breaks down three key pieces of the score – “Carlo’s Theme”, “Going to Town” and “Saving Geppetto” – with the corresponding scenes included for reference.

The USC Libraries on Wednesday unveiled nominees for its 35th annual USC Libraries Scripter Award, which honors the screenwriters of the year’s best film and episodic series adaptations, along with the writers of the works on which they are based.

Guillermo del Toro’s Pinocchio is the second Pinocchio movie of the year. But, while Robert Zemeckis and Disney remade its animated adaptation in live action, del Toro returned to the original Carlo Collodi book for a stop-motion take. It took him 14 years to bring it to life, but Guillermo del Toro’s Pinocchio is now streaming on Netflix after it debuted December 9 and made it to the Top 10 in 79 countries.

When Guillermo del Toro takes his shot at an animation classic, he doesn’t mess around. He and co-director Mark Gustafson took the Carlo Collodi creation Pinocchio but made a version unrecognizable compared to the 1940 Disney classic. In the stop-motion animated film, Geppetto, the wood-carved boy and the cricket are there, but in a musical adventure that takes the tale in a direction all its own.

Capping a 15-year process to reach the screen, Guillermo del Toro’s Pinocchio arrives on Netflix on Friday after a limited theatrical run.

Director Guillermo del Toro is known for the intense originality of his work, on vivid display in Oscar-winning films from Pan’s Labyrinth to The Shape of Water. For his latest, the Netflix animated film Guillermo del Toro’s Pinocchio, he again set a high bar for himself.

“All good things require patience,” Gepetto (David Bradley) lovingly tells his young son, Carlo (Gregory Mann). The exact same words must have been uttered by Guillermo del Toro to himself countless times over the fourteen years he spent working on his dream project, a stop-motion adaptation of Carlo Collodi’s 1886 classic tale, “The Adventures of Pinocchio.” The Mexican auteur, a well-known lover and supporter of animation, first fell in love with the tale of the wooden puppet who wished to be a real boy when he was a boy himself, going to the local cinema with his mother in Guadalajara (“Animation is a medium, not a genre.

As you might expect from the billing, Guillermo del Toro’s Pinocchio — which had its world premiere at the BFI London Film Festival today — is a very different beast to the 1940 Disney animation, and just as cavalier with the picaresque elements of Carlo Collodi’s 1883 novel. The factor that unifies all three is that the main character — a wooden puppet blessed with life — longs to be a real, human boy, but it’s no spoiler to reveal that del Toro, champion of monsters and misfits, doesn’t see the appeal of that. 

Guy Lodge Film Critic The possessive claim in the title “Guillermo del Toro’s Pinocchio” is a gutsy one. There’s confidence — some would even say arrogance — in filming an oft-told story at least as old as the hills, and suddenly branding it as your own: Even two auteurs as ballsy as Francis Ford Coppola and Baz Luhrmann didn’t slap their own names on “Bram Stoker’s Dracula” and “William Shakespeare’s Romeo + Juliet,” respectively. Still, you can hardly blame del Toro’s stop-motion spin on Carlo Collodi’s 19th-century chestnut “The Adventures of Pinocchio” for wanting to advertise its distinguishing vision up top: After umpteen tellings of the wooden-boy tale, and coming on the heels of Robert Zemeckis’ wretched Disney remake, Netflix’s rival adaptation has to announce itself as something different. That it is; it’s often delightful too.

Disney+ today (September 8). The live action and CGI retelling of the original Disney movie stars Tom Hanks as woodcarver Gepetto, Benjamin Evan Ainsworth as the titular character, Cynthia Erivo as the Blue Fairy, Joseph Gordon-Levitt as Jiminy Cricket, as well as Luke Evans as the evil Coachman.

Here’s one hell of a way to remember just how strange “Pinocchio” (1940) was: watch Robert Zemeckis’ hallucinatory live-action remake of it, now playing on Disney+. Some of the kooky parts here are not from the script by Simon Farnaby and Chris Weitz—to their credit, they didn’t invent the hedonistic sugary kid-hell of Pleasure Island, or the concept of an innocent boy whose wooden appendage grows, or a lonely man’s fixation on having a manic pixie dream son (Italian author Carlo Collodi did).

Andrew Barker Senior Features Writer At this point, complaining about Disney’s deathless drive to cannibalize its entire library of animated classics into live-action remakes can feel as futile as complaining about capitalism itself. The studio has immense IP resources to exploit, a hungry well of content to fill, and a commercial imperative to introduce new generations of kids to the characters they’ll soon be expected to recognize on merch and in theme parks. And in truth, the studio could be doing a lot worse with these trawls through the archives. Once in a while genuine inspiration strikes (as it did with the gothy, revisionist “Maleficent,” or Jon Favreau’s visually inventive “The Jungle Book”), and even the least-fortunate of these remakes have mostly just been forgettable.

Lies Of P has explained why Neowiz decided to have the game focus on the character of Pinocchio.During Gamescom 2022, one of the biggest reveals that had everyone talking was the dark-retelling of Pinocchio, Lies Of P; a Soulslike role-playing game featuring visuals similar to Bloodborne.Pinocchio is an interesting angle for a game that looks to be leaning towards the horror elements since the character is best known for the iconic Disney animated film. However, the Lies Of P director has an answer for why Neowiz went in this direction.In a recent interview with IGN (transcribed and edited by GamesRadar), director Choi Ji-Won said, “We had to find a very well-known thing first, because this is our first Soulslike game, so we wanted to have the fanbase first.

A classic character and tale is brought to life in live-action for the first time with the new trailer for Disney's Pinocchio.Tom Hanks stars as Geppetto in the live-action adaptation of Carlo Collodi's 1883 book The Adventures of Pinocchio, with Benjamin Evan Ainsworth voicing the title character.Robert Zemeckis directs and co-writes this highly-anticipated adaptation, which debuts on the Disney Plus streaming service September 8. New trailer: A classic character and tale is brought to life in live-action for the first time with the new trailer for Disney's Pinocchio Voice: Tom Hanks stars as Geppetto in the live-action adaptation of Carlo Collodi's 1883 book The Adventures of Pinocchio, with Benjamin Evan Ainsworth voicing the title characterThe trailer begins with the boisterous voice of Stromboli (Giuseppe Battiston) proclaiming, 'Ladies and gentlemen, I present to you, the eighth wonder of the world, the one and only Pinocchio.'We also get a glimpse at shots of Geppetto tinkering away on his beloved marionette and making him dance, along with a shot of Jiminy Cricket (Joseph Gordon-Levitt).

Wilson Chapman editorPinocchio might not be a real boy just yet, but he definitely is a real puppet.Disney Plus has released the first trailer for “Pinocchio,” a live-action remake of the classic 1940 animated movie of the same name, which hits the service in September.Based on the classic 1883 children’s book “The Adventures of Pinocchio” by Italian author Carlo Collodi, “Pinocchio” stars Benjamin Evan Ainsworth, who provides his voice to the living puppet. Pinocchio is the creation of Geppetto (Tom Hanks), a childless woodcarver, who wishes on a star for Pinocchio to become a real boy. His wish is heard by a Blue Fairy (Cynthia Erivo), who visits his shop and brings the puppet to life. An overjoyed Geppetto raises him like his own son, but for Pinocchio to become a real boy instead of just a living puppet, he’ll need to go on a coming-of-age journey and learn how to be selfless, brave and true.

Joining the likes of Beauty and the Beast and Aladdin as the next originally-animated Disney feature to achieve live-action-remake status, Pinocchio is getting a 'real boy' makeover in 2022. And boy, are we excited.